[microsound] [playlist?] "itde" 1-29-05

From DaveX
Sent Mon, Jan 31st 2005, 21:56

"It's Too Damn Early" features experimental music of many varieties, and
also includes field recordings and found sound from time to time. Special
show within a show "Sound Museum" examines neglected and forgotten
recordings of many kinds. "ITDE" is broadcast from WDBX 91.1FM, a
not-for-profit community radio station broadcasting to Southern Illinois-- 
and now, online. www.wdbx.org

Complete information about the show (contact info, playlists for all shows,
reviews) is available at: http://home.mchsi.com/~itde

DaveX, host



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From ???@??? Mon Jan 31 21:25:57 2005
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From: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 28.01.05
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framework broadcasts live every friday (except the first one of each month) on resonance104.4fm  in london (uk) or worldwide on http://www.resonancefm.com between 8:30 and 9:30pm gmt, and is repeated the following wednesday between 11:00am and 12:00 noon gmt

next live broadcast: 11.02.05
~ time zone converter: http://www.thesaturnv.com/converter.html


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

 

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


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

we continued our deep exploration of several recent arrivals this week with several tracks from sawako's and/oar release yours gray, and and/oar frontman dale lloyd's stasisfield mp3 release turba/lateral minor.  the first few of these melted into a backdrop of ilios' fine crackling venta elektra (on antifrost), and led us eventually to some heavily processed brickwork from lief elggren's the cobblestone is the weapon of the proletariat, and some more soothing sounds from scott taylor's conv mp3 release castaway.  this was all preceded by a framework introduction recorded for us london painter and mosaic artist henri simson.

next friday, as each first friday of the month, sees the monthly airing of peter cusack's vermillion sounds in the field recording slot; we return the week after, the 11th, for our next edition.  the show after that, on the 18th, will be this year's first edition of framework:focus, featuring a live performance by the head of the aforementioned stasisfield mp3 label, john kannenberg, visiting from the states.

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



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


28.01.05

this edition will be rebroadcast this wednesday, 02.02.05, at 11:00am gmt 

(artist  /  title  /  album  /  label)

henrietta simson  /  framework intro
recorded in a dripping basement below squeaky floorboards in north london
http://www.nennasimson.net

ilios  /  -  /  vento elektra  /  antifrost
very minimal slow building sounds created from electricity and electrical signals
http://www.siteilios.gr, http://www.antifrost.gr

sawako  /  as:unacir  
                a message from the bed of the sea  /  yours gray  /  and/oar
these first 2 tracks interspersed with ilios electricity show a smoother more tonal sound on sawako's latest...
http://homepage.mac.com/oto_s, http://www.and-oar.org

dale lloyd  /  lateral minor  /  turba/lateral minor  /  stasisfield
staccato bumps and piercing silence give way to warmer organic tones
http://www.and-oar.org/dalelloyd.html, http://www.stasisfield.com

sawako  /  hole  /  yours gray  /  and/oar
darker and heavier here, featuring water, sand, shortwave radio and a clock
http://homepage.mac.com/oto_s, http://www.and-oar.org

dale lloyd  /  turba [remedial]  /  turba/lateral minor  /  stasisfield 
layers of crackle and static, lending another perspective to our electrical direction
http://www.and-oar.org/dalelloyd.html, http://www.stasisfield.com

sawako  /  cache cache  /  yours gray  /  and/oar 
multipoint field recordings taken in the vicinity of a live performance by toshimaru nakamura
http://homepage.mac.com/oto_s, http://www.and-oar.org

dale lloyd  /  turba [imitable]  /  turba/lateral minor  /  stasisfield 
at a guess, a duet for radio and the resonance of empty bottles.  the reality...?
http://www.and-oar.org/dalelloyd.html, http://www.stasisfield.com

lief elggren  /  no.2  /  the cobblestone is the weapon of the proletariat  /  firework edition
heavy processing of the sound of a single throw of a cobblestone in the street outside firework editions
http://www.fireworkeditionrecords.com

tom wallace  /  brisbane city centre  /  -  /  -
the artist says: 'recording made while trying to record the pedestrian crossing sound, suddenly it all kicks off!'
xxxxxxxxxx@xxxxxxxxxxx.xx.xx

scott taylor  /  -  /  castaway  /  conv
more recognisable source materials of water and insects continue to bring us back down to earth, softly
http://www.con-v.org

lief elggren  /  no.5  /  the cobblestone is the weapon of the proletariat  /  firework edition
another sampling of cobblestone warping
http://www.fireworkeditionrecords.com

scott taylor  /  -  /  castaway  /  conv
machine like rattles, clicks and groans with a hint of dripping and some tonal structuring
http://www.con-v.org

tom wallace  /  macritchie reservoir in singapore  /  -  /  -
this singapore reservoir resonates with birds and insects, the rumble of distant water, and the grit of passing footsteps
xxxxxxxxxx@xxxxxxxxxxx.xx.xx


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


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_sLospZ4kWXVnC9Ym90E/Tg)--

From ???@??? Mon Jan 31 20:21:37 2005
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From: Michael Winkler <xxxxxxx.xxxxxxx@xxxxxx.xx>
Subject: Re: [microsound] what d'ya know Ondes Martinot...
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hi ndkent, th_ost & folks!

find a re-invented follower of the ondes martenot on this site, the ondéa
(f***ing expensive, but if i had the money ... ;-)

http://www.chez.com/cslevine/ondes/

there you can listen also some ondea-music.

enthusiasted,
michael


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From ???@??? Mon Jan 31 17:55:48 2005
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Subject: Re: [microsound] another interesting release
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Somme hack at Sub Rosa wrote on 1/31/05:

>more than 140 minutes of the most powerful music ever recorded on earth  

Nice to know that it's the most powerful on earth...

<xxxxxxxx@xxxxxxxxx.xxx>

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Subject: [microsound] another interesting release
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I was also FWD'd this which also sounds like something that would be  
found in a typical microsounders CD pile:

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

TIBETAN BUDDHIST RITES FROM THE MONASTORIES OF BHUTAN

cd
SR222

barcode
5411867112228

recorded by John Levy in 1971
more than 140 minutes of the most powerful music ever recorded on earth  
!

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

John Levy, an englishman in Bhutan early seventies
Released by Lyrichord in mid-70', all the people who have listen to  
these vinyls know
that it does'nt exist something more powerful, more prodigious and pure  
than them.
John Levy was a london ethnomusicologist who took refuge in tibetan  
buddhism.
So he had all the possibilities to record - with his nagra-stéreo - all  
the rituals
(even the most sacred). We can say that what is discovered here is  
unique and far
behond all what was done after that. All the material is fully  
remastered and we
propose the Levy's collection divided into two discs of ritual and  
chanting (SR222 /
rel date Jan 28, 2005) and one of instrumentals and folk music (SR230,  
to be released
late 2005)

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

The great power of the rituals of the Drupka and Nyingmapa Order
On the first volume, a double cd with extented notes, Rituals of the  
Drupka Order,
the primary instrument is the long golden trumpet, along with various  
drums and
percussion and a deep droning bass. Rather than soothingly meditative,  
the music can
be a bit dissonant to Western ears. Chanted and played by 76 Lamas and  
Monks with
long trumpets, shawms, cymbals, drums and other Tibetan instruments in  
sacred
temples. Invited by the king of Bhutan, Levy was afforded every  
facility for recording
monastic music in the principal dzongs (great fort-like monasteries) of  
the Nyingmapa
Order. The ethereal Polytonal throat chanting, the long trumpets,  
shawms and percussion
instruments, the processional music and spectacular mask dances,  
Tibetan and
Bhutanese secular songs and poems, All reproduced with incredibly sonic  
fidelity!
A truly remarkable collection, with extensive liner notes, photographs,  
and musical
illustrations by John Levy.


as info, later in the year, we'll publish another volume :
Tibetan and Bhutanese Instrumental and Folk Music SR230
The last volume features performances on both Tibetan and Bhutanese  
lutes and fiddles,
beautiful folksongs, and a part of a drama of Tibetan origin performed  
by a troupe of yak
and cow herdsmen of eastern Bhutan. The latter is particularly  
compelling, the standout
performer being Go-Te Do-Pe, who sings and accompanies himself on the  
dramnyen,
a Bhutanese lute. His two songs bear an eerie resemblance to the blues  
of Junior
Kimbrough and other Mississippi hill country musiciansŠ
A real blues of the top of the world.



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

CD track listing

CD ONE
PART ONE
Rituals of the Drukpa Order
Band 1:  In Praise of Genyen.
Band 2:  Offering of "Golden Drink".
Band 3:  Exhortation to the Guardian Goddess of Long Life.
Band 4:  Long Trumpets, "Throat Ornament:.
Band 5:  Long Trumpets, "Two Notes Prolonged".
Band 6:  Invitation to Gonpo.
Band 7:  Petition to Chakchen.
Band 8:  Invoking Tshetro's Blessings.
Band 1:  Supplication to the Buddhas.
Band 2:  Aspiration to be reborn in the Western Paradise.
Band 3:  Petition to Dramar.
Band 4:  Prayer for Lama's Long Life.
Band 5:  Large 'Mani-wheel', with mantra.
Bands 6, 7, & 8:  Rite to Cure Disease, chanted by nuns.
Band 9:  'Tibetan Shawm', Processional Music.
Band 10:  Processional music for shawms and percussion.
  Band 11:  Long Trumpets, "Auspicious Ending".

PART TWO
Sacred Dances and Rituals of the Nyingmapa and Drukpa Orders
Recorded at the Nyingmapa Monastery, Nyimalug.
  Band 1: Peling Shachham, Deer Dance.
  Band 2: Dramitse Ngachlam, The Drum Dance of Dramitse.
Bands 3, 4 and 5: Lama Norbu Guamtsho, Ritual dedicated to Padma  
Sambhava.

CD TWO
Sacred Dances and Rituals of the Nyingmapa and Drukpa Orders (SUITE)
Recorded in the Tongsa Dzong.  From the Seven Supplications to Padma  
Sambhava.
  Band 1: Entreaty to the Three Buddha-bodies
  Band 2: Invitation to Padma Sambhava.
  Band 3: Rise up, Padma.
  Band 4: Words of Prayer.
Band 5: "Tibetan Shawms."
part three
Temple Rituals and Public Ceremonies
Annual Restival, drubchen, Great Tantric Attainment, in Myingmapa  
Monastery at Kyichu.
Band 1: Myule Drelwa, Calling Down of deities to subjugate evil spirit;  
and Kulwa, its death,
stabbed by Black Hat.
Band 2: Part of Junbeb, The Coming /down of Grace.
Band 3: Monks in procession playing portable instruments followed by  
chanting
of the Heart-Drop Teaching.  Recorded in Thimphu.
Band 4: Dramnyen Choshe, Song of Offering, with lute (dramnyen).  Lute  
solo,
followed by chorus,
in praise of sons of Bhutan.
Band 5: Dramnyen Choshe, chorus only, Song in Praise of Chinese Silk.

Annual Restival of Sacred Dance, at Jampai Lhakhang (Temple of the  
Future Buddha
in Bumthang Dt., E. Bhutan).

Bands 1,2 and 3: Monks, a clown, crowds and instruments.
Band 4: End of festival, with temple bell, and drums and trumpets.
Bands 5 and 6: Wandering ascetic (manip) chanting a Milarepa poem and a  
mantra.
Band 7: Cymbals (silnyen) played solo.
Band 8: Cross-flute (zurlim), folk-song from E. Bhutan.
Band 9: Another manip chanting Milarepa poem.
Band 10: First manip as story-teller.

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

key points

* recorded by John Levy in 1971
   more than 140 minutes of the most powerful music ever recorded on  
earth !

* John Levy, who was a london ethnomusicologist, took refuge in tibetan  
buddhism.
    He had all the possibilities to record - with his nagra-stéreo -  
all the rituals,
    even the most sacred, having every facility for recording monastic  
music in the
    principal dzongs (great fort-like monasteries)

* Secular songs and poems, reproduced with incredibly sonic fidelity!

* de luxe packaging with slipcase

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



musician
TIBETAN AND BUDDHIST RITES FROM THE MONASTORIES OF BHUTAN

ref 
SR222 - 2 cd set

2CD set packaged in a slipcase
+ booklet
packed in 25 units CD boxes
shrinked

release date
January 28, 2005 

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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] interesting new release
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I was FWD'd this info by my friends over at Sub Rosa and wanted to  
share this info with the list since it sounds like something people  
here would find interesting... KIM
======================================================================== 
=========


RELEASE DATE
JANUARY 21 - 2005


SIMON KEEP
interview with the eggs
cd
SR234

barcode
5411867112341


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

In confine of silence
"The original sound installation consisted of three headphones playing  
back three
different sounds.
Though the first set of headphones the sound of snow was heard, close  
up and sounding
like dust or sugar.
The second was the sound of a Buddhist monk meditating in an empty room.
The last was the sound of volcanic steam seeping out of the sides of a  
mountain.
Alongside the headphones were one thousand origami cranes. The paper  
was made from
photo snapshots of Japan and when made the cranes were hung in ten rows  
of one hundred.
To make one thousand origami cranes is a Japanese symbol of health and  
longevity.
Sound pieces produced from Mini Disc recordings I made in Japan 2002.
The audio has been extracted from Hokkaido's volcanic snow-covered  
landscape.
The composition and patterns of the sound are based on the way I heard  
these sounds;
they are inspired by my experience of listening. One of the recordings  
was made inside
a temple. During "Zazen" meditation the sound of an empty room was  
opening out to me
and I was hearing sounds deep into the room. One evening I recorded the  
sound of an
empty midnight landscape, again I was listening into the silence and  
into the distance.
Sounds would ring out from the distance, then a split second later I  
would hear silent
space again." 
Simon Keep

------------------------------------------------------------------------ 
------
Simon Keep aka Holkham
Simon keep is a young londoner, composer, involved in a series of sound  
installations.
More recently, out of a desire for people to hear/think about sound in  
a more conscious
way, he has been working on a public arts project with Vital Arts at  
the Royal London
Hospital. He has also been working with sound outside of the human  
audibility, mainly
radio waves. Over the summer of 2002 he created a sound triptych for an  
exhibition
in Memphis called "life/afterlife", (based on this inaudible sound.)
His up-coming project is working again with Why Not Associates on a  
sixteen-channel
sound installation at the "Cultural Institute of Macau" in China, a  
video piece filming
the sound of moths and a recording project collecting sound samples  
from England's
least noise polluted spaces.

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

Silence as poetic system
Walking through snow, my feet crunching on the snow and ice, kicking  
the snow,
sounding like sugar, snow dust.
  Night-time recording, the silence outside the cabin, red, green and  
yellow stars,
the flashing lights of city.
  Hearing emptiness, no sound then sound, the imprint of sound in my  
mind, reverberations
of sound in my head and the contemplation of sound.
Zazen, the sound of an empty room, listening deep into a room for  
inherit sound
  Volcanic eggs, the sound of steam seeping out of a mountainside and  
poaching eggs.


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

CD track listing
Hokkaido (parts 1-13)
1  snow powder dust
  2  snow glitch
  3  recording silence
  4  treated silence
  5  snowdrone 1
  6  snowdrone 2
  7  snow cracks 1
  8  snow cracks 2
  9  snow cracks 3
  10 snow crunch bit
  11 night outside cabin
  12 cold wind
  13 distant Kushiro lights

Zazen, Listening to the Room
14 bell waves
  15 bell 2
  16 zazen bell 1
  17 zazen bell 2
  18 untitled process
  19 listening to the room

Interview With the Eggs
20 low eggs
  21 treated steam
  22 steam wheat 1
  23 steam wheat 2
24 interview with the eggs


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



musician
SIMON KEEP

ref 
SR234

standard jewel case
6 pages letterfold booklet
packed in 25 units CD boxes
shrinked

file under
Simon Keep / avant garde

release date
January 21, 2005


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From ???@??? Mon Jan 31 16:02:51 2005
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Date: Mon, 31 Jan 2005 16:59:03 +0100
From: underscan <xxxxx@xxxxxxxxx.xx>
Subject: [microsound] UNDERSCAN NEWS
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hi

here are the latest infos on underscan in 2005 !
we wish u a happy new year and wanted to thank
everyone who supported us over the years.

all the best from
underscan


--

Rod "All My Love" EP hitting stores now !!!

Rod Morris from Ireland delivers a very emotional insight with this
new installement on underscan and front end synthetics.

some review excerpts:

"Simply put, 'All My Love' is so divine it might have dropped
from heaven.." (textura.org)

"Bass is a wonderful thing. Rod proves it. 'All my love' is an  
outstanding
track. A slowly evaporating melody unfolding on some delicate  
electronica
noises and beats..." (monochrom.at)

The release is brought to you in colaboration with Irish based label  
Front End Synthetics
who are making the release available on CD.

For more info and track previews click here please:
http://www.underscan.de/Prelisten/us007_preview.html


If you want to order any of the items please get in touch
mailto:xxxx@xxxxxxxxx.xx

If you want to diretly dowload the tracks please go to
http://shopbase.finetunes.net/shopserver/ActionServlet? 
cmd=labeldetails&labelid=2000

--

Upcoming: NOW Series

"NOW" is the new compilation series on Underscan which  is brought to  
you as four 12" vinyl
records.  A full length CD featuring all the tracks will be released to  
coincide with the fourth
and final EP.
NOW presents the current state of the label and what is to be expected  
in the near future.
Featured acts are  current Underscan artists such as GRAM, DALEZY,  
SOMSHIT,
ONETHEMA, ROD and MENU:EXIT as well as SCANNER, F. BRETSCHNEIDER,
FUNCKARMA, EVEREST, QUENCH, FIBLA and others.

NOW 01 (feat. tracks by Funckarma, Gram, Somshit, Pytlik)
will be released on 14. March 2005 as a limited 12" (500 copies only)  
and downloadable mp3.

more info online soon !

--

Events:

Underscan Labelnite:

10.02.05                        Taktik (front, berlin) [live]
                                Menu:Exit (underscan, berlin) [live]
                                Marius Reisser (repeatrepeat, berlin) [dj]

                                  NBI (neue berliner initiative)
                                Schönhauserallee 157 | Berlin


"All My Love" mini Tour:

                                Rod (underscan, neo ouija, dublin) [live]
                                Menu:Exit (underscan, berlin) [live]
                                Marius Reisser (repeatrepeat, berlin) [dj]

25.02.05                        Zentrale Randlage
                                Schönhauserallee 172 | Berlin                        

26.02.05                        Superkronic
                                Markranstaedter Strasse 4 | Leipzig/Plagwitz


Underscan Labelnite:

18.03.05                        Scanner (bette, underscan, london) [live]
                                Menu:Exit (underscan, berlin) [live]
                                more to be confirmed....watch our site !!!

                                NBI (neue berliner initiative)
                                Schönhauserallee 157 | Berlin

--

more info on underscan and related stuff:
http://www.underscan.de (new website coming soon !!!)

--


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Date: Mon, 31 Jan 2005 10:34:45 +0000
From: slow sound system <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] slow sound system : we're breaking up, cheapmachines,
 13 february, london
To: Ambient <xxxxxxx@xxxxxxxxx.xxx>,
 Dorkbot London <xxxxxxxxxxxxx-xxxxxxxx@xxxxx.xxxxxxxx.xxx>,
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SLOW SOUND SYSTEM
LIE DOWN AND BE COUNTED

THE FOUNDRY : 13 FEBRUARY 2005 : 3-8PM, FREE

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

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

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

The slow sound system explores ambient listening, new electronica and pixel
manipulation . we return for 2005 with the first of our free listening
sessions.

Lining up at The Foundry on 13 February are two of London's brightest stars
of electronica, last encountered at the London Headphones Festival last
year. We're Breaking Up lay down delicate shortwave experiments and
electronic snap, crackle & pop. Meanwhile Cheapmachines explores warm noise,
field recordings and tape loops. On the bench: digitals, soundscaping and
audiocollage from resident djs iMax and Albert, plus digital artworks and
flash workouts from Janek Ropinsky. Full details follow.

PS! - on the 17th it's Isan, Bovaflux, Fisk Industries and e.g.ø at the
Horse Hospital. Organised by our friends [no.signal] and HighpointLowlife.
More details at www.no-signal.net.

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

ARTIST BIOS

WE'RE BREAKING UP (TWOTHOUSANDAND / ANTIOPIC) (US / UK) (LIVE) :
shortwave electronica, snap, crackle & pop

We're Breaking Up is Michael Rodgers, multi-instrumentalist, free improviser
and (with Anthony Guerra) co-founder of the outstanding London-Sydney label
TwoThousandAnd. Living in London since 2000, he's now a fixture of the
electronica / impro / microsound scene, with TwoThousandAnd really on a roll
at the moment. Michael brings a sense of urgency and openness to his own
musical projects - collaborators include Paul Hood, Anthony Guerra, Pedro
Lourenço and Manuel Mota. Much of his music reflects personal ideas of
distance, human relationships, density, and things that are invisible.

Michael plays out regularly in London and has also performed in Portugal,
Germany, Austria and the USA.

'Restless, shifting drones . a really epic feel. Excellent' SMALLFISH
'Takes the improvisation of electronics to a barren wasteland, it glows and
flashes and fizzes to the end' IGLOOMAG
'Yet another fine, fine release from this superb label. Check it out'
BAGATELLEN

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

CHEAPMACHINES (KABUKIKORE, NID NOD) (UK) (LIVE) :
warm noise, field recordings, tape loops

Cheapmachines has been in existence since 1997, acting at the interface
between noise electronics, generative software, field recordings, tape music
and drones. Stark, stunning soundscaping and musique concrete.

'. some fine examples of extreme manipulation .' VITAL

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

RESIDENTS

iMAX, ALBERT (GRAIN OF SOUND, KABUKIKORE, 8BITRECS) (UK / FR) (DJ) :
decks, loops and FX

JANEK ROPINSKY (KLIKLAK, POP-UP RECS) (D) (VJ):
flashwerks, digital sublime

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

DETAILS

Sunday 13 February, 3-8pm, free admission
The Foundry, 84-86 Great Eastern St, London, ec2 : 0207 739 6900 :
xxxx@xxxxxxx.xx : www.foundry.tv

xxxx@xxxxxxxxx.xxx
www.slowsound.net

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

CHECK

www.twothousandand.com
www.antiopic.com
www.a-version.co.uk/cheap/
www.kabukikore.net
www.8bitrecs.com
www.hardmanbros.com
www.jayropinsky.kliklak.net

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

Ends

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 GMT
http://www.resonancefm.com

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

-----
-----

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

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

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

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

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

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

highpointlowlife : bitmpapped indie-electronic goodness since 01
http://www.highpointlowlife.com

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

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

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

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

-----

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Date: Sun, 30 Jan 2005 21:30:08 -0800
From: David Kendall <xxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] Fwd: February 1st at The Smell
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> Apologies first for the promotional and second for the last-minute 
> nature of this message. This should be a great show and I encourage 
> all to come who can make it. If you do not want receive these kinds of 
> messages from me, please let me know and I will send you no more 
> announcements in the future. Thanks.
>
> -David
>
> Here's a show on Tuesday February 1st:
>
> Sejayno (shinth builder Peter Blasser)
>  God (Bryan Eubanks and Leif Sundstrom from Portland, OR)
>  Gowns (members of Mae Shi/Blue Silk Sutures)
>  David Kendall
>
>  This will be happening at the Smell. The show starts at 9pm, and it 
> costs $5 to get inside.
>
>  This is what David Cotner from the LA Weekly has to say about the 
> show:
>
> Flying down from Portland with a little deific slice of circuit-bent 
> heaven, God (Bryan Eubanks and Leif Sundstrom) uses found electronics, 
> record players and equalizers in improvisations that warp one’s senses 
> of Silence and Loud. Likeminded mind-benders Gowns’ sundry 
> synthesizers and electronics preface David Kendall’s computer world 
> studies; he prefers to ape the death rattles of analog synths through 
> the laptop these days. Sejayno is Peter Blasser and Severiano Martinez 
> — Blasser builds analog synthesizers made from logs and coats, while 
> poet Martinez plays bells and the tor-tor. This machine — actually a 
> forhortortor — is a device for twisting and kneading vocals, alongside 
> the “infinite rambling” of the leather-clad phase shifters known as 
> ambraziers and the chaotic electronic menace of the kittennettik, all 
> evolving and devolving into something Blasser calls “serene techno.” 
> It’s advanced sound-tweaking science mixed with naiveté and innocence 
> reminiscent of the first time you ever saw something like a car.
>
> _________________________________________________
> homepage http://davidkendall.net
> mp3 http://www.ponyattack.com; http://ruccas.org
>
_________________________________________________
homepage http://davidkendall.net
mp3 http://www.ponyattack.com; http://ruccas.org

--Boundary_(ID_+MYPaT1EVmUIkcbgppNENg)--

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Subject: [microsound] LIST New Year News( and related ones) ! 30.01.05
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hi microsounders, 

some news for early 2005 from LIST :

1/ NEW RELEASE :

Much anticipated GUNTER MULLER & STEINBRUCHEL "perspectives" (List-L6)*
    
The collaboration, created by List for a concert at Geneva Cave12 on
december 5th 2003 , born from the desire of List to confront two musicians
from different backgrounds and prove that they have so much  in common !
This duo worked so well that it was clear from that day that it have to be
documented by List !
This cd based on recordings of live improvisation from that day to may 2004
and then edited and reworked by the artists in their studio from june to
december 2004, is composed of 12 pieces with a strong unity (+ a bonus
track) . 

duration : 71 minutes

mastering : Steinbruchel

packaging: digifile

design :   Steinbruchel

photos :  Taylor Deupree

more info on the artists on :

- GUNTER MULLER  at http://home.datacomm.ch/g.mueller/mueller.htm
- STEINBRUCHEL   at http://www.synchron.ch
and soon on List website (with bio, samples and a detailed catalog page)

you can already check the frontcover design on :
 http://www.list-en.com

* this cd will be available to order from >08.02.05< through List paypal
shop (price 14 euros shipping included) and on the next weeks on List
distributors and mail-orders around the world .

2/ NEW DISTRIBUTORS :

CANADA :      1.8(sec) http://www.1pt8.tk/

SCANDINAVIA : DOT      http://www.dotshop.se

CHINA :       MONITOR  http://www.monitor-records.com

3/ NEXT EVENTS : 

FEBRUARY : 

12.02.05 Planetarium > Bruxelles (be)
:: live : Herve Boghossian + Colleen
http://www.vaartkapoen.be

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

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

MARCH/APRIL :
 
IN PARIS (fr): 

SOUND INSTALLATIONS with Bernd Schurer (Domizil) and LIVE (solo) : from
STEINBRUCHEL at Centre Culturel Suisse .
LIVE from GUNTER MULLER & STEINBRÜCHEL (tbc) .
and  from HERVE BOGHOSSIAN/STEPHANE RIVES/ MATTHIEU SALADIN TRIO° (tbc)
more details soon

4/ NEW PROJECTS : 

 HERVE BOGHOSSIAN new projects currently at work :

- °A trio with H.B (guitar feedback) / STEPHANE RIVES (soprano saxophone) /
MATTHIEU SALADIN ( amplified bass clarinet & mixing desk )
in the spirit of the H.B "rvb" album, an exploration of electric and
amplified or totally acoustic intruments to meet electronic sounds (like
sine tones) .

_"EUPHONIE" a sequel of "Mouvements" which were released on Raster-Noton
last june http://www.raster-noton.de .
a step forward on the possibilities of guitar with DSP in a more "pop" touch
that the previous one .
(euphonie : harmonic suite of sounds in a sentence)

thanks for your attention

all the best 

rv  


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From ???@??? Sun Jan 30 12:49:09 2005
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From: sound no sound <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] TRACKS ANYONE????
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 FILETIME=[11F29C40:01C506CA]

Hi All,

We're starting a CDR label here in Sydney Australia>>> The name of this 
label will be Spanish Magic.

We are going to start off with a compilation of Australian music. If anyone 
is interested in contributing a track to this compilation which will be 
released on May 7th or thereabouts, we would love you to get in contact with 
us at;

xxxxxxxxxxxx@xxxxxxx.xxx

or send tracks to:

2/280 Palmer St.
Darlinghurst  NSW  2010

If you want anymore information or anything please email us or call me on 
0404837117

Hope to hear from some of you soon.

Cheers,
Mark

_________________________________________________________________
Are you right for each other? Find out with our Love Calculator:  
http://fun.mobiledownloads.com.au/191191/index.wl?page=191191text


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From ???@??? Sun Jan 30 01:32:38 2005
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From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] iPods boot Linux
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http://apple.slashdot.org/article.pl?sid=05/01/29/2017244


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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From ???@??? Sat Jan 29 23:51:27 2005
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Date: Sun, 30 Jan 2005 00:47:21 +0100
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Subject: Re: [microsound] what d'ya know Ondes Martinot...
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--Boundary_(ID_Ra15HgPs3TXfxLiwHsfI8g)
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thanx for all that info. will get me busy searching down more info/cds.

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

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

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: ndkent 
  To: microsound 
  Sent: Friday, January 28, 2005 01:08
  Subject: [microsound] what d'ya know Ondes Martinot...


  >
  > ----- Original Message -----
  > From: "th_ost" <xxxxxx@xxx.xxx>
  > To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
  > Sent: Thursday, January 27, 2005 7:34 AM
  > Subject: Re: [microsound] Ondes Martinot...
  >
  > i am very interested in the ondes martenot, but found it hard to find
  > recordings of it, especially unacommpanied ones.
  > the only one i have is a recording of olivier messiaen's turangalila
  > symphony conducted by seiji ozawa.

  that 3 CD "OHM" set (released by the Elipsis Arts label in 2000) of 
  (mostly) historic electronic music has a Messaien piece - for 4 ondes
  here goes the album it's from (which I don't have)

  http://www.amazon.ca/exec/obidos/ASIN/B000006EI8
  (if the link doesn't work it's a 1990 CD recorded by and self titled  
  "Ensemble d'Ondes de Montréal")

  I think the key album (though surely not easily obtained) is a double 
  1980 LP by Jeanne Loriod
  "Les Ondes Martenot - 50e Anniversaire de leur invention " on the  
  Musique Francais d'Aujourd'huis label cat# 21.007 ADÈS

  That's got the full Messiaen "Fête des belles eaux" with the 6 Ondes 
  ensemble, Millhaud & Jolivet pieces for Ondes and piano and then a 
  newly commissioned piece (by Tessier) to play on a 6 ondes ensemble.


  > does anybody know of other recordings?
  > also, does anybody know how hard it would be to build one, given there 
  > are
  > schematics of it to be found (i am absolutely NOT an electronics dyi 
  > person,
  > just curious:(( )

  It's vacuum tube technology though the inventor did update the 
  technology and build some using more modern solid state components 
  before he died. Though it's not really correct to simplify it quite so 
  far, if you think about it,  the sound is basically sine waves (though 
  often treated even mechanically resonated within the system) so I'd 
  think at least as much of it's distinction is it's user interface.

  I played a real one once for a couple minutes. You had the ring on wire 
  that most people probably know about, but what's less known is the 
  keyboard keys are baby sized and the whole mechanism rocks left and 
  right for vibrato effects. So it's a little like a 2 part retinking of 
  the theremin. You can do pitch sweeps. There's an accuracy to the 
  sweeps that takes much longer to master on a real Theremin. But you 
  still have manual vibrato... something well known to string players and 
  vocalists but rarely taken advantage of in electronic music performance 
  (where more or less fixed speed electronic LFOs rule when unexpressive 
  samples aren't used).

  By the way. Radiohead might very well have bought a real one with their 
  considerable money since then but kind of like like Portishead and 
  their "Theremin", what they were using when their first got associated 
  with the Ondes, and seen in videos of them live was actually a 
  newlymade Analogue Systems French Connection CV keyboard controller 
  meant for their line of analogue synth modules. (likely a prototype to 
  be exact) . Anyway maybe someone will clue me in as to where if 
  anywhere he's or they're  playing a real Ondes rather than an Ondes his 
  Analogue Systems inspired by synth controller.
  http://www.analoguesystems.co.uk/controllers.htm
  (scroll to the bottom keyboard)


  Less expected movies with substantial Ondes playing in the scores are 
  Maurice Jarre's "Passage to India" and Elmer Bernstein's "The Field". 
  Takemitsu's "Rising Sun" (the Connery/Snipes film) along with several 
  of his Japanese scores ("Legacy for the Future" was re-issued by DG 
  Japan a few years back).

  More expected are  "Ed Wood"  and "Ghost Busters" (also by Elmer 
  Bernstein)

  nicholas d. kent
  www,technopop.info

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--Boundary_(ID_Ra15HgPs3TXfxLiwHsfI8g)--

From ???@??? Sat Jan 29 12:06:30 2005
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From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] [OT] Firewall
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Kerio makes a good one

http://www.kerio.com/kpf_home.html

their personal firewall works good on my Windows Box in the freeware mode.
But I second the suggestion to get another physical firewall in front of 
windows, here it is a Linuxbox securing the network. Windows can 
internal bypass any given firewall running on it, a sick and twisted system.

Cheers,

Malte

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

Next events:
11. february Elektronengehirn Concert at Dorkbot Ghent, Belgium
more at blog 4, also available as rss feed:
http://java.block4.com/blog4/

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Subject: [microsound] archive.org
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hallo,

is anyone using archive.org who had problems to log into
the server.  i believe i have exhausted all methods and
thought perhaps someone has had similar issues.  my
belief is a firewall of any kind is disallowed.   is this true
and/or are there any suggestions?

thanks.


      . 1001
                                                          e*;
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. 
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                                                               o          o
o         o
                                                            o          1
o          o
                                                     !        ¬ Ÿ Ð

         o
                                                  o-        (o ))
\\            /|
                                                /\         /-
o             . + 
                                              .·         . €
          +                                      .

        º' "                               ..·
    

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              € . ¬
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                                ·



                 · `   .;
                   
               .   '· `


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yeah sometimes this happens - usually when the server is full or too may 
users - if it doesn't sort iteslf out soonish just send them a friendly 
email and they will assist , how soon depends if anyone is working on it 
on the w/e....
ch-ears



..` °·' ± `.° '· wrote:

>hallo,
>
>is anyone using archive.org who had problems to log into
>the server.  i believe i have exhausted all methods and
>thought perhaps someone has had similar issues.  my
>belief is a firewall of any kind is disallowed.   is this true
>and/or are there any suggestions?
>
>thanks.
>
>
>      . 1001
>                                                          e*;
>                                                              . · . + .   :
>. 
>                                                           t)          X
>t          t)
>                                                                   z
>z          z          z
>
>                                                               o          o
>o         o
>                                                            o          1
>o          o
>                                                     !        ¬ Ÿ Ð
>
>         o
>                                                  o-        (o ))
>\\            /|
>                                                /\         /-
>o             . + 
>                                              .·         . €
>          +                                      .
>
>        º' "                               ..·
>    
>
>                     -                          º
>                   
>              € . ¬
>                       . '
>                                          '
>                                -',.
>                                ·
>
>
>
>                 · `   .;
>                   
>               .   '· `
>
>
>---------------------------------------------------------------------
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>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>website: http://www.microsound.org
>
>
>  
>


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From ???@??? Sat Jan 29 02:53:08 2005
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zone alarm

See 
http://www.cleansoftware.org/security/
for more.
B

> ( 05.01.28 17:06 +0100 ) Noisejihad:
> > Can anybody recommend a good, free firewall for windoze?
> 
> http://gentoo.org/
> http://openbsd.org/ [if you're really paranoid]
> 
> but to install, you'd need to wipe windoze, or put another machine on
> the network in front of it. it might be easier to buy one of those
> linksys router-firewall things.
> 
> -- 
> \js      http://or8.net/~johns              ;`^+{"-&=     '>>  ^   
> iraq body count: 15,495 [min] 17,723 [max] 
> 
> ---------------------------------------------------------------------
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> 
> 

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From ???@??? Sat Jan 29 01:28:13 2005
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Date: Fri, 28 Jan 2005 19:32:32 -0600
From: DaveX <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Job opportunity at the Exploratorium - FEB 1 deadline!
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Reply-to: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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I'm SO sorry, but this made me laugh. --DaveX

Gives me hope that I could find a decent job when I get the hell out of 
school....

- Scott Carver

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From ???@??? Sat Jan 29 01:23:47 2005
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Date: Fri, 28 Jan 2005 17:23:30 -0800
From: Scott Carver <xxxxxxx@x.xxxxxxxxxx.xxx>
Subject: Re: [microsound] Job opportunity at the Exploratorium - FEB 1 deadline!
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Gives me hope that I could find a decent job when I get the hell out of 
school....

- Scott Carver

On Jan 28, 2005, at 4:47 PM, derek holzer wrote:

> This got posted to the Phonography list, but I thought it would be 
> topical here as well. *Almost* makes me wish I still ive din SF...
>
> derek
>
> ***
>
> AUDIO & SOUND DEVELOPER
> Center for Public Exhibition
> Full-time position (with some flexibility)
>
>
> SUMMARY:
> The Audio and Sound Developer uses strong conceptual, creative, and 
> technical skills to
> develop and redesign exhibits for inclusion in the Exploratorium's new 
> "Listening" area.
> The position is in the Center for Public Exhibition, which has primary 
> responsibility for the
> public museum floor. This is a fixed term, full-time position funded 
> through September
> 2006. Qualified candidates available for less than a full-time 
> schedule will be considered.
> The position will report to the Listening Project Manager.
>
>
>
>
>
> ESSENTIAL FUNCTIONS:
> · Design, develop, and produce highly accessible audio-based exhibits 
> for the new
> "Listening" area of the museum floor.
> · Evaluate and redesign existing exhibits to fit within the new 
> "Listening" collection.
> · Support the exhibit development efforts of other project team 
> members by providing
> expertise in sound and audio technology.
> · Conceptualize, research, and develop materials on topics involving 
> sound, hearing, and
> attentive listening.
> · Work collaboratively with scientists, educators, artists, exhibit 
> developers, and media
> professionals on team-based projects.
> · Manage own projects, meet deadlines, and attend project team 
> meetings.
> · Additional duties as assigned.
>
>
>
>
>
>
> QUALIFICATIONS:
> · Bachelors Degree.
> · Minimum 3 years experience in audio production and/or sound 
> manipulation.
> · Background or strong interest in science, sound art/design, 
> humanities, and public
> education.
> · Demonstrated proficiency in a variety of audio production tools and 
> software, such as
> Peak and Pro Tools. Knowledge of MAX MSP plus at least one other 
> signal processing
> package a plus.
> · Familiarity and demonstrated proficiency in state-of-the-art audio 
> production software.
> · Demonstrated troubleshooting and technical problem-solving abilities.
> · Excellent communication and interpersonal skills, including ability 
> to work collaboratively
> on project teams.
> · Knowledge of inquiry-based teaching strategies helpful.
> · Able to lift & carry up to 50 lbs for short distances, move from 
> place to place, and use a
> computer terminal as well as basic office and shop equipment
>
>
>
>
>
>
> APPLICATION DEADLINE:
> Please submit on or by Tuesday, February 1, 2005.
>
>
>
>
>
> HOW TO APPLY:
> This is a fixed-term, full-time (37.5 hours per week), exempt, union 
> (grade 20, step 1)
> position that pays $845.63 per week and includes benefits. This 
> fixed-term position is to
> end on or before September 30, 2006. Qualified candidates available 
> for less than full-
> time will be considered. Please indicate your preferred schedule in 
> your application. Please
> apply by sending cover letter and resume to:
>
> Dept. CPE-1
> Exploratorium, 3601 Lyon Street, San Francisco, CA 94123
> Fax: (415) 561-0370
> E-mail: xxxxxx@xxxxxxxxxxxxx.xxx (attachments not accepted)
> No phone calls please
>
>
> The Exploratorium is committed to a diverse workforce
>
>
>
>
>
>
>
> Yahoo! Groups Links
>
> <*> To visit your group on the web, go to:
>     http://groups.yahoo.com/group/phonography/
>
> <*> To unsubscribe from this group, send an email to:
>     xxxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxxxx.xxx
>
> <*> Your use of Yahoo! Groups is subject to:
>     http://docs.yahoo.com/info/terms/
>
>
>
>
>
>
> -- 
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 36:
> "Consult other sources
> -promising
> -unpromising"
>
> ---------------------------------------------------------------------
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> website: http://www.microsound.org
>


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From ???@??? Sat Jan 29 00:45:08 2005
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From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] Job opportunity at the Exploratorium - FEB 1 deadline!
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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This got posted to the Phonography list, but I thought it would be 
topical here as well. *Almost* makes me wish I still ive din SF...

derek

***

AUDIO & SOUND DEVELOPER
Center for Public Exhibition
Full-time position (with some flexibility)


SUMMARY:
The Audio and Sound Developer uses strong conceptual, creative, and 
technical skills to
develop and redesign exhibits for inclusion in the Exploratorium's new 
"Listening" area.
The position is in the Center for Public Exhibition, which has primary 
responsibility for the
public museum floor. This is a fixed term, full-time position funded 
through September
2006. Qualified candidates available for less than a full-time schedule 
will be considered.
The position will report to the Listening Project Manager.





ESSENTIAL FUNCTIONS:
· Design, develop, and produce highly accessible audio-based exhibits 
for the new
"Listening" area of the museum floor.
· Evaluate and redesign existing exhibits to fit within the new 
"Listening" collection.
· Support the exhibit development efforts of other project team members 
by providing
expertise in sound and audio technology.
· Conceptualize, research, and develop materials on topics involving 
sound, hearing, and
attentive listening.
· Work collaboratively with scientists, educators, artists, exhibit 
developers, and media
professionals on team-based projects.
· Manage own projects, meet deadlines, and attend project team meetings.
· Additional duties as assigned.






QUALIFICATIONS:
· Bachelors Degree.
· Minimum 3 years experience in audio production and/or sound manipulation.
· Background or strong interest in science, sound art/design, 
humanities, and public
education.
· Demonstrated proficiency in a variety of audio production tools and 
software, such as
Peak and Pro Tools. Knowledge of MAX MSP plus at least one other signal 
processing
package a plus.
· Familiarity and demonstrated proficiency in state-of-the-art audio 
production software.
· Demonstrated troubleshooting and technical problem-solving abilities.
· Excellent communication and interpersonal skills, including ability to 
work collaboratively
on project teams.
· Knowledge of inquiry-based teaching strategies helpful.
· Able to lift & carry up to 50 lbs for short distances, move from place 
to place, and use a
computer terminal as well as basic office and shop equipment






APPLICATION DEADLINE:
Please submit on or by Tuesday, February 1, 2005.





HOW TO APPLY:
This is a fixed-term, full-time (37.5 hours per week), exempt, union 
(grade 20, step 1)
position that pays $845.63 per week and includes benefits. This 
fixed-term position is to
end on or before September 30, 2006. Qualified candidates available for 
less than full-
time will be considered. Please indicate your preferred schedule in your 
application. Please
apply by sending cover letter and resume to:

Dept. CPE-1
Exploratorium, 3601 Lyon Street, San Francisco, CA 94123
Fax: (415) 561-0370
E-mail: xxxxxx@xxxxxxxxxxxxx.xxx (attachments not accepted)
No phone calls please


The Exploratorium is committed to a diverse workforce







Yahoo! Groups Links

<*> To visit your group on the web, go to:
     http://groups.yahoo.com/group/phonography/

<*> To unsubscribe from this group, send an email to:
     xxxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxxxx.xxx

<*> Your use of Yahoo! Groups is subject to:
     http://docs.yahoo.com/info/terms/






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

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From ???@??? Fri Jan 28 23:33:18 2005
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Date: Fri, 28 Jan 2005 15:33:10 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] hotline server down tonight
To: microsound_list <xxxxxxxxxx@xxxxxxxxx.xxx>
Cc: microsound_hotline_admin Eric <xxxx@xxxxxxxxxxx.xxx>
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the microsound hotline server will be down tonight (US time) for 
maintenance and repairs...Eric is trying to make sure we are back up 
and running by tomorrow or Sunday the latest...
shouts to Eric for hosting the microsound hotline server!
:)
KIM


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From ???@??? Fri Jan 28 22:29:41 2005
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Subject: [microsound] Re: Ondes Martinot...
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In 1937 Oliver Messiaen wrote a piece for 6 Ondes
Martenots, "Fetes Des Belles Eaux." The library near
to me has the score but not a recording of it.

-Josh Ronsen
in Austin, Texas





                
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From ???@??? Fri Jan 28 22:13:31 2005
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Subject: [microsound] Call for Works Ai-maako 2005
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The Electroacoustical Chilean Community (CECh) has organised for the last four years the Electroacoustic music festival of Santiago de Chile, “Ai-maako”. The fifth edition of this festival will take place between the 17th and the 22nd of october 2005 in the concert hall of the Cultural Center of Spain. During the four years of existence of the festival more than 200 works by composers from diverse countries have been played.

The CECh invites the electroacoustical community to participate in this festival. Musical works must be sent before the 30th of April 2005 (the post office stamp will be valid as a reference) to the following address:

José Miguel Candela (CECh)

Correo Villa La Reina

Casilla 104

La Reina -Santiago de Chile

Chile

The works sent must fulfill the following conditions in order to be eligible:

a) Acousmatical or tape pieces.

   Format: Audio CD, DAT or ADAT

   Technical notes or diff usion score, in case of multi-channel pieces.

   Pieces of a duration no longer than 10 minutes.

   Biography of the composer and programme notes. Spanish translations are welcome (paper and Word document)


b) Mixed Pieces (depending on the organisers’ possibilities of available soloists):

   Works for soloist and electronics.

   Pieces of a duration no longer than 10 minutes.

   Format: Audio CD, DAT or ADAT.

   Technical notes or diffusion score, in case of multi-channel pieces.

   The instrumental score must be sent by regular or registered post.

   Demostration recording of the electronic part or of the piece as a whole.

   Biography of the composer and programme notes. Spanish translations are welcome (paper and Word document)


xxxx@xxxx.xx  / FRENCH AND SPANISH IN: http://www.cech.cl/Ai-maako_Call_2005.pdf

----> Greeting from Chile, Mika Martini.



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



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From ???@??? Fri Jan 28 21:51:53 2005
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THE CENTER FOR CONTEMPORARY MUSIC (CCM) at MILLS COLLEGE
presents:

SPRING 2005
SONGLINES SERIES: Symposia on Sound, Nature, Technology,
and Performance

MONDAY, January 31th
7:30 PM - Concert Hall Foyer and Ensemble Room
Admission: FREE

NICOLAS COLLINS

An evening of electro-acoustic works and "hardware-hacked"
instrumentation by CCM Composer-in-Residence Nic Collins and
Mills student composers. Featured pieces by Collins include "Pea
Soup," performed by local bassist George Cremaschi, and "The
Talking Cure." Born and raised in New York, Mr. Collins studied
composition with Alvin Lucier at Wesleyan University and worked
for many years with legendary composer/instrumentalist David
Tudor. As a composer he helped pioneer the use of microcomputers
in live performance, and has made extensive use of "home-made"
electronic circuitry, radio, found sound material, and
transformed musical instruments. From 1992-1995 he was Artistic
Director of Stichting STEIM (Amsterdam) and in 1996-1997 a DAAD
composer-in-residence in Berlin. In 1999 he joined the faculty
of the School of the Art Institute of Chicago as the chair of
the sound department.


for more information contact:
John Bischoff, CCM Studios Coordinator
510-430-2331

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From ???@??? Fri Jan 28 21:08:39 2005
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From: SUNE <xxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] [OT] Firewall
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I use Sygate personal firewall and never had any problems

Sune

On Fri, 28 Jan 2005 17:06:54 +0100
  "Noisejihad" <xxxx@xxxxxxxxxx.xx> wrote:
> Can anybody recommend a good, free firewall for windoze?
> 
> -Lars
> IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
> Next: Electrical Bonding on Desolation House >>> 
>www.desolationhouse.com
> Now: Uncomfortable Positions - mp3-ep on Fukk God >>> 
>www.fukkgod.org
> key to knowledge on danish noise >>> www.noisejihad.dk
> art >>> www.ideations.dk
> www.waldchengarten.dk


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http://www.berkeley.edu/news/media/releases/2005/01/27_helium4.shtml


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Subject: Re: [microsound] call for works : earphone music
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Hi Marc, I'm Mika Martini from Chile, Southamerica.
 
You look for music like this one?:
 
http://www.mikamartini.scd.cl/Chiste_Music.htm

earphone <xxx@xxxxxxxx.xxx> wrote:
greetings,

earphone music, invites you to submit a track for inclusion on our 
first compilation cd entitled: earphone 01.

earphone music's goal is to document new electronic sound works that 
are either software or hardware derived. the area of our interest is 
in the genres of: microsound, lowercase, or something that loosely fits 
in within those terms.

the scheduled date of release is: april 2005, so please have works to 
us by, march 1st 2005.

we are also interested in artwork and/or a design for the cover.

> guidelines:

1. please try to keep tracks under 5 minutes so we can have at least 14 
artists on the cd.
2. you may submit more than one track, but only one will be on the 
"earphone 01" compilation.
3. you can submits tracks in any format you wish as long as the file 
specs are at least, 44.1kHz @ 16bits, you can submit audio files on cd, 
if you prefer.

> what you get:

1. to be part of an ongoing series of documents of electronic music.
2. you will receive 10 copies of the CD that includes your track, a 
biography with links on our site, etc.
3. our unending appreciation for sharing your work.

> where to send:

m.mcnulty
620 park ave #319
rochester, ny 14607
u.s.

if you have questions please e-mail: xxx@xxxxxxxx.xxx

thank you,
marc


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[www.mikamartini.scd.cl]



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From: Dan Heidebrecht <xxx.xxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Quantum Whistles - Superfluid helium-4 whistles just the
 right tune
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If you just want to listen:

http://www.berkeley.edu/news/media/releases/2005/01/images/He4QuantumWhistle.wav


Superfluid helium-4 whistles just the right tune

By Robert Sanders, Media Relations | 27 January 2005

BERKELEY – University of California, Berkeley, physicists can now tune
in to and hear normally inaudible quantum vibrations, called quantum
whistles, enabling them to build very sensitive detectors of rotation
or very precise gyroscopes.
Quantum whistle
Hear the synchronized vibrations from a chorus of more than 4,000
nano-whistles, created when physicists pushed superfluid helium-4
though an array of nanometer-sized holes. Note that the pitch drops as
the pressure drops.

A quantum whistle is a peculiar characteristic of supercold condensed
fluids, in this case superfluid helium-4, which vibrate when you try
to push them through a tiny hole. Richard Packard, professor of
physics at UC Berkeley, and graduate student Emile Hoskinson knew that
many other researchers had failed to produce a quantum whistle by
pushing helium-4 through a tiny aperture, which must be no bigger than
a few tens of nanometers across - the size of the smallest viruses and
about 1,000 times smaller than the diameter of a human hair.

To their surprise, however, a chorus of thousands of nano-whistles
produced a wail loud enough to hear. This is the first demonstration
of whistling in superfluid helium-4. According to Packard and
Hoskinson, the purity of the tone may lead to the development of
rotation sensors that are sufficiently sensitive to be used for Earth
science, seismology and inertial navigation.

"You could measure rotational signals from an earthquake or build more
precise gyroscopes for submarines," Packard speculated.

Four years ago, Packard and his coworkers built and successfully
tested a gyroscope based on quantum whistling in superfluid helium-3.
But that required cooling the device to a few thousandths of a degree
above absolute zero, a highly specialized and time-consuming process.
Because the new phenomenon exists at 2 Kelvin - a temperature
achievable with off-the-shelf cryo-coolers - the proposed sensors also
will be user-friendly to scientists unfamiliar with cryogenic
technology. A temperature of 2 Kelvin is the equivalent of minus 456
degrees Fahrenheit.

"Because these oscillations appear in helium-4 at a temperature 2,000
times higher than in superfluid helium-3, it may be possible to build
sensitive rotation sensors using much simpler technology than
previously believed," the researchers wrote in a brief communication
appearing in the Jan 27 issue of the journal Nature.

Packard noted that sensitive rotation or spin detectors could have
application in numerous fields, from geodesy, which charts changes in
the spin and wobble of the Earth, to navigation, where gyroscopes are
used to guide ships. Though little is now know about the rotational
signals from earthquakes, having a sensitive rotation detector might
reveal new and interesting phenomena.

Quantum whistling is analogous to a phenomenon in another macroscopic
quantum system, a superconductor, which develops an oscillating
current when a voltage is applied across a non-conducting gap. Nobel
Laureates Philip Anderson, Brian Josephson and Richard Feynman
predicted in 1962 that the same would happen in superfluids. In the
case of superfluids, however, a pressure difference across a tiny hole
would cause a vibration in the superfluid at a frequency - the
Josephson frequency - that increases as the pressure increases. The
fact that the fluid oscillates back and forth through the hole rather
than flows from the high-pressure side to the low-pressure side, as a
normal liquid would, is one of the many weird aspects of quantum
systems like superfluids.

Eight years ago, Packard and fellow UC Berkeley physicist Seamus
Davis, now at Cornell University, heard such vibrations when pushing
superfluid helium-3 through a similar array of 4,225 holes, each 100
nanometers across. Though no simple feat - it took them 10 years to
make their experiment whistle, working at one thousandth of a degree
Kelvin - it's theoretically easier than with helium-4.

For helium-4 to whistle, physicists predicted that the holes either
had to be much smaller, pushing the limits of today's technology, or
the temperature had to be within a few hundred thousandths of a degree
of the temperature at which helium-4 becomes a superfluid, that is, 2
Kelvin. While working with an array of holes 70 nanometers across,
essentially testing the apparatus with helium-4 before using it to
conduct a helium-3 experiment, Hoskinson was surprised when he put on
earphones and heard the characteristic pennywhistle sound as the pitch
dropped with the pressure in the device.

"Predictions on where the Josephson oscillations would occur put them
much closer to the transition temperature than I could hope to go,"
Hoskinson said. "The fact that I could detect the oscillations with
the set-up I had was amazing in itself, and something we're very
interested in exploring."

He and Packard calculated that the tones were due to a different
mechanism, phase slippage, than that producing the whistle in
helium-3, though it follows the same relationship between frequency
and driving pressure. Phase slippage shouldn't have produced a pure
tone at all. The vibrations at the holes should shift randomly and get
lost in the noise. Even if phase slippage did produce a constant tone
in a single hole, the whistles from the array of 4,225 holes should
have been out of phase and the resulting sound less than 100 times
louder than that from a single hole.

Apparently, Packard said, the vibrating holes somehow achieved
synchrony, like crickets chirping in unison on a summer evening,
amplifying the sound 4,000 times higher - loud enough to be heard
above the background noise of the experiment.

"For 40 years, people have been trying to see something like this, but
it has always been with single apertures," Hoskinson said. "Maybe it's
true that you don't get coherent oscillations with a single aperture,
but somehow, with an array of apertures, the noise is suppressed and
you hear a coherent whistle."

"There was no reason to expect that. I still think it's amazing," Packard added.

The research by Packard, Hoskinson and post-doctoral fellow Thomas
Haard is supported by the National Science Foundation and by the
National Aeronautics and Space Administration.

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In a message dated 1/28/05 1:51:29 PM, xxxxxxxxxxx@xxxxx.xxx writes:


> anybody else getting these for no reason right now?
> 

I get them sporadically from all my hyperreal.org lists.   I'm at AOL.
Could be something about the volume of messages from   hyperreal being 
filtered as spam.
Check with yahoo.

mediadrome
international audiochrome, inc.

--Boundary_(ID_vH+NAkRPLV9Cac/OYAKLdA)--

From ???@??? Fri Jan 28 19:23:07 2005
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"if you can think of a better way to get ice, i'd like to hear it"

apu, the simpsons

vze26m98 wrote:

> Glenn Bach wrote on 1/28/05:
>
> >A very off-topic question: I'm looking for an article that appeared a
> >few months/years ago in _The New Yorker_ about contemporary
> >manufacturing and distribution of ice, particulary the competition
> >among several entrepreneurs for the title of "Ice King."
>
> Is this what you're looking for?  It's a review from the April 21, 2003
> issue of the New Yorker.  More general searches for "ice" and "king"
> didn't turn up much...
>
> "The Frozen-Water Trade, by Gavin Weightman (Hyperion; $23.95). The idea
> sounds fanciful: harvest ice in Massachusetts and sell it to people in
> the tropics. But the nineteenth-century entrepreneur Frederic Tudor was
> immune to ridicule and single-minded in his conviction that the ice
> trade could be profitable. He was also right. This entertaining history
> of his crusade to turn New England into the world's ice-maker shows how
> the combination of technological innovation and sharp marketing-Tudor
> trained bartenders to use ice in cocktails in order to illustrate the
> virtues of cold drinks-created an industry that sold thousands of tons
> of ice a year to places like India, Cuba, and the American South. As a
> case study of the entrepreneurial mind, Weightman's book reminds us that
> creating demand can be as important as meeting it."
>
> Best,
>
> <xxxxxxxx@xxxxxxxxx.xxx>
>
> ---------------------------------------------------------------------
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yes i've been getting these messages and i have notice
some microsound messages being diverted to the bulk
mail bin and i too have plenty of space in the
account..--jeff gburek
--- Jorge Blank <xxxxxxxxxxx@xxxxx.xxx> wrote:

> anybody else getting these for no reason right now?
> 
> I've been getting them every so often, though there
> is
> no reason why microsound should be bouncing from my
> email account since nothing else is and I have
> plenty
> of space.
> 
> ideas?
> 
> jorge
> 
> 
>                 
> __________________________________ 
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> 


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From ???@??? Fri Jan 28 18:51:14 2005
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anybody else getting these for no reason right now?

I've been getting them every so often, though there is
no reason why microsound should be bouncing from my
email account since nothing else is and I have plenty
of space.

ideas?

jorge


                
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From ???@??? Fri Jan 28 18:16:21 2005
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On Jan 28, 2005, at 10:33 AM, Michal Seta wrote:

> PD has the same right-to-left principle.  The ambiguities arise  in
> situations where there are several patch chords originating at the same
> outlet.

Right.

>  Regardless
> of theoretical premise of the right-to-left principle, taking the
> necessary steps to enforce the order in a crucial situation is simply
> good practice.  Treatment with the slightest bit of care :)

I agree here for the most part. On occasion though I'm lazy, and for 
code I'm likely to never edit again, I like being able to knock it out 
without trigger objects. ;-)

> I do agree with the fact that (visual) dataflow languages don't scale
> well.  Regardless of how well you encapsulate and abstract, large
> projects are not easy to manage.  However, I don't follow Max
> development and I haven't been near it in years, maybe it makes it
> easier now.  I speak from a point of view of a PD user.

I find that keeping a notebook (virtually or otherwise), or liberally 
commenting, is necessary for big projects. It can really help 
sometimes.

- John


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From ???@??? Fri Jan 28 18:05:20 2005
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From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] [OT] question about New Yorker article on ice
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Glenn Bach wrote on 1/28/05:

>A very off-topic question: I'm looking for an article that appeared a
>few months/years ago in _The New Yorker_ about contemporary
>manufacturing and distribution of ice, particulary the competition
>among several entrepreneurs for the title of "Ice King."

Is this what you're looking for?  It's a review from the April 21, 2003
issue of the New Yorker.  More general searches for "ice" and "king"
didn't turn up much...

"The Frozen-Water Trade, by Gavin Weightman (Hyperion; $23.95). The idea
sounds fanciful: harvest ice in Massachusetts and sell it to people in
the tropics. But the nineteenth-century entrepreneur Frederic Tudor was
immune to ridicule and single-minded in his conviction that the ice
trade could be profitable. He was also right. This entertaining history
of his crusade to turn New England into the world's ice-maker shows how
the combination of technological innovation and sharp marketing-Tudor
trained bartenders to use ice in cocktails in order to illustrate the
virtues of cold drinks-created an industry that sold thousands of tons
of ice a year to places like India, Cuba, and the American South. As a
case study of the entrepreneurial mind, Weightman's book reminds us that
creating demand can be as important as meeting it."

Best,



<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Fri Jan 28 17:24:25 2005
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hi list!

i fought the post-blizzard down to the radio last night and performed 
for an hour.

solo, i don't know if i'll try that marathon again soon, but hear the 
music here

http://www.bsrlive.com/archives/playlist.php?p=1813

mono, and at 128k

microphone, bells, melodica, casio sk-8, max/msp, max/msp problems....

b. 


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Hey, all.

A very off-topic question: I'm looking for an article that appeared a 
few months/years ago in _The New Yorker_ about contemporary 
manufacturing and distribution of ice, particulary the competition among 
several entrepreneurs for the title of "Ice King."  (?)  Does this ring 
a bell?  I've tried googling, library searches, etc.  Anyone know of 
this article, or if there is an index of New Yorker articles online 
somewhere?

Any replies off-list would be greatly appreciated.

Thanks,

G.

P.S.  It may have appeared in Harper's, but I'm 80% sure it was The New 
Yorker . . .  The New Yorker website doesn't allow you to search their 
archives . . .



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From ???@??? Fri Jan 28 17:11:13 2005
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Subject: [microsound] mpls : 2/1/05 : every other tuesday : bryce beverlin ii +
 john     davis, abinadi meza, bill lang + brock davis + alden ikeda
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Every Other Tuesday
Experimental / improvised performance at Acadia

Tuesday February 1st, 2005

1st set : John Davis: bass, Bryce Beverlin II : drums
The town continually searches for new ways to dispose of waste in a sound,
environmentally safe manner. To that end, the town operates a
comprehensive, curbside recycling program, removing from the waste stream
those items which can be successfully recycled. In considering the
environmental hazards posed by certain household chemicals, the town
implemented a program called S.T.O.P. (Stop Throwing Out Pollutants). This
program takes ordinary household chemicals such as cleaning sprays,
paints, etc. and disposes of them in a way that safeguards our
environment. The town holds 10 "S.T.O.P. DAYS" a year at various locations
around the town. Look for one in your community.

2nd set : Abinadi Meza : laptop
Meza is a sound artist and visual artist who creates soundscapes from
original field recordings and sound from film. Recently returned from
performing a radio/ installation piece in Stockholm, Sweden, Meza will
also will perform in the upcoming Spark Festival of Electronic Music and
Art in Minneapolis this February. More info: http://www.abinadimeza.net

Meza will present a laptop performance this Tuesday at the Acadia,
improvising a soundscape from various sources including field recordings
and other found audio.

3rd set: Bill Lang : tenor saxophone, Alden Ikeda : drums and eklectronics
Lang and Ikeda have been performing improvised music off on with each  for
the past 20 years. The roots of it seem to get deeper and darker, like
some kind of weird plant.

Acadia Cabaret Theater
1931 nicollet avenue south
(corner of nicollet & franklin)
Minneapolis MN
8 pm door-- music at 8:20
$3  -- all ages
http://www.acadiacafe.com

The Acadia's been a smoke-free venue since before it was hip. The cafe
next door serves food and beverages (including wine and beer), which
patrons are permitted to take into the theater with them.

The acadia closes at 11 pm, so performances must be over by then. The show
usually wraps up well before, so it's a pretty early night for a Tuesday.

View the schedule online:
http://tcmusic.net/musicianschedule1449.html

To hear mp3s of performances from E.O.T. and related events in Minneapolis
St Paul, drop by the Earliest Convenience page:
http://www.juniorbirdman.com/earliestconvenience

For further discussion and promotion of experimental and improvised music
in the twin cities, join the tc experimental music yahoogroup at
http://yahoogroups.com/group/tc_experimental_music

Enjoy!
Mike Hallenbeck
Cruise director
Every Other Tuesday series

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From ???@??? Fri Jan 28 16:17:05 2005
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hi

( 05.01.28 17:06 +0100 ) Noisejihad:
> Can anybody recommend a good, free firewall for windoze?

http://gentoo.org/
http://openbsd.org/ [if you're really paranoid]

but to install, you'd need to wipe windoze, or put another machine on
the network in front of it. it might be easier to buy one of those
linksys router-firewall things.

-- 
\js      http://or8.net/~johns              ;`^+{"-&=     '>>  ^   
iraq body count: 15,495 [min] 17,723 [max] 

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--Boundary_(ID_ieU2FLIsmfici0+j/fCujA)
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 7bit

Can anybody recommend a good, free firewall for windoze?

-Lars
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Next: Electrical Bonding on Desolation House >>> www.desolationhouse.com
Now: Uncomfortable Positions - mp3-ep on Fukk God >>> www.fukkgod.org
key to knowledge on danish noise >>> www.noisejihad.dk
art >>> www.ideations.dk
www.waldchengarten.dk
--Boundary_(ID_ieU2FLIsmfici0+j/fCujA)--

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John Nowak <xxxx@xxxxxxxxx.xxx> writes:

> I much prefer this method to that of Pd. At least in Max, I can look
> and see exactly what will happen. In Pd, which resolves ambiguity via
> order of object creation, I haven't the slightest clue what will
> happen when looking at it. The right-to-left nature of Max often makes
> code easier to read, saves time, and if treated with the slightest bit
> of care, never causes any issues.

PD has the same right-to-left principle.  The ambiguities arise  in
situations where there are several patch chords originating at the same
outlet.  I have run into ordering ambiguities problems with Max in the
past (note that it might have gotten much better in the past 4-6
years) and order forcing/ensuring I learned with Max, in fact.  Regardless
of theoretical premise of the right-to-left principle, taking the
necessary steps to enforce the order in a crucial situation is simply
good practice.  Treatment with the slightest bit of care :)

>  > On the
> negative side, as many people have mentioned, it doesn't scale
> well; large programs tend to become heaps of spaghetti unless
> one spends inordinate amounts of time laying them out.
> 
> Again, if you encapsulate properly, you should, generally speaking,
> never have more than 20 or so objects visible in any one patch. I
> rarely, if ever do. Hardly a mess.

I do agree with the fact that (visual) dataflow languages don't scale
well.  Regardless of how well you encapsulate and abstract, large
projects are not easy to manage.  However, I don't follow Max
development and I haven't been near it in years, maybe it makes it
easier now.  I speak from a point of view of a PD user.

I do agree, however, that 'heaps of spaghetti' whether laid out or not
are bad programming habit.

../MiS


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http://osdir.com/Article3823.phtml


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Michal Seta wrote on 1/27/05:

>Not that I have something against Mr Dannenberg but the definition on
>wikipedia (if one can consider it a reliable resource) is a little
>more general than Mr Dannenberg's pedantic categorization.

>> >operations. Dataflow languages share some features of functional
>> >languages, and were generally developed in order to bring some
>> >functional concepts to a language more suitable for numeric
>> >processing." 

Michael-

Please explain to me what's more "general" about the Wikipedia
definition.  Saying that data-flow languages partake of functional
concepts seems pretty specific to me.

Best,

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On Jan 27, 2005, at 11:51 AM, vze26m98 wrote:

> I think there's some debate as to whether Max/MSP/Pure Data qualifies 
> as
> a data-flow language:
>
> "The term "data-flow" is not a good description of Max except for the
> intuition. Data-flow computers and languages are based on the idea that
> (parallel) computations can be synchronized by data. For example, an
> addition operator would wait for its two operands before adding them.
> Note that this is not at all how Max works.

This is not how Max objects work by default. However, you can certainly 
implement abstractions that work this way. I have a "syncro" 
abstraction which works similar to the one in Prograph in that it waits 
until both inlets have data available, and then forwards the data 
ahead. Regardless, I'm not aware that this is critical for classifying 
something as a dataflow language.

> I will not argue that Max should work this way,

I'm quite glad it doesn't actually.

> but since it doesn't, one should not call it a
> data-flow language. I think "patch language" or "visual programming
> language" are better terms.

Unfortunately, the former will make no sense to someone who isn't 
familiar with Pd/Max, and the latter is too generalized to impart any 
real meaning.

> For the rest try:
> <http://cf.hum.uva.nl/mmm/papers/dh-93-b.txt>

I've read this before, and I feel compelled to write a "The Mins of the 
Mins of Max" paper. Many of the arguments given are just utter 
nonsense.

Here we go, briefly:

- - -

 > The term "data-flow" is not a good description of Max except
for the intuition.

This is of course debatable, or at least, this list doesn't agree upon 
that.

 >  I would add that, despite
statements in the manuals and documentation, Max is not an
object-oriented language.

I assume things were different before, but now Max is only referred to 
(correctly) as an object-based language. All of the nonsense attached 
to the definition OO languages is unfortunate in my opinion. I'd prefer 
a term that's less misleading, but oh well. That said, it is a good 
thing that Max is not a true OO language for a number of reasons I 
don't want to get into here.

 > To me, Max seems to be an imperative language based on timed
streams of values flowing through a static network of objects.

Again, perhaps this came about after this was written, but Max does not 
require you to have a static network. Building networks that reconnect 
themselves, replace parts of themselves, etc, is entirely possible.

 > Max is claimed to be a music system or musical language, but
the only idea of music that Max has is in the (unnecessarily)
low-level form of MIDI messages. It does not provide primitives
(e.g., notes, chords or ornaments), or control structures
(e.g., repeat or slow down)

Thank god.

 > Computation time becomes involved in the problem of timing;
if one datum needs a bit more computation than another, it will
arrive later at the point at which they are combined. This can
break the algorithm, forcing the user to rely on the work-
arounds provided (a special re-synchronizing module).

If you program in such a way that two parts of a program are racing 
each other, this is unavoidable. And even then, output from the two 
competing processes can be easily synced later.

 > "Even if an algorithm works well, a tiny change ... may break
it."

Not only do I not understand where this claim comes from, but hell, Max 
is much harder to mess up than most any textual programming language. 
Miss some whitespace in Python, and it all goes to hell. Forget a 
semicolon in C, and you're not going anywhere. Etc.

 > in the Opcode version of Max, there is a potentially
confusing and dangerous mechanism that acts automatically on
ambiguities in order; graphic positioning of connections
between objects on the screen will determine the message-
passing order between these objects.

I much prefer this method to that of Pd. At least in Max, I can look 
and see exactly what will happen. In Pd, which resolves ambiguity via 
order of object creation, I haven't the slightest clue what will happen 
when looking at it. The right-to-left nature of Max often makes code 
easier to read, saves time, and if treated with the slightest bit of 
care, never causes any issues.

 > But one has to keep
in mind that not all abstractions can be expressed well
graphically. Nested loops, variables, references, match
patterns, computation history, and recursion are among the
constructs with which the conversational mode, in the form of a
formal language, can deal much better.

Well of course a dataflow language (or whatever you want to call it) 
will not let you directly translate code written for a traditional 
control flow language. That said, it is still very easy to implement 
things like recursion in Max, and the segmented patch cord that loops 
back make it very easy to spot. Computations can be stored if desired. 
Even global variables are possible to emulate in a naturally reusable 
way. I have the abstractions to prove it. You simply send a message via 
a send object to a receive which talks to the variable. The message you 
send contains a pointer (yes, I'm using the term loosely) back to a 
receive where the message was sent from. The receive at the variable 
holding object (be it an int, float, whatever) sets a forward to send 
to the receive that is being pointed to, and then sends the data to the 
forward object. You can abstract it as such that you just store your 
data in a "variable" object, and then access it whenever you want via a 
"getvariable" object. Of course to change the value in the variable, 
you'd just send data to a send object with the variable name as an 
argument. The point is though, I've only had to do this once in my 
history of Max programming, and this was for a very unique situation. 
If you find yourself wanting to use variables all the time in Max, 
you're thinking in a control flow way, not a dataflow way.

 > Max supports
further extensibility in the form of procedures written in the
C language, instead of the ability to abstract from the
primitives in the language itself.

This is just false -- perhaps it was different 12 years ago.

 > Furthermore, because Max is advertised as a
language with an object-oriented flavor, one would expect a
versatile system of data types (classes) and polymorphic
modules (objects), which adapt their processing to the type of
incoming data and their own identity.

Max uses a system similar to prototypes, which has been proved to be 
approximately functionally equivalent to classes, except that with 
prototypes you don't have to waste your time making classes for one-off 
objects, etc. Many fully-featured textual OO languages (Self, 
Javascript, Rebol, etc) let you work just fine without any classes.
http://c2.com/cgi/wiki?PrototypeBasedProgramming

 > Instead the neat old-fashioned block diagrams [e.g., of Music
V-style instruments] that we used to see in articles (e.g., in
the older ICMC proceedings), now awkward looking Max patches
are often presented-no different symbols for modules, no
different line types for different signal types, and a mess of
wires. Even if the latter can be cleaned up, users often have
to spend more time cleaning up the patch than creating it
because the graphical editor does not support state-of-the-art
consistency maintenance when moving modules, multiple moves
etc.

This is simply not true in the case of a decent Max programmer who 
understands the importance of encapsulation. While Max could use some 
things to speed graphical building (a clean up command a la Pd, a key 
command for new objects), generally the graphical nature encourages far 
more productivity than it wastes time.

 > On the
negative side, as many people have mentioned, it doesn't scale
well; large programs tend to become heaps of spaghetti unless
one spends inordinate amounts of time laying them out.

Again, if you encapsulate properly, you should, generally speaking, 
never have more than 20 or so objects visible in any one patch. I 
rarely, if ever do. Hardly a mess.

 > I would like to
be able to click on a "code" object and have a window with
editable C open up.

Such a thing is now possible via the js and maxlisp objects.

- - -

Alright, I realize I just provided a rebuttal for something that's 12 
year old, and things have changed since then, but if people are going 
to continue citing it then I suppose it won't hurt if I procrastinate 
my Max building and write this instead. Okay, back to work.

- John


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From ???@??? Fri Jan 28 06:34:41 2005
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Date: Fri, 28 Jan 2005 01:34:28 -0500
From: earphone <xxx@xxxxxxxx.xxx>
Subject: [microsound] call for works : earphone music
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greetings,

earphone music, invites you to submit a track for inclusion on our 
first compilation cd entitled: earphone 01.

earphone music's goal is to document new electronic sound works that 
are either software or hardware derived.  the area of our interest is 
in the genres of: microsound, lowercase, or something that loosely fits 
in within those terms.

the scheduled date of release is: april 2005, so please have works to 
us by, march 1st 2005.

we are also interested in artwork and/or a design for the cover.

 > guidelines:

1. please try to keep tracks under 5 minutes so we can have at least 14 
artists on the cd.
2. you may submit more than one track, but only one will be on the 
"earphone 01" compilation.
3. you can submits tracks in any format you wish as long as the file 
specs are at least, 44.1kHz @ 16bits, you can submit audio files on cd, 
if you prefer.

 > what you get:

1. to be part of an ongoing series of documents of electronic music.
2. you will receive 10 copies of the CD that includes your track, a 
biography with links on our site, etc.
3. our unending appreciation for sharing your work.

 > where to send:

m.mcnulty
620 park ave #319
rochester,  ny 14607
u.s.

if you have questions please e-mail: xxx@xxxxxxxx.xxx

thank you,
marc


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From ???@??? Fri Jan 28 06:10:34 2005
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On Jan 27, 2005, at 8:28 PM, Michal Seta wrote:

> John Nowak <xxxx@xxxxxxxxx.xxx> writes:
>
>> In summary, Pd will be your new god, and dataflow programming will be
>> your new religion. Convert immediately.
>
> and to become a true follower and experience some serious community
> brainwashing, by all means join #dataflow channel on irc.freenode.org.
> You will even be allowed to talk about any other dataflow type
> programming languages if you feel inclined.

I've been meaning to do this, but I've been having trouble connecting 
from my dorm's network. I'll go kick some administrator ass or 
something.

> Better even, there will be developers meetings on the channel in a
> very near future so you may even get a chance to voice your opinion.
> See you there.

Lovely!

- John


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vze26m98 <xxxxxxxx@xxxxxxxxx.xxx> writes:

> Michal Seta wrote on 1/27/05:
> 
> >"In computer programming, dataflow languages are a class of
> >programming languages that model the program, conceptually if not
> >physically, as a directed graph of the data flowing between
> >operations. Dataflow languages share some features of functional
> >languages, and were generally developed in order to bring some
> >functional concepts to a language more suitable for numeric
> >processing." 
> >
> >Perhaps some definitions have changed since 1993.
> 
> Michael-
> 
> I don't see how your quote supports an argument for a changed definition
> of data-flow languages.  This seems like a classic definition of
> data-flow and one that Dannenberg wouldn't disagree with either.  

ok, sorry, I snipped too much of the Dannenberg quote.  Relevant
portion included below for your convenience.

"The term "data-flow" is not a good description of Max except for the
intuition. Data-flow computers and languages are based on the idea that
(parallel) computations can be synchronized by data. For example, an
addition operator would wait for its two operands before adding them.
Note that this is not at all how Max works. I will not argue that Max
should work this way, but since it doesn't, one should not call it a
data-flow language. I think "patch language" or "visual programming
language" are better terms."

Not that I have something against Mr Dannenberg but the definition on
wikipedia (if one can consider it a reliable resource) is a little
more general than Mr Dannenberg's pedantic categorization.

../MiS


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Michal Seta wrote on 1/27/05:

>"In computer programming, dataflow languages are a class of
>programming languages that model the program, conceptually if not
>physically, as a directed graph of the data flowing between
>operations. Dataflow languages share some features of functional
>languages, and were generally developed in order to bring some
>functional concepts to a language more suitable for numeric
>processing." 
>
>Perhaps some definitions have changed since 1993.

Michael-

I don't see how your quote supports an argument for a changed definition
of data-flow languages.  This seems like a classic definition of
data-flow and one that Dannenberg wouldn't disagree with either.  

Best,

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Fri Jan 28 02:16:31 2005
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From: colin <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] EM videos
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only saw 'drive' so far .. .. but i liked it!! 

-----Original Message-----
From: Joao Duarte <xx.xxx.xxx@xxxxxxx.xx>
Sent: Jan 27, 2005 1:58 PM
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] EM videos

Here are some nice EM video clips for your enjoyment: 
http://www.geocities.com/pygar_pygar/index.html

Have fun!

http://pwp.netcabo.pt/op.cab.pol/index.html

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vze26m98 <xxxxxxxx@xxxxxxxxx.xxx> writes:

> I think there's some debate as to whether Max/MSP/Pure Data qualifies as
> a data-flow language:
> 
> "The term "data-flow" is not a good description of Max except for the
> intuition. Data-flow computers and languages are based on the idea that
> (parallel) computations can be synchronized by data. For example, an

[..snip..]

"In computer programming, dataflow languages are a class of
programming languages that model the program, conceptually if not
physically, as a directed graph of the data flowing between
operations. Dataflow languages share some features of functional
languages, and were generally developed in order to bring some
functional concepts to a language more suitable for numeric
processing." 

Source - http://en.wikipedia.org/wiki/Dataflow_language

Perhaps some definitions have changed sine 1993.

../MiS


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John Nowak <xxxx@xxxxxxxxx.xxx> writes:

> In summary, Pd will be your new god, and dataflow programming will be
> your new religion. Convert immediately.

and to become a true follower and experience some serious community
brainwashing, by all means join #dataflow channel on irc.freenode.org.
You will even be allowed to talk about any other dataflow type
programming languages if you feel inclined.

Better even, there will be developers meetings on the channel in a
very near future so you may even get a chance to voice your opinion.
See you there.

../MiS


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Date: Thu, 27 Jan 2005 19:08:11 -0500
From: ndkent <xxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] what d'ya know Ondes Martinot...
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>
> ----- Original Message -----
> From: "th_ost" <xxxxxx@xxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Thursday, January 27, 2005 7:34 AM
> Subject: Re: [microsound] Ondes Martinot...
>
> i am very interested in the ondes martenot, but found it hard to find
> recordings of it, especially unacommpanied ones.
> the only one i have is a recording of olivier messiaen's turangalila
> symphony conducted by seiji ozawa.

that 3 CD "OHM" set (released by the Elipsis Arts label in 2000) of 
(mostly) historic electronic music has a Messaien piece - for 4 ondes
here goes the album it's from (which I don't have)

http://www.amazon.ca/exec/obidos/ASIN/B000006EI8
(if the link doesn't work it's a 1990 CD recorded by and self titled  
"Ensemble d'Ondes de Montréal")

I think the key album (though surely not easily obtained) is a double 
1980 LP by Jeanne Loriod
"Les Ondes Martenot - 50e Anniversaire de leur invention " on the  
Musique Francais d'Aujourd'huis label cat# 21.007 ADÈS

That's got the full Messiaen "Fête des belles eaux" with the 6 Ondes 
ensemble, Millhaud & Jolivet pieces for Ondes and piano and then a 
newly commissioned piece (by Tessier) to play on a 6 ondes ensemble.


> does anybody know of other recordings?
> also, does anybody know how hard it would be to build one, given there 
> are
> schematics of it to be found (i am absolutely NOT an electronics dyi 
> person,
> just curious:(( )

It's vacuum tube technology though the inventor did update the 
technology and build some using more modern solid state components 
before he died. Though it's not really correct to simplify it quite so 
far, if you think about it,  the sound is basically sine waves (though 
often treated even mechanically resonated within the system) so I'd 
think at least as much of it's distinction is it's user interface.

I played a real one once for a couple minutes. You had the ring on wire 
that most people probably know about, but what's less known is the 
keyboard keys are baby sized and the whole mechanism rocks left and 
right for vibrato effects. So it's a little like a 2 part retinking of 
the theremin. You can do pitch sweeps. There's an accuracy to the 
sweeps that takes much longer to master on a real Theremin. But you 
still have manual vibrato... something well known to string players and 
vocalists but rarely taken advantage of in electronic music performance 
(where more or less fixed speed electronic LFOs rule when unexpressive 
samples aren't used).

By the way. Radiohead might very well have bought a real one with their 
considerable money since then but kind of like like Portishead and 
their "Theremin", what they were using when their first got associated 
with the Ondes, and seen in videos of them live was actually a 
newlymade Analogue Systems French Connection CV keyboard controller 
meant for their line of analogue synth modules. (likely a prototype to 
be exact) . Anyway maybe someone will clue me in as to where if 
anywhere he's or they're  playing a real Ondes rather than an Ondes his 
Analogue Systems inspired by synth controller.
http://www.analoguesystems.co.uk/controllers.htm
(scroll to the bottom keyboard)


Less expected movies with substantial Ondes playing in the scores are 
Maurice Jarre's "Passage to India" and Elmer Bernstein's "The Field". 
Takemitsu's "Rising Sun" (the Connery/Snipes film) along with several 
of his Japanese scores ("Legacy for the Future" was re-issued by DG 
Japan a few years back).

More expected are  "Ed Wood"  and "Ghost Busters" (also by Elmer 
Bernstein)

nicholas d. kent
www,technopop.info

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"still i can't help considering radiohead a bore trying to depress
teenagers, which, according to lisa simpson, is "like shooting fish in a
barrel"..."

There's truth in what little Lisa said, but still, I can't say it's quite as
boring as listening to the end result of the 56k challenge. Have you got
around to listening to "Hail to the Thief" yet? It's some very nice music,
maybe you'll find something to enjoy there. Lots of neat things going on.


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Project prolonged. Three submissions yet - give it a try. 3n is my favourite 
signal.
http://microsound.nexthop.net/bin/view.cgi/Main/RingTones

Other projects (56k, DerridaMemorial) to be found over at:
http://microsound.nexthop.net/bin/view.cgi/Main/CollaborativeAudio

/Björn Eriksson




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>>Got a problem with that? *lol*
(that: 
of all the musicmaking entities out there it has to be radiohead?!!!?;(((   )

yes!

well, actually not really, since (or rather: as long as) nobody forces me to listen to them.
the interview and other material on their website proved an interesting reading - so thanx for the info, nonetheless.
still i can't help considering radiohead a bore trying to depress teenagers, which, according to lisa simpson, is "like shooting fish in a barrel"...

th_ost




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

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

>> we gonna fight for your right to apathy... <<
°°°°°
--Boundary_(ID_ah19BrFh1FNBKgcdV8QaGg)--

From ???@??? Thu Jan 27 20:12:24 2005
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Date: Thu, 27 Jan 2005 12:11:17 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Ondes Martinot...
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on vinyl there was a musical heritage lp of messian chamber music, the ondes 
maritnot was not solo, but was in a small group setting.
i still see this record for cheap
robert
----- Original Message ----- 
From: "th_ost" <xxxxxx@xxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Thursday, January 27, 2005 7:34 AM
Subject: Re: [microsound] Ondes Martinot...


i am very interested in the ondes martenot, but found it hard to find 
recordings of it, especially unacommpanied ones.
the only one i have is a recording of olivier messiaen's turangalila 
symphony conducted by seiji ozawa.

does anybody know of other recordings?
also, does anybody know how hard it would be to build one, given there are 
schematics of it to be found (i am absolutely NOT an electronics dyi person, 
just curious:(( )

thanx for any info


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

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

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: vze26m98
  To: microsound
  Sent: Thursday, January 27, 2005 15:51
  Subject: [microsound] Ondes Martinot...


  Maurice Martenot, luthier de l'electronique
  1990. , Quebec 312 p.
  Croissy-Beaubourg: Dervy. ISBN: 2-85076-333-0

  Special Features:
  illus., port., bibliog., list of works, discog., index

  Abstract:
  History of the ondes martenot, based in large part on interviews
  conducted with Maurice Martenot (the inventor), his wife, sisters, and
  sons; Marcel Maniere, Martenot's assistant during the last 30 years of
  his life; and performer Jeanne Loriod. Provides lists of performers;
  institutions that offer instruction in the instrument; places where one
  or more ondes martenot are to be found; and compositions featuring
  it.(Calderisi, Maria)


  <xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Thu Jan 27 20:02:57 2005
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Got a problem with that? *lol*
DaveX

of all the musicmaking entities out there it has to be radiohead?!!!?;(((


°°°°°
  ----- Original Message ----- 
  From: bruce tovsky
  To: microsound
  Sent: Thursday, January 27, 2005 18:15
  Subject: Re: [microsound] Ondes Martinot...


  i do believe that jonny greenwood of radiohead is one of
  the devotees of the ondes, and has featured it on recordings
  of his own music as well as radiohead's. you can hear his
  use of the ondes on the kid a/amnesiac sessions.
  here's a link to an interview in the computer music journal:
  http://www.ateaseweb.com/news/archive/001014.php
  cheers
  bruce

  On Jan 27, 2005, at 10:34 AM, th_ost wrote:

  > i am very interested in the ondes martenot, but found it hard to find
  > recordings of it, especially unacommpanied ones.
  > the only one i have is a recording of olivier messiaen's turangalila
  > symphony conducted by seiji ozawa.
  >
  > does anybody know of other recordings?
  > also, does anybody know how hard it would be to build one, given there
  > are schematics of it to be found (i am absolutely NOT an electronics
  > dyi person, just curious:(( )
  >
  > thanx for any info

  bruce tovsky
  www.skeletonhome.com


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From ???@??? Thu Jan 27 20:02:59 2005
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Date: Thu, 27 Jan 2005 12:02:49 -0800 (PST)
From: Wayne Jackson <xxxxxxx@xxxxx.xxx>
Subject: [microsound] RE: MIDI software question/webcam as a controller?
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> I=B9m looking for software that will accomplish a
somewhat 
> simple task: using
> a webcam to detect color, motion, light, etc and
translate 
> that information
> into midi information. 

Tim Thompson has implemented this as an undocumented part
of his KeyKit algorithmic music framework (for Windows
only, so far as I know):

http://nosuch.com/keykit/

I've played with it personally and the results are very
compelling.

You should contact Tim personally with any questions.

-Wayne
xxxxxxx@xxxxx.xxx


                
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of all the musicmaking entities out there it has to be radiohead?!!!?;(((



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

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

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: bruce tovsky 
  To: microsound 
  Sent: Thursday, January 27, 2005 18:15
  Subject: Re: [microsound] Ondes Martinot...


  i do believe that jonny greenwood of radiohead is one of
  the devotees of the ondes, and has featured it on recordings
  of his own music as well as radiohead's. you can hear his
  use of the ondes on the kid a/amnesiac sessions.
  here's a link to an interview in the computer music journal:
  http://www.ateaseweb.com/news/archive/001014.php
  cheers
  bruce

  On Jan 27, 2005, at 10:34 AM, th_ost wrote:

  > i am very interested in the ondes martenot, but found it hard to find 
  > recordings of it, especially unacommpanied ones.
  > the only one i have is a recording of olivier messiaen's turangalila 
  > symphony conducted by seiji ozawa.
  >
  > does anybody know of other recordings?
  > also, does anybody know how hard it would be to build one, given there 
  > are schematics of it to be found (i am absolutely NOT an electronics 
  > dyi person, just curious:(( )
  >
  > thanx for any info

  bruce tovsky
  www.skeletonhome.com


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From ???@??? Thu Jan 27 18:59:21 2005
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Date: Thu, 27 Jan 2005 18:58:53 +0000
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Here are some nice EM video clips for your enjoyment: 
http://www.geocities.com/pygar_pygar/index.html

Have fun!

http://pwp.netcabo.pt/op.cab.pol/index.html
--Boundary_(ID_NFb5lSWsLDbYvVz2h6ZHBg)--

From ???@??? Thu Jan 27 18:35:23 2005
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Date: Thu, 27 Jan 2005 12:39:49 -0600
From: DaveX <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Yasunao Tone
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The same goes for me. Contact us both. Maybe a combined effort will help
uncover a recording of his...

DaveX

> I'm looking for any live performances or other rare audio by Yasunao
> Tone. Should you have something please contact me and we can work out a
> trade.
> Please contact me off list.
>
> best,
> Jacob
>
>
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Subject: [microsound] Yasunao Tone
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Hi

I'm looking for any live performances or other rare audio by Yasunao 
Tone. Should you have something please contact me and we can work out a 
trade.
Please contact me off list.

best,
Jacob


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From ???@??? Thu Jan 27 17:42:26 2005
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Subject: Re: [microsound] Ondes Martinot...
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I think the Messiaen piece Oraision on the compilation OHM early 
pioneers of electronic music is a solo for ondes martenot. Also 
Messiaen's opera St Francois d'Assise features an ondes martenot trio.

jonathan


On Jan 27, 2005, at 9:15 AM, bruce tovsky wrote:

> i do believe that jonny greenwood of radiohead is one of
> the devotees of the ondes, and has featured it on recordings
> of his own music as well as radiohead's. you can hear his
> use of the ondes on the kid a/amnesiac sessions.
> here's a link to an interview in the computer music journal:
> http://www.ateaseweb.com/news/archive/001014.php
> cheers
> bruce
>
> On Jan 27, 2005, at 10:34 AM, th_ost wrote:
>
>> i am very interested in the ondes martenot, but found it hard to find 
>> recordings of it, especially unacommpanied ones.
>> the only one i have is a recording of olivier messiaen's turangalila 
>> symphony conducted by seiji ozawa.
>>
>> does anybody know of other recordings?
>> also, does anybody know how hard it would be to build one, given 
>> there are schematics of it to be found (i am absolutely NOT an 
>> electronics dyi person, just curious:(( )
>>
>> thanx for any info
>
> bruce tovsky
> www.skeletonhome.com
>
>
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From ???@??? Thu Jan 27 17:43:23 2005
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Ok... thanks for the encouragement, folks. Here's a
link to the full text of tonight's (thursday) show of
Antimatter and Miba in San Francisco.

www.bayimproviser.com/luggagestore

I'll only post events here that are likely to be
interesting in a "microsound" context.

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bruce tovsky wrote on 1/27/05:

>i do believe that jonny greenwood of radiohead is one of
>the devotees of the ondes, and has featured it on recordings
>of his own music as well as radiohead's.

Jeanne Loriod was supposed to record w/Radiohead, but sadly passed
away...

<xxxxxxxx@xxxxxxxxx.xxx>

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 FILETIME=[EF63C050:01C50494]

well, the windows version is not really complete. it lacks
e.g. scheduling, OSCresponder, GUI...

On Thu, Jan 27, 2005 at 04:34:28PM +0000, Edward George wrote:
> Actually, i seem to remember downloading a windows port of
> supercollider from sourceforge.
> So the option is there i reckon for windows people if they fancy it.
> 
> *PureData*

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i do believe that jonny greenwood of radiohead is one of
the devotees of the ondes, and has featured it on recordings
of his own music as well as radiohead's. you can hear his
use of the ondes on the kid a/amnesiac sessions.
here's a link to an interview in the computer music journal:
http://www.ateaseweb.com/news/archive/001014.php
cheers
bruce

On Jan 27, 2005, at 10:34 AM, th_ost wrote:

> i am very interested in the ondes martenot, but found it hard to find 
> recordings of it, especially unacommpanied ones.
> the only one i have is a recording of olivier messiaen's turangalila 
> symphony conducted by seiji ozawa.
>
> does anybody know of other recordings?
> also, does anybody know how hard it would be to build one, given there 
> are schematics of it to be found (i am absolutely NOT an electronics 
> dyi person, just curious:(( )
>
> thanx for any info

bruce tovsky
www.skeletonhome.com


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From ???@??? Thu Jan 27 16:51:52 2005
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John Nowak wrote on 1/27/05:

>nearly any type of application. Anyone who tells you that SC is more 
>powerful because it is a "real" or "textual" language is not familiar 
>with the true nature of dataflow programming. It is a very powerful and 

>In summary, Pd will be your new god, and dataflow programming will be 
>your new religion. Convert immediately.

John-

I think there's some debate as to whether Max/MSP/Pure Data qualifies as
a data-flow language:

"The term "data-flow" is not a good description of Max except for the
intuition. Data-flow computers and languages are based on the idea that
(parallel) computations can be synchronized by data. For example, an
addition operator would wait for its two operands before adding them.
Note that this is not at all how Max works. I will not argue that Max
should work this way, but since it doesn't, one should not call it a
data-flow language. I think "patch language" or "visual programming
language" are better terms. Since Max is not a data-flow language, it
lacks many of their nice properties. Interestingly, most signal
processing, and certainly DSP based on unit generators, is essentially
data-flow computation. Even the Max extensions for signal processing on
the IRCAM Signal Processing Workstation follow the data-flow paradigm,
resulting in a mismatch between the event-based Max operators and the
signal/data-flow-based Max operators. The boxes and lines look the
same, but the underlying semantics are quite different. This is a
manifestation of some of the problems that Desain and Honing describe."

Roger Dannenberg
Pittsburgh, Pennsylvania USA

For the rest try:

<http://cf.hum.uva.nl/mmm/papers/dh-93-b.txt>

Best,

<xxxxxxxx@xxxxxxxxx.xxx>

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>Supercollider doesn't run on Windows anyway

Actually, i seem to remember downloading a windows port of
supercollider from sourceforge.
So the option is there i reckon for windows people if they fancy it.

*PureData*

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On Jan 27, 2005, at 10:08 AM, john saylor wrote:

>> supercollider and puredata seem to be the best two choices.  which
>> should i learn first?
>
> pd
>
> cross platform
> active development
> 'cousin' of max
> can do as much as you have brain to make it
> open source
>
> you'll need to work to get it to do what you want- but it can do pretty
> much anything you'll want it to.

I agree with this 100%. Supercollider is more flexible only in the 
sense that signal objects can be manipulated more dynamically while 
audio processing is occurring, although often you can get the same 
thing done in Pd/Max via pre-scripting, matrix~ objects, etc. 
Otherwise, dataflow languages like Pd are hugely powerful for building 
nearly any type of application. Anyone who tells you that SC is more 
powerful because it is a "real" or "textual" language is not familiar 
with the true nature of dataflow programming. It is a very powerful and 
non-domain-specific paradigm.

That said, not everyone's brain is compatible with it. Some people find 
SC easier than Pd, although I'd say most of the time people find Pd 
easier (if for no other reason than that there is less initial shock).

Supercollider doesn't run on Windows anyway, so unless you're willing 
to switch to Linux or BSD (which you should of course, if for no other 
reason than to avoid people telling you to switch), you have to go with 
Pd. That said, it kicks ass. I prefer Max due to the tons of excellent 
documentation, easy standalone building, wider array of externals 
(although Pd is catching up for sure), and Jitter (although gridflow is 
also becoming very viable as far as I can tell). Of course you can 
always learn Pd and move to Max later if you want. I installed Pd for 
the first time a few weeks back, and I was able to begin working 
immediately. The only real differences are how ordering ambiguities are 
resolved (I prefer the Max method) how abstraction instantiation is 
dealt with in regards to arguments (I prefer the Pd method), and if you 
can edit abstractions or not (you can in Pd, and you can't in Max, but 
saving an editing abstraction in Pd is functionally equivalent to 
editing the original in Max anyway). There are of course many features 
that they do not share, but as far as the core concepts go, that's 
about it (as far as I can tell). Someone correct me if I'm missing some 
mid-level differences, which I likely am as I'm not Pd expert.

In summary, Pd will be your new god, and dataflow programming will be 
your new religion. Convert immediately.

- John


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From ???@??? Thu Jan 27 16:07:22 2005
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Date: Thu, 27 Jan 2005 11:08:43 -0500
From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist  for January 12, 2005
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>
> Dear Artist and Label
>
> Welcome to the radio program Whynot Jazz on Toronto's CKLN FM 88.1. 
> Heard Every Wednesday Morning from 7am-11am est, 1pm thru most of 
> Europe and noon in the UK. Available around the world at:
>
> www.ckln.fm
>
> Here is the playlist from the last Whynot Jazz Program. Please note 
> that radio program, hosted by Mike Hansen, takes an outside 
> examination of new improvised and jazz musics. Whynotjazz is one of 
> the very few voices for progessive new music heard in Toronto or 
> around the world.
>
> Why Not?
> 2005/01/12
>
>
> Artist
> Song Title
> Album Title
> Label
>
>
> Keith Rowe/Burkhard Beins
> untitled
> Keith Rowe/Burkhard Beins
> Erstwhile Records
>
>
>
> Simon Fell Quartet2
> Kandinsky lines
> SFQ - Four Compositions
> Red Toucan Records
>
>
>
> Joe McPhee/Dominic Duval
> Sunday Improvisations 2
> Rules of Engagement
> Drimala Records
>
>
>
> The Sealed Knot
> 3
> Unwanted Object
> Confront
>
>
>
> Ken Aldcroft Group
> Things to Come
> Kirby Sideroad
> Trio Records
>
>
>
> A.Doerner/G.Kelley/A.Neumann/B.Rainey
> Thanks Cash pt3
> Thanks Cash
> Sedimental Records
>
>
>
> Steve Lacy/Phillip Jeck
> dw 1.2 remix 7.7
> New Jazz Meeting Badeb-Baden 2002
> Hathut
>
>
>
> Olaf Rupp/Lol Coxhill
> Galleria 2
> Poschiavo 2003
> Rio and Galleria
> Audiosementics
>
>
>
> R.U.B.
> Ahere and Now
> Are You Be
> Animul Records
>
>
>
> Paul Newman Open House
> Symmetry Part 5
> Symmetry
> independent
>
>
>
> Ateleia
> To Sell The Groud from
> Unborn Feet Forever...Swimming
> Against the Moments
> Antiopic
>
>
>
> Mimeo
> cd 1 part 2
> Lifting Concrete Lightly
> Serpentine Gallery
>
>
>
> Gastric Female Reflex
> ...A Contempted Opinion
> and Asked for Enacted
> Anci
> 3 ep's
> Gastric Influence
>
>
>
> Barnyard Drama
> Little Drama,Minor Madness and Barnyard Drama
> Memories and a List of Things to Do
> Barnyard Records
>
>
>
> Ken Aldcroft Group
> Dialog About a Dialog
> Kirby Sideroad
> Trio Records
>
>
>
> Albert Casaia/Hal Mcgee
> Non-Linear Array
> New Forms
> Omnid
>
>
>
> Jeff Gburek
> Improvisation 1
> Energarium
> Nurnictnur
>
>
>
> Brodie West/Han Bennick
> 7
> Vancouver and Banff
> Lorna Music
>
>
>
> Paul Newman Open House
> Symmetry pt 4
> Symmetry
> independent
>
>
>
> Tertiary Trio
> Brushes With Death
> Title Goes Here
> rcrcd
>
>
>
> Nilkos Veliotis
> 12:35
> Radial
> Confront
>
>
>
> Martin Tetreault/Otomo Yoshihide
> Grenoble no.3
> GRRR
> Dame
>
>
>
> Ritesh Das and the Toronto Tabla Ensemble
> Weaving
> Weaving
> Naxos 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 ???@??? Thu Jan 27 15:38:22 2005
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From: th_ost <xxxxxx@xxx.xxx>
Subject: Re: [microsound] Ondes Martinot...
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i am very interested in the ondes martenot, but found it hard to find recordings of it, especially unacommpanied ones.
the only one i have is a recording of olivier messiaen's turangalila symphony conducted by seiji ozawa. 

does anybody know of other recordings? 
also, does anybody know how hard it would be to build one, given there are schematics of it to be found (i am absolutely NOT an electronics dyi person, just curious:(( )

thanx for any info


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

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

>> we gonna fight for your right to apathy... <<
°°°°°
  ----- Original Message ----- 
  From: vze26m98 
  To: microsound 
  Sent: Thursday, January 27, 2005 15:51
  Subject: [microsound] Ondes Martinot...


  Maurice Martenot, luthier de l'electronique
  1990. , Quebec 312 p. 
  Croissy-Beaubourg: Dervy. ISBN: 2-85076-333-0

  Special Features:
  illus., port., bibliog., list of works, discog., index

  Abstract:
  History of the ondes martenot, based in large part on interviews
  conducted with Maurice Martenot (the inventor), his wife, sisters, and
  sons; Marcel Maniere, Martenot's assistant during the last 30 years of
  his life; and performer Jeanne Loriod. Provides lists of performers;
  institutions that offer instruction in the instrument; places where one
  or more ondes martenot are to be found; and compositions featuring
  it.(Calderisi, Maria)


  <xxxxxxxx@xxxxxxxxx.xxx>

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http://www.news.cornell.edu/releases/Jan05/Wong.software.to.html


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From ???@??? Thu Jan 27 15:09:33 2005
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From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] CONTENTS ONDA SONORA 26/01/05
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ONDA SONORA, Madrid (ES)

Radio Círculo de Bellas Artes 100.4 FM - Miércoles/Wednesday 15h - www.circulobellasartes.com 
Radio Autónoma 88.8 FM - Mar-Jue/Tue-Thu 16h - www.uam.es/ra
Escucha en directo a cualquier hora / Listen live real time - www.ondasonoraradio.com
_________________________________
CONTENTS ONDA SONORA 26/01/05
 
01. REUBER 
Track: Foreverof 
Album: VA Tempo Technik Teamwork
Label: Staubgold 
 
Timo Reuber es un músico electrónico de raíces psicodélicas que mantiene lazos musicales con Markus Detmer, fundador de Staubgold, en su proyecto conjunto Klangwart, y que recientemente publicaba, precisamente en este sello alemán, su tercer álbum, "Kintopp", un trabajo lleno de secuencias de diferentes contextos ensambladas a modo de collage. Este, sin embargo, es el corte de Reuber incluído en el último recopilatorio de Staubgold, "Tempo Technik Teamwork", un doble cd que documenta las múltiples caras de un sello polifacético
 
Timo Reuber is an electronic musician of psychedelic roots keeping musical knots with Markus Detmer (Staubgold founder) in their combined project Klangwart. He recently releaseded in this German label his third album, "Kintopp", a work filled with sequences of different contexts assembled as a kind of collage. This is, however, the track included by Reuber in the last compilation of the label, "Tempo Technik Teamwork", a double cd that documents the multiple faces of a versatile company
 
02. MINIT 
Track: Ij Muiden 
Album: Now Right Here 
Label: Staubgold 
 
Continuamos con Minit, un proyecto originario de Sydney con residencia actual en Berlin, formado por Jasmine Guffond y Torben Tilly. Se trata de un disco disturbante, mitad emocional mitad frío, mitad ruido, mitad armonía, titulado "Now Right Here", un trabajo que evoluciona hipnóticamente y se desarrolla a través de samplings, procesado digital y técnicas electroacústicas
 
We continue with Minit, a Sydney native project with current residence in Berlin, formed by Jasmine Guffond and Torben Tilly. It is a disturbing record, half emotional half cold, half noise, half harmony, entitled "Now Right Here", a work that evolves hypnotically and is developed through samplings, digital processing and electro-acoustic techniques
 
03. DEAN ROBERTS
Track: Part 1 
Title: And the Black Moths Play the Grand Cinema 
Label: Staubgold
 
Segundo trabajo del neozelandés Dean Roberts, originalmente publicado por Ritornell el año 2000 y recientemente reeditado por Staubgold, un álbum en el que Roberts posiblemente alcanzó la cima de su carrera, aunque ha continuado publicando varios discos más a través del sello Kranky
 
Second work of the neozelander Dean Roberts, originally released by Ritornell the year 2000 and recently reissued by Staubgold, an album in which Roberts maybe reached his higher point, although he has several more releases on the Kranky label
 
04. AUTISTIC DAUGHTERS 
Track: Spend It On The Enemy (While It Was Raining) 
Album: Jealousy and Diamond 
Label: Staubgold 
 
Proyecto conjunto de Dean Roberts junto a los vieneses Martin Brandlmayr (Radian, Trapist) y Werner Dafeldecker (a quien conocemos como componente de Polwechsel y por sus múltiples obras de colaboración con otros improvisadores de prestigio): The Autistic Daughters. Este es su primer trabajo: "Jealousy and Diamond", publicado a medias por Staubgold desde Alemania, en su versión vinilo, y Kranky en los Estados Unidos, en su versión cd
 
Project Dean Roberts together with the Vienesse artists Martin Brandlmayr (Radian, Trapist) and Werner Dafeldecker (we know him as a component of Polwechsel and for his multiple collaborative works with other prestiged improvisators): The Autistic Daughters. This is their first work together, released by both Staubgold from Germany, the vinyl version, and Kranky in the United States, the cd
 
05. BRANDLMAYR/ DAFELDECKER/ NEMETH/ SIEWERT 
Track: Part 5 
Album: Die Instabilität Der Symetrie
Label: Doc / Grob Recordings 
 
Desde Austria, el percusionista Martin Brandlmayr y el contrabajista Werner Dafeldecker, a quienes se unen en esta ocasión el músico electrónico Stefan Nemeth, director también del sello Mosz y el guitarrista y productor Martin Siewert, todos con un background musical común, dado que se han cruzado los unos con los otros muchas veces y en muy diferentes proyectos, del pop a la pura improvisación
 
From Austria, percusionist Martin Brandlmayr and bassist Werner Dafeldecker, joined in this occasion by electronic musician Stefan Nemeth, as well director of the Mosz label, and guitarist and productor Martin Siewert, all with a common musical background, since they have crossed each other many times and in very different projects, from pop music to pure improvisation
 
06. VITOR JOAQUIM 
Track: Vii 
Album: A Rose is a Rose 
Label: dOc 
 
Vitor Joaquim, artista multidisciplinar portugués que comenzó trabajando en teatro, cine e interpretación y que posteriormente comenzó a desarrollar un extenso trabajo como creador de atmósferas y sonidos originales para todo tipo de formatos: danza, cine, vídeo o instalaciones, hasta que publicara en 1997 su primer disco, "Tales From Chaos". Desde entonces, ha editado en Cronica Electronica y más recientemente para el sello austríaco dOC
 
Vitor Joaquim, Portuguese multidisciplinar artist that began working for theater, cinema and interpretation, later started to develop an extensive work as a creator of atmospheres and original sounds for all kind of productions: dance, cinema, video or installations, until he released in 1997 his first record, "Tales From Chaos". From then on, he has released some more works in Cronica Electronica and more recently for the Austrian label dOC
 
07. OYSTER 
Track: Coins Causing Galvanic Corrosion 
Album: Oyster
Label: Fukk God
 
Colaboración entre dos músicos originarios de Florida, Danny L. y Greg Kowalsky, al que conocíamos por sus trabajos bajo el alias Osso Bucco, un proyecto para el que han tomado el sobrenombre Oyster que investiga en armonías sutiles y texturas densas, editado por Fukk God Let's Create, netlabel dedicado a distribuir gratuitamente via internet sonidos electrónicos de raíz abstracta
 
Collaboration between two Florida native musicians, Danny L. and Greg Kowalsky (Osso Bucco), a project for which they have taken the Oyster moniker, investigating in subtle harmonies and dense textures. Released by Fukk God Let's Create, a netlabel dedicated to the free distribution of abstract electronic sounds via internet
 
08. KARL MIDHOLM 
Track: 2 
Album: Drömminge EP
Label: Fukk God
 
Acabamos en el sello Fukk God con el "Drömminge EP" de Karl Midholm, artista sueco que lleva varios trabajando en el campo del ambient noise bajo el sobrenombre Ovum, aunque ésta es la segunda referencia que edita bajo su propio nombre, un disco que en ocasiones recuerda a la división más ambiental de Kranky y en otras, como ésta, desarrolla paisajes sonoros de inspiración más industrial
 
We end in the Fukk God netlabel with Karl Midholm's "Drömminge EP", a Swedish artist that has been working in the field of ambient noise under the Ovum moniker, although this is his second reference under his own name, a record that remembers to the most environmental division of Kranky at times, and develops sound landscapes of a more industrial inspiration at other times, as this one
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From ???@??? Thu Jan 27 14:53:57 2005
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hi

( 05.01.26 22:17 -0500 ) david golightly:
> i'm slowly becoming disillusioned with Csound

well, i've always thought csound is better as a non-real [imaginary?]
time tool. for composers and their descendants. 

> supercollider and puredata seem to be the best two choices.  which
> should i learn first?

pd

cross platform
active development
'cousin' of max
can do as much as you have brain to make it
open source

you'll need to work to get it to do what you want- but it can do pretty
much anything you'll want it to.

-- 
\js         ;~|+}\=       ]:>          http://or8.net/~johns .{)\. 
iraq body count: 15,493 [min] 17,721 [max] 

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Date: Thu, 27 Jan 2005 09:51:38 -0500
From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Ondes Martinot...
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Maurice Martenot, luthier de l'electronique
1990. , Quebec 312 p. 
Croissy-Beaubourg: Dervy. ISBN: 2-85076-333-0

Special Features:
illus., port., bibliog., list of works, discog., index

Abstract:
History of the ondes martenot, based in large part on interviews
conducted with Maurice Martenot (the inventor), his wife, sisters, and
sons; Marcel Maniere, Martenot's assistant during the last 30 years of
his life; and performer Jeanne Loriod. Provides lists of performers;
institutions that offer instruction in the instrument; places where one
or more ondes martenot are to be found; and compositions featuring
it.(Calderisi, Maria)


<xxxxxxxx@xxxxxxxxx.xxx>

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what? tengo miedo, mucho miedo...

Francisco Alvarez Alvarez <xxxxxxxxxxxxxx@xxxxxxx.xxx> wrote:PANTASMA=FANTASMA=GHOST
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_________________________________________________________________
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------------------------------------------- 
[M!M] [SCL]
[www.mikamartini.scd.cl]



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Visíta Yahoo! Noticias.
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Subject: Re: [microsound] monsier brel and madame loriod
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stephan mathieu wrote on 1/27/05:

>this morning i've heard a version of 'ne me quitte pas' by jacques
>brel featuring jeanne loriod on the ondes martenot, an absolutely
>stunning performance. now i dont seem to find any info on wich album
>this recording can be found.

Sure it's not the original recording?  (Barclay LP 80.470, 1972)

"Elle a même touché quelque peu au cinéma en participant à
l’enregistrement des musiques de Maurice Jarre pour Lawrence d’Arabie,
et à la variété en collaborant avec Jacques Brel pour sa célèbre chanson
Ne me quitte pas..."

<http://www.musimem.com/obi-0701-1201.htm>

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From ???@??? Thu Jan 27 13:11:11 2005
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From: Richard Whitelaw <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: [microsound] Capsule at the Spitz, London
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Capsule presents
Supersonic treats from the city of Birmingham

Live performances from:
Black Galaxy vs Kreepa (ex napalm death/scorn)
ZX Spectrum Orchestra (feat. Brian Duffy + Mike in Mono ex Plone)
Esquilax

Visuals by Beat13
Record Stalls: Static Caravan/Experimental Seafood/Type

Saturday 29th January
THE SPITZ. 109 COMMERCIAL ST. OLD SPITALFIELDS MARKET. LONDON. E1 6BG
8.30pm - till late
£5

In recent years, Birmingham has developed a potent electronica scene,
breeding artists such as Plone, Broadcast, Pram, Magnetophone, Scorn, Sand,
Tele:Funken, The Modified Toy Orchestra, Dreams Of Tall Buildings, PCM and
Mike In Mono. Innovative artists need innovative record labels. The current
Birmingham scene is bristling with vital new set-ups that are dedicated to
the music's confrontational byways, without relinquishing its funky pulse...

Black Galaxy features Nicholas Bullen whose abrasive work in Napalm Death
initiated a new musical genre known as 'Grindcore' and later a member of the
dark, isolationist and dub-influenced Scorn. In collaboration with Simon
Mabbutt they fuse cold and alien galactic soundscapes with minimal warped
bass and glacial rhythmic underpinnings to create nocturnal sonorities.

kREEPA mix electronic and acoustic elements to create improvisations that
explore the dynamic interplay between acousmatic synthesis and instrumental
approaches. (Members of Sand)


ZX Spectrum Orchestra (feat. Brian Duffy + Mike in Mono) its capability to
create a more unconventional sound is limitless. Everything you will see and
hear is derived from a steep and logistic learning curve. Peek, Poke and
Merge. Brian Duffy / Modified Toy Orchestra works with electronic sound toys
that have been rewired and reconfigured to create a series of musical
instruments each creating their own new electronic sounds which oscillate
between the familiar function of the toys and new sounds far removed from
the original function.
Mike In Mono (UK Halfeaten Records) aka Mike Johnston is better known as
member of Birmingham's kitsch electronica trio Plone (Warp). His ever
growing fondness for 'spoken word' is now a relished element in the
mike-in-mono show.

Esquilax are a shiny party plastic new wave avant-garde pop terror group
-possessed by Devo, raised by Agoraphobic Nosebleed.


A sample of forthcoming  treats at the Supersonic Festival due to take place
on 15th/16th July 05 at the Custard Factory Birmingham.

http://www.capsule.org.uk
For images or further info contact Lisa/Jenny 0121 248 2252
xxxx@xxxxxxx.xxx.xx


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this morning i've heard a version of 'ne me quitte pas' by jacques brel featuring jeanne loriod on the ondes martenot, an absolutely stunning performance.
now i dont seem to find any info on wich album this recording can be found.

any help is greatly appreaciated, 
please contact me off-list
 - stephan

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From ???@??? Thu Jan 27 09:30:00 2005
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Hey all,

Anyone in the Vancouver area might want to check out a show @ BLIM
(#600 - 23 W. Pender) this Friday. Me and a guy named pino the frog
(http://www.fragm.net/pinothefrog/) are playing. There is another show
the same night at Video In as well, featuring coin gutter among
others.

Phil


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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From ???@??? Thu Jan 27 07:15:10 2005
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From: koen <xxxxx@xxxxxxxxx.xxx>
Subject: [microsound] Tonic 01/28 - Queens (Jane,
 14K | NYC) Mountains (Aero &        Anderegg, Apestaarje | NYC)
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Please come join us MIDNIGHT 01/28 UPSTAIRS at Tonic ::

Queens (Jane, 14K | NYC) :

Queens is Scott Mou's solo project. When he's not performing as Queens, he
works at Other Music, performs as Jane with one of the Animal Collective
guys and as 14K with Hisham (ex-Black Dice), and is also one hell of a
minimal techno DJ. Queens is quiet electro-acoustic drones done very well.

Mountains (Aero & Anderegg, Apestaarje | NYC) :

Mountains is new project from Apestaarje label barons Brendon Anderegg and
Koen Holtkamp, who are more known for their minimal and melodic Aero &
Anderegg projects. Mountains covers a lot of ground, sweetly drifting
between minimal electronic and new folk. For tonights show they promise
something a little louder, including an accordian...

Tonic is located at 107 Norfolk Street between Delancey and Rivington
Streets in Manhattan's Lower East Side.

You can take the F train to Delancey Street or the J/M/Z trains to Essex
Street. Once you exit the station walk east (towards the Williamsburg
bridge) on Delancey Street and take your first left onto Norfolk. You will
see Tonic about half up the block on your left.


apestaartje
www.staartje.com

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

OUT NOW ::
sebastien roux - pillow (staartje017) cd

COMING SOON ::
mountains - s/t (staartje018) cd

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

NEW ADDRESS ::

782 manhattan ave #2L
brooklyn ny
11222


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From ???@??? Thu Jan 27 04:48:57 2005
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bruce tovsky <xxxxx@xxxxxxxxxxxx.xxx> writes:

> as has already been mentioned, there are objects in
> the jitter video package for max/msp that do this very
> thing. you might also check out softVNS and isadora.
> cheers
> bruce

gridflow (www.gridflow.ca) will do that too.  Well, actually, gridflow
will pull numbers off your images and you do the rest with vanilla PD.

Source code for your perusal is also available.

../MiS



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From ???@??? Thu Jan 27 04:15:33 2005
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I use Pure Data exclusively for live performance, installations and 
recording, but it is something of a rabbit hole once you fall in. CSound 
is ancient, and not meant for realtime at all. SuperCollider is neat, 
powerful, and a step deeper into the learning curve than a graphical 
environment like PD or Max/MSP [but more suited to realtime DSP in its 
own way]. If you are really worried about platform, the PD would be a 
better choice, as it is available for windoze, OSX, Linux, and Irix. If 
you are seriously concerned about platfrom, however, you might 
investigate Linux as an architecture-independent solution. In the end I 
found the benefits of Linux outweighed the lerning curve immensely.

In short, my advice would be to check out PD on whatever platform you 
dig. Get on the mailing list and ask a bizillion questions, caiuse 
that's the only way you'll learn anything. Once you run into dead ends 
with the realtime, learn to optimize PD better or start playing with 
SuperCollider. The stuff you learned from PD will only help, as PD is 
*far* better at data-flow processing than SC. Then install Linx on every 
piece of hardware you have and really go to town ;-) In fact, the best 
option would be to combine PD+SC on Linux via OSC, or maybe even build a 
sweet interface in Java or Proce55ing.

good luck and see you on the frequency again soon,
d.


david golightly wrote:
> hello list,
> i'm slowly becoming disillusioned with Csound - my first real 
> development platform - because of its poor real-time performance.  i'm 
> ready to learn a new language, then.  i'd like to use max/msp but can't 
> afford it (i KNEW i never should have graduated from school!).  so i'd 
> like some feedback, offlist if you prefer: supercollider and puredata 
> seem to be the best two choices.  which should i learn first?  what have 
> you used?  what would you avoid?  what has the best all-around learning 
> curve/power of control tradeoff?  how about live performance?  (no 
> pricey commercial software please!)  i'm using an 800mhz windoze xp 
> desktop pc and an 300mhz ibook so anything that runs on both platforms 
> would be ideal.


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

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hey, i have a sampler w/ you on it....it came in CABNET magazine
-t

-------------- Original message from Al C <xxxxx@xxxxxxxxx.xxx>: -------------- 


> Hi all, 
> 
> Since some people have claimed that they don't mind self promotion type 
> posts, Here ya go... 
> 
> New omnid full legth release on Retinascan Records. Go here for details/mp3 
> clips: http://www.retinascan.de/compactdiscs/fcd48.htm 
> 
> also out now: 
> 
> omnid "Wrong Number" 3"cd-r on Authorised Version 
> http://www.a-version.co.uk/releases.htm 
> 
> best, 
> albert casais 
> 
> 
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> 
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 FILETIME=[CE946990:01C5041E]

hello list,
i'm slowly becoming disillusioned with Csound - my first real development 
platform - because of its poor real-time performance.  i'm ready to learn a 
new language, then.  i'd like to use max/msp but can't afford it (i KNEW i 
never should have graduated from school!).  so i'd like some feedback, 
offlist if you prefer: supercollider and puredata seem to be the best two 
choices.  which should i learn first?  what have you used?  what would you 
avoid?  what has the best all-around learning curve/power of control 
tradeoff?  how about live performance?  (no pricey commercial software 
please!)  i'm using an 800mhz windoze xp desktop pc and an 300mhz ibook so 
anything that runs on both platforms would be ideal.

thanks
david



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From ???@??? Thu Jan 27 02:14:27 2005
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From: "xxxxx@xxxx.xxx" <xxxxx@xxxx.xxx>
Subject: [microsound] Re: [phonography] seeking a contact for Thanos Chrysakis.
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Robert,

As far as I know, xxxxxxxx@xxxxxxx.xx.xx is still his e-mail
address. I am also sending this to him, so if it returns to me then
maybe he changed it recently.

Best, Dale

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

NEW: Turba / Lateral Minor (Stasisfield.com) 
NEW: Volatile And Fixed Principles (leerraum)




Hi,
I'm wondering (and hoping) that someone on the list can help put me in 
touch with the sound artist Thanos Chrysakis, or even if you are on 
this list yourself Thanos. I've been emailing a freenet uk address but 
it's being returned.

This is quite urgent and concerns 'drift | resonant cities' (of which I 
am the curator.

Thanks in advance to anyone who can help.

Regards.

Robert King

 


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Hi all,

Since some people have claimed that they don't mind self promotion type
posts, Here ya go...

New omnid full legth release on Retinascan Records. Go here for details/mp3
clips: http://www.retinascan.de/compactdiscs/fcd48.htm

also out now:

omnid "Wrong Number" 3"cd-r on Authorised Version
http://www.a-version.co.uk/releases.htm

best,
albert casais


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From ???@??? Thu Jan 27 00:39:34 2005
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From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] MIDI software question/webcam as a controller?
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>i believe Image/ine development has halted.
-Dead as a dead parrot can be and that's pretty dead....
 http://www.mtholyoke.edu/~ebarnes/python/dead-parrot.htm

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 ???@??? Thu Jan 27 00:34:07 2005
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you could also check VNS (very nervous system)

http://homepage.mac.com/davidrokeby/softVNS.html

j-l
> 
> From: tkrakowiak <xxxxxxxxx@xxxxxxxxx.xx>
> Date: 2005/01/26 on PM 10:10:47 GMT
> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Ämne: Re: [microsound] MIDI software question/webcam as a controller?
> 
> 
> check out STEIM software, Big Eye
> 
> http://www.steim.org/steim/products.html
> 
> 
> cheers
> t
> 
> 
> On Wed, 26 Jan 2005 17:01:18 -0500, Adam Young <xxxx_xxxxx@xxxxxx.xx>  
> wrote:
> 
> >
> > I¹m looking for software that will accomplish a somewhat simple task:  
> > using
> > a webcam to detect color, motion, light, etc and translate that  
> > information
> > into midi information. I¹d be shocked if this hasn¹t been done already,  
> > and
> > I¹d really like to find a download of an application or even some source
> > code to do this, as I really don¹t want to ³reinvent the wheel²..
> >
> > Thanks.
> > -adam
> >
> > adam young
> > tractile.net | direwires.com | adyo.info
> >
> >
> 
> 
> 
> -- 
> Using Opera's revolutionary e-mail client: http://www.opera.com/m2/
> 
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From ???@??? Thu Jan 27 00:20:09 2005
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i believe Image/ine development has halted.

http://www.image-ine.org/


/sean


> Have a look at the GEM and PDP externals for Pure Data. They're open
> source and very configurable. You could also look at EyesWeb for
> windoze, or Imagine for the Mac.
>
> derek
>
>
>
> Adam Young wrote:
>> I¹m looking for software that will accomplish a somewhat simple task:
>> using
>> a webcam to detect color, motion, light, etc and translate that
>> information
>> into midi information. I¹d be shocked if this hasn¹t been done already,
>> and
>> I¹d really like to find a download of an application or even some source
>> code to do this, as I really don¹t want to ³reinvent the wheel²..
>
>
> --
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 36:
> "Consult other sources
> -promising
> -unpromising"
>
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>



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Subject: [microsound] PANTASMA
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 FILETIME=[84266620:01C503FF]

PANTASMA=FANTASMA=GHOST
/////////////////////////////////////
WRITE TO>>>>>>>>>>>>>>
////////////////////////////////////
xxxxxxxxxxxxxxxxxx@xxxxx.xx

_________________________________________________________________
Platica con tus amigos en linea con T1msn Messenger 
http://messenger.t1msn.com.mx/


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From ???@??? Wed Jan 26 23:15:37 2005
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 FILETIME=[B8956E90:01C503FC]

I have half a dre bank (two pocket controlers) 32 knobs, they are great, 
very tiny, steel, the pots are solid. main draw back - you have to carry the 
big ass wallwarts and use a usb/midi interface. The evolution stuff felt 
kinda cheap and toy like to me, all plastic parts, I bet if you had one of 
those controllers in a bag and say was on a bus there would be a really good 
chance you would find that the knobs had broken off, I say go with the 
german engineering if you can, I got mine off ebay for fairly cheap.

>are the knobs sturdy enough for heavy use? i noticed the evolution
>uc33 knobs seem to wear out.
>the faderfox.de controllers are very nice too. and battery operated.

>>I have the Drehbank, and it's a great controller.  The
>>editor leaves a lot to be desired, but generally I just
>>leave the Drehbank programmed to do MIDI CC 1-64 and assign
>>away in software.  Part of my current live kit is Ableton
>>with a Drehbank.  It's a lethal combination.



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From ???@??? Wed Jan 26 22:39:33 2005
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I like the evolution uc-33e a lot...cheap, simple, versatile, light &
portable...great fun with ableton. Build quality seems ok, but not
spectacular (I have an encore electronics slidemate that's built like a
tank...i think their 'knobby' controller' is now on sale, but be aware that
there is no osX editor for the thing...
www.encoreelectronics.com)

On 1/26/05 1:03 PM, "Adam Young" <xxxx_xxxxx@xxxxxx.xx> wrote:

> Hello... I¹m basically looking for something with tons of knobs and possibly
> a few sliders (14 or 32)
> 
> I really like this: http://www.doepfer.de/db_e.htm
> 
> Anything similar out there? Anything CHEAPER?
> 
> I¹d forgo the sliders, as the machine above definitely would work...
> 
> adam young
> tractile.net | direwires.com | adyo.info
> 
> 
> 


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From ???@??? Wed Jan 26 22:27:36 2005
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as has already been mentioned, there are objects in
the jitter video package for max/msp that do this very
thing. you might also check out softVNS and isadora.
cheers
bruce

On Jan 26, 2005, at 5:01 PM, Adam Young wrote:

>
> I’m looking for software that will accomplish a somewhat simple task: 
> using
> a webcam to detect color, motion, light, etc and translate that 
> information
> into midi information. I’d be shocked if this hasn’t been done 
> already, and
> I’d really like to find a download of an application or even some 
> source
> code to do this, as I really don’t want to “reinvent the wheel”..
>
> Thanks.
> -adam
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>
>
bruce tovsky
www.skeletonhome.com


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From ???@??? Wed Jan 26 22:13:51 2005
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Date: Wed, 26 Jan 2005 23:15:56 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] MIDI software question/webcam as a controller?
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Have a look at the GEM and PDP externals for Pure Data. They're open 
source and very configurable. You could also look at EyesWeb for 
windoze, or Imagine for the Mac.

derek



Adam Young wrote:
> I¹m looking for software that will accomplish a somewhat simple task: using
> a webcam to detect color, motion, light, etc and translate that information
> into midi information. I¹d be shocked if this hasn¹t been done already, and
> I¹d really like to find a download of an application or even some source
> code to do this, as I really don¹t want to ³reinvent the wheel²..


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

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From ???@??? Wed Jan 26 22:13:00 2005
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From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
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Eric Singer's MAX/MSP object Cyclop does exactly that:

http://www.ericsinger.com/cyclopsmax.html

hope it helps,

Eloy
 -----
xxxx@xxxxxxxxx.xxx
http://groovylab.com/



> -----Original Message-----
> From: Adam Young [mailto:xxxx_xxxxx@xxxxxx.xx] 
> Sent: Wednesday, January 26, 2005 5:01 PM
> To: microsound
> Subject: [microsound] MIDI software question/webcam as a controller?
> 
> 
> 
> I¹m looking for software that will accomplish a somewhat 
> simple task: using
> a webcam to detect color, motion, light, etc and translate 
> that information
> into midi information. I¹d be shocked if this hasn¹t been 
> done already, and
> I¹d really like to find a download of an application or even 
> some source
> code to do this, as I really don¹t want to ³reinvent the wheel²..
> 
> Thanks.
> -adam
> 
> adam young
> tractile.net | direwires.com | adyo.info
> 
> 
> 


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From ???@??? Wed Jan 26 22:07:26 2005
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check out STEIM software, Big Eye

http://www.steim.org/steim/products.html


cheers
t


On Wed, 26 Jan 2005 17:01:18 -0500, Adam Young <xxxx_xxxxx@xxxxxx.xx>  
wrote:

>
> I¹m looking for software that will accomplish a somewhat simple task:  
> using
> a webcam to detect color, motion, light, etc and translate that  
> information
> into midi information. I¹d be shocked if this hasn¹t been done already,  
> and
> I¹d really like to find a download of an application or even some source
> code to do this, as I really don¹t want to ³reinvent the wheel²..
>
> Thanks.
> -adam
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>



-- 
Using Opera's revolutionary e-mail client: http://www.opera.com/m2/

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I¹m looking for software that will accomplish a somewhat simple task: using
a webcam to detect color, motion, light, etc and translate that information
into midi information. I¹d be shocked if this hasn¹t been done already, and
I¹d really like to find a download of an application or even some source
code to do this, as I really don¹t want to ³reinvent the wheel²..

Thanks.
-adam

adam young
tractile.net | direwires.com | adyo.info


--Boundary_(ID_+xmx794/nYShbHHgeF4NFQ)--

From ???@??? Wed Jan 26 21:20:33 2005
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i've been using the bcr2000 for about 3-5 hours a day for the last two
months. it's been powered on continuously.

i generally don't like the quality of behringer equipment - this seems
to be an exception for me.

the knob action loosened up a little bit - but they don't move
side-to-side or anything like that, and the values they send are solid
(i.e. they don't drift).

the faderfox controllers look really nice - but they won't ship them
to the US - otherwise i would have tried them.

On Wed, 26 Jan 2005 21:56:59 +0100, robert van heumen <xxxxxx@xxxxx.xx> wrote:
> are the knobs sturdy enough for heavy use? i noticed the evolution uc33
> knobs seem to wear out.
> the faderfox.de controllers are very nice too. and battery operated.
> robert
> 
> 
> On Jan 26, 2005, at 19:45, Tom Butcher wrote:
> 
> >
> > I have the Drehbank, and it's a great controller.  The
> > editor leaves a lot to be desired, but generally I just
> > leave the Drehbank programmed to do MIDI CC 1-64 and assign
> > away in software.  Part of my current live kit is Ableton
> > with a Drehbank.  It's a lethal combination.
> >
> > t
> >
> >> Hello... I¹m basically looking for something with tons of knobs and
> >> possibly
> >> a few sliders (14 or 32)
> >>
> >> I really like this: http://www.doepfer.de/db_e.htm
> >>
> >> Anything similar out there? Anything CHEAPER?
> >>
> >> I¹d forgo the sliders, as the machine above definitely would work...
> >>
> >> adam young
> >> tractile.net | direwires.com | adyo.info
> >>
> >>
> >>
> >
> > ---
> > Tom Butcher
> >
> >
> >
> > ---------------------------------------------------------------------
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> >
> >
> >
> 
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From ???@??? Wed Jan 26 21:13:11 2005
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Date: Wed, 26 Jan 2005 13:12:10 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: Re: [microsound] Show announcements
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i also like release announcements
and gigs anouncements, even if they aren't in my city
they are interesting.
robert horton
----- Original Message ----- 
From: "david golightly" <xxxxxxxx@xxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Wednesday, January 26, 2005 11:56 AM
Subject: Re: [microsound] Show announcements = costly faux-pas?


> second that.  i actually really look forward to release announcements, 
> especially when done by artists themselves and not by labels etc.... 
> listening to each other's work is at least as important as discussing it. 
> as for shows, i like knowing about things going on - it helps to know 
> about venues and scenes in different parts of the world where one can 
> play, if passing through.  also, at this point the volume isn't nearly so 
> high as to be irritating.
>
> can't very well have theory without practice, can we...
>
> david g
>
>>From: "Pat Gillis" <xxxxxx@xxxxxxx.xxx>
>>Reply-To: "Pat Gillis" <xxxxxx@xxxxxxx.xxx>
>>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>Subject: Re: [microsound] Show announcements = costly faux-pas?
>>Date: Tue, 25 Jan 2005 20:59:27 -0500
>>
>>I guess it is a list admin question, but so long as the show referred to 
>>is within the realm of what the list is 'about', what's the problem?  Is 
>>there some expectation that members are here only to discuss tools, 
>>techniques,  history and critical theory, with nothing to offer by way of 
>>public expression of their own efforts (or shut up about it if they do)? 
>>In which case, are release announcements ever more unacceptable?
>>
>>Just curious.
>>
>>Pat
>
>
>
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Subject: Re: [microsound] MIDI Controllers
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are the knobs sturdy enough for heavy use? i noticed the evolution uc33 
knobs seem to wear out.
the faderfox.de controllers are very nice too. and battery operated.
robert




On Jan 26, 2005, at 19:45, Tom Butcher wrote:

>
> I have the Drehbank, and it's a great controller.  The
> editor leaves a lot to be desired, but generally I just
> leave the Drehbank programmed to do MIDI CC 1-64 and assign
> away in software.  Part of my current live kit is Ableton
> with a Drehbank.  It's a lethal combination.
>
> t
>
>> Hello... I¹m basically looking for something with tons of knobs and 
>> possibly
>> a few sliders (14 or 32)
>>
>> I really like this: http://www.doepfer.de/db_e.htm
>>
>> Anything similar out there? Anything CHEAPER?
>>
>> I¹d forgo the sliders, as the machine above definitely would work...
>>
>> adam young
>> tractile.net | direwires.com | adyo.info
>>
>>
>>
>
> ---
> Tom Butcher
>
>
>
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From ???@??? Wed Jan 26 20:44:07 2005
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From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] [OT]  Philip Johnson
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Architect Philip Johnson Dies at Age 98:
http://news.yahoo.com/news?tmpl=story&u=/ap/20050126/ap_on_en_ot/obit_johnso
n

http://www.pjar.com/

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From ???@??? Wed Jan 26 20:09:19 2005
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Subject: Re: [microsound] [ot] q for traktion users
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hope this can answer your question:
http://www.kvraudio.com/forum/viewtopic.php?t=64644

for future tracktion related questions check the tracktion/'raw material 
software' forum:
http://www.kvraudio.com/forum/viewforum.php?f=22
normally you get useful answers from tracktion aficionados...

8pointer.


Kim Cascone wrote:

> I'm working on a sound installation project in Mackie's Traktion 
> 1.6.0.1 - they announced this version as a free download a couple of 
> months ago...
> being indoctrinated primarily in Pro Tools I got past Traktion's 
> 'pseudo-Live' interface, managed to create an edit, placed clips into 
> it and now I want to mix it down using a midi fader box...
> so my question is: can I assign midi controllers (continuous 
> controllers and not keynums) to a tracks volume (or a VST for that 
> matter)? and if so, how do I do this?
> I get the feeling this might be a Traktion 2.0 feature... :(
> if not then is there an FOSS program for OS X that can do this?


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From ???@??? Wed Jan 26 19:57:41 2005
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Date: Wed, 26 Jan 2005 14:56:43 -0500
From: david golightly <xxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] Show announcements = costly faux-pas?
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 FILETIME=[35C40190:01C503E1]

second that.  i actually really look forward to release announcements, 
especially when done by artists themselves and not by labels etc....  
listening to each other's work is at least as important as discussing it.  
as for shows, i like knowing about things going on - it helps to know about 
venues and scenes in different parts of the world where one can play, if 
passing through.  also, at this point the volume isn't nearly so high as to 
be irritating.

can't very well have theory without practice, can we...

david g

>From: "Pat Gillis" <xxxxxx@xxxxxxx.xxx>
>Reply-To: "Pat Gillis" <xxxxxx@xxxxxxx.xxx>
>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] Show announcements = costly faux-pas?
>Date: Tue, 25 Jan 2005 20:59:27 -0500
>
>I guess it is a list admin question, but so long as the show referred to is 
>within the realm of what the list is 'about', what's the problem?  Is there 
>some expectation that members are here only to discuss tools, techniques,  
>history and critical theory, with nothing to offer by way of public 
>expression of their own efforts (or shut up about it if they do)?  In which 
>case, are release announcements ever more unacceptable?
>
>Just curious.
>
>Pat



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I've been using the Behringer BCR2000 for a few months now - very
reliable and easy to set up:

32 endless rotary controllers for less than USD200.

http://www.behringer.com/BCR2000/index.cfm?lang=ENG

they also have one with 8 motorized faders that costs just a little
more than USD200:

http://www.behringer.com/BCF2000/index.cfm?lang=ENG


On Wed, 26 Jan 2005 13:03:32 -0500, Adam Young <xxxx_xxxxx@xxxxxx.xx> wrote:
> Hello... I¹m basically looking for something with tons of knobs and possibly
> a few sliders (14 or 32)
> 
> I really like this: http://www.doepfer.de/db_e.htm
> 
> Anything similar out there? Anything CHEAPER?
> 
> I¹d forgo the sliders, as the machine above definitely would work...
> 
> adam young
> tractile.net | direwires.com | adyo.info
> 
>

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From ???@??? Wed Jan 26 19:03:30 2005
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hey, check out

www.ucapps.de

best,
t


On Wed, 26 Jan 2005 13:03:32 -0500, Adam Young <xxxx_xxxxx@xxxxxx.xx>  
wrote:

> Hello... I¹m basically looking for something with tons of knobs and  
> possibly
> a few sliders (14 or 32)
>
> I really like this: http://www.doepfer.de/db_e.htm
>
> Anything similar out there? Anything CHEAPER?
>
> I¹d forgo the sliders, as the machine above definitely would work...
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>



-- 
Using Opera's revolutionary e-mail client: http://www.opera.com/m2/

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From ???@??? Wed Jan 26 18:53:17 2005
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Evolution UC-33e
Very cheap and easy to use!
but... the manual sucks!

http://www.evolution.co.uk/company/news_ucc33e.htm

> Hello... I’m basically looking for something with tons of knobs and 
> possibly
> a few sliders (14 or 32)
>
> I really like this: http://www.doepfer.de/db_e.htm
>
> Anything similar out there? Anything CHEAPER?
>
> I’d forgo the sliders, as the machine above definitely would work...
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>


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From ???@??? Wed Jan 26 18:48:35 2005
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I have the Drehbank, and it's a great controller.  The
editor leaves a lot to be desired, but generally I just
leave the Drehbank programmed to do MIDI CC 1-64 and assign
away in software.  Part of my current live kit is Ableton
with a Drehbank.  It's a lethal combination.

t

> Hello... I¹m basically looking for something with tons of knobs and possibly
> a few sliders (14 or 32)
> 
> I really like this: http://www.doepfer.de/db_e.htm
> 
> Anything similar out there? Anything CHEAPER?
> 
> I¹d forgo the sliders, as the machine above definitely would work...
> 
> adam young
> tractile.net | direwires.com | adyo.info
> 
> 
> 

---
Tom Butcher



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From ???@??? Wed Jan 26 18:32:21 2005
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if you are handy with a soldering iron, and have a
lot of spare time (and patience) you might try these:
http://www.ucapps.de/index.html
http://www.doepfer.de/home_e.htm
the first link (to the midibox forum, a diy group) is the
more comprehensive one, lots of info and an active
user forum. the doepfer stuff is more basic but still
well thought-out and people are doing interesting
stuff with it.
cheers
bruce

On Jan 26, 2005, at 1:03 PM, Adam Young wrote:

> Hello... I’m basically looking for something with tons of knobs and 
> possibly
> a few sliders (14 or 32)
>
> I really like this: http://www.doepfer.de/db_e.htm
>
> Anything similar out there? Anything CHEAPER?
>
> I’d forgo the sliders, as the machine above definitely would work...
>
> adam young
> tractile.net | direwires.com | adyo.info
>
>
>
bruce tovsky
www.skeletonhome.com


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Hello... I¹m basically looking for something with tons of knobs and possibly
a few sliders (14 or 32)

I really like this: http://www.doepfer.de/db_e.htm

Anything similar out there? Anything CHEAPER?

I¹d forgo the sliders, as the machine above definitely would work...

adam young
tractile.net | direwires.com | adyo.info


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From ???@??? Wed Jan 26 19:31:40 2005
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I'm working on a sound installation project in Mackie's Traktion 
1.6.0.1 - they announced this version as a free download a couple of 
months ago...
being indoctrinated primarily in Pro Tools I got past Traktion's 
'pseudo-Live' interface, managed to create an edit, placed clips into 
it and now I want to mix it down using a midi fader box...
so my question is: can I assign midi controllers (continuous 
controllers and not keynums) to a tracks volume (or a VST for that 
matter)? and if so, how do I do this?
I get the feeling this might be a Traktion 2.0 feature... :(
if not then is there an FOSS program for OS X that can do this?


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From ???@??? Tue Jan 25 15:06:20 2005
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derek holzer;

> Another idea would be to provide song "fragements" that could be
> arranged randomly, in a playlist, or by some other set of instructions.
> There was a whole bunch of stuff done on the Fallt site a while back
> that simply used the broswer's "refresh" function to mix a series of
> *extremely* small fragments. Total size of the various "tracks" ranged
> started somewhere around 6 or 12 Kb. I think maybe Pimmon was involved
> in that project.

Similarly, Gescom´s release "MD" takes advantage of the data compression of
minidisks. Because of the data compression and thus the relatively large
buffer minidisk players can be randomised or programed so there will be
audio without gaps inbetween tracks. Quite usefull, I think, to be able to
use such advantages of a medium. It would´ve been nice if such releases
would be more common and usable as a creative plaything, much like locked
grooves on records.


Kas.



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greg g;

> no, you're missing the point.  everyone here is really obsessed with all
> these "constraints" and stuff, like only using certain software or
encoding,
> or certain samples, like the microsound releases for example.

Makes perfect sense. It might be hard to find some rules to determine wether
something is indeed good but then again, it´s not that much easier to
objectively verify some random piece was indeed based on -say- field
recordings of Berlin or inspired by some writer.....

The one problem might be that people who write very high quality material
will often also be very critical of themselves while a lot of mediocre
pieces come from people who believe themselves to be "the new messiah" (or
Aphex or Tiesto as the case may be). This might adversely affect the
selection of pieces uploaded. Perhaps your project should be based on people
sending in "good" pieces by their friends (of cource with the permission of
those friends)?

I don´t think I´m even completely joking here. The more I contemplated that
paragraph before hitting "send" the more sense it made.

Kas.



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As long as the topic is quasi-tolerated events announcements, I
might as well take the opportunity to announce:

Field Effects 21
 ~ featuring ~

   Yuko Nexus6 & Mariko Tijiri
   Scott Arford

Friday, January 28th, 2005
Doors 8 pm show around 9
964 Natoma, San Francisco, CA (USA)

$6-10 requested donation, no one turned away

Seating mostly on futons and beanbags to encourage comfortable deep
listening. Depending on weather hot or cold drinks will be available.
With luck someone will bake cookies.

Much more about the show:

     http://www.quietamerican.org/fe21.html

More about the series:

     http://www.fieldeffects.org

 aaron

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

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


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Subject: Re: [microsound] Show announcements = costly faux-pas?
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I guess it is a list admin question, but so long as the show referred to is within the realm of what the list is 'about', what's the problem?  Is there some expectation that members are here only to discuss tools, techniques,  history and critical theory, with nothing to offer by way of public expression of their own efforts (or shut up about it if they do)?  In which case, are release announcements ever more unacceptable?

Just curious.

Pat
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I just found it out on Earlabs:

From the booklet:
Since the foundation of the studio of radio NHK, Tokyo in 1954, the
development of electro-acoustic music in Japan has shown a constant exchange
between national tradition and techniques imported from the West.
The Japanese contribution is especially interesting in the field of combied
electronic instrumental music. Japan has a rich variety of traditional
instruments, and there are many which blend particularly happily with
electronically produced sound.
However, the meeting of the two sound-worlds has been most rewarding in
musical froms where both modern techniques and traditional eleemnts are
readily adoptable and sometimes singularly convergent. Elements borrowed by
Mayuzumi and Moroi from the vocal puntuations of the Noo theatre, or the
sound patterns of the shamizen are significant in this respect. Such
borrowings might determine perhaps a refined breaking-up of the beat, or
afain a stretching of tempo in accordance with the flow of the musical
material. From the standpoint of our own western conception of tempo, we
still sense an alien quality in Japanese electro-acoustic music.

http://www.earlabs.org/label/lc/lc012b.htm

some microsounders may find it interesting.
Best,

ale***





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


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From ???@??? Wed Jan 26 00:56:02 2005
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well, i don't know if there's a list rule against it or not, but I for one
don't mind announcements.

Especially shows like this one, which looks really good.

/sean


> I was just about to put a show announcement on here,
> then realized that I seem to be one of very few people
> who does this. Have I been bugging people with these
> all this time? This is a venue that includes
> "microsoundy" stuff in the range of what we book.
>
> Here's the announcement in very brief mode
>
> Thu, 1/27 8-10 pm.
> Luggage Store Gallery
> 1007 Market St @ 6th
> San Francisco
> $6-10 sliding scale
>
> Electronic glitches, drones, hums, textures, washes,
> perhaps some notes.
>
> with miba (Kristin Miltner & Mark Bartscher)
> and Antimatter (Xopher Davidson)
>
> ---------------------------------------------------------------------
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> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>



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From ???@??? Wed Jan 26 00:49:59 2005
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Date: Wed, 26 Jan 2005 01:49:47 +0100
From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound]'S T A L A G M I E T E N  1' (ahum...)
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>i was listening to 'stalagmieten 1'
-That's very nice of you...

>and wished to hear it stretched out somewhat ...
-Which you clearly did...

>in order to be aware of the harmonies
-Repeated listening could be beneficial..

>without having to work quite so hard.
-Practise makes perfect...

>for educational purposes only, probably, most likely.
-I think that I don't this easy offering of other one's
 work so much:

1: You changed it beyond any recognition and didn't
   add anything to it yourself, which be kind of
   an interpretation;

2. What kind of educational purposes do you have in mind?

3. Most importantly, you never asked me in the first place...

So I would prefer that you do these things first before you
place this on your server, in the mean time either refer to
it's original location on the web or remove it.

I'm not against your suggestion about 'educational purposes',
but this is not a proper way of conduct.

AvS

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

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

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

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

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



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From ???@??? Tue Jan 25 23:39:55 2005
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Date: Tue, 25 Jan 2005 15:38:51 -0800
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Subject: Re: [microsound]' S T A L A G M I E T E N  1 '
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hi,

    i was listening to 'stalagmieten 1' and wished to hear it stretched 
out somewhat ...in order to be aware of the harmonies without having to 
work quite so hard.


   ( 17.9 mb zipped mp4 )
    for educational purposes only, probably, most likely.

     http://klatch.co.uk/billjarboe/Stalagmiet1aifT2.mp4.zip



                                                                         
         Bill




On Jan 14, 2005, at 11:48 AM, Arie van Schutterhoef wrote:

>
>
>    '  S T A L A G M I E T E N  1   '
>
>       - Arie van Schutterhoef -
>
>
> http://knorretje.hku.nl/~schreck/SmietMP3/Stalagmiet1.mp3
>
>
> Realized in the home-studio of the composer.
> Original sounds recorded with the BassBoxes
> http://www.xs4all.nl/~schreck/html/bassbox.html
> in the 'Veem'-Theatre, Amsterdam, during recording
> sessions with Hans van Eck and Hans van Koolwijk.
>
> Recorded different flutes on the BassBoxes, through
> extreme close-miking to capture the varying spectra
> and timbres, that were triggered by tightly structured
> pulse-trains, according to the Fibonacci-series.
>
> Sound treatment using different FFT-processes and
> cross-convolution. Used programs were 'Ceres3','MetaSynth', '
> SoundHack', 'SonicWorx Artist' and 'Csound'on running on
> Silicon Graphics and Apple Computers.
>
>
>
>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
> .....................................................................
>
>   `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +
>
>     `  |# -laboratory for live electro-acoustic music- #            |
>        |             http://www.schreck.nl/                         |
>        |             http://www.xs4all.nl/~schreck/                 |
>      ` *===========================================================++
>      ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
>      ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
>      ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
>      ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |
>
>      ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |
>
>        *===========================================================++
>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
> .....................................................................
>
>
>


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I was just about to put a show announcement on here,
then realized that I seem to be one of very few people
who does this. Have I been bugging people with these
all this time? This is a venue that includes
"microsoundy" stuff in the range of what we book. 

Here's the announcement in very brief mode

Thu, 1/27 8-10 pm. 
Luggage Store Gallery 
1007 Market St @ 6th 
San Francisco
$6-10 sliding scale

Electronic glitches, drones, hums, textures, washes,
perhaps some notes.

with miba (Kristin Miltner & Mark Bartscher) 
and Antimatter (Xopher Davidson)

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From ???@??? Tue Jan 25 22:14:05 2005
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I forget to comment you two spanish e music distributors (Level and
jaxx records both in madrid)

it might be easy to contact with them through internet

good luck


On Mon, 24 Jan 2005 16:25:15 -0000, David @ Audiobulb
<xxxxxxxx@xxxxx.xx.xx> wrote:
> Does anyone know who are considered the most electronic music friendly
> distributors in the Europe?
> 
> I'm looking for coverage in Scandinavia, France, Germany, Spain in
> particular.... Would appreciate any links to reputable companies dealing
> with those territories.
> 
> Who is Mille Plateaux with now?
> 
> Thanks David
> 
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>

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Go here for details:

http://www.japansociety.org/events/event_detail.cfm?id_event=1702597446&id_performance=536554939

cheers,

Pat
(my first post to this list, I'm subbed to the digest)
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Subject: [microsound] ::: TU M'P3 : SOUNDTRACKS FOR IMAGES : 2005 :::
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TU M'P3
web label

















SOUNDTRACKS FOR IMAGES
http://www.tu-m.com




















2005 EDITION

























with:







 .Black To Comm




 .Dälek




 .Dill



 .Jason Forrest



 .Anne Laplantine



 .Yoshio Machida



 .Frank Metzger



 .Sergej Mohntau



 .Secret Mommy



 .Joerg Piringer



 .Akira Rabelais



 .Sinistri



 .Skyphone



 .Joshua Treble



 .Simon Fisher Turner



 .TV Pow



 .Hiroyuki Ura



 .Voks



 .Wilbo Wright



 .Yutha





































..
..


MP3s  ARCHIVE






A
  .Aero
  .Noël Akchoté
  .Mitchell Akiyama
  .Alejandra and Aeron
  .Alluvion  (trx1)
  .Alluvion  (trx2)
  .Oren Ambarchi
  .Anderegg
  .Ian Andrews
  .Arg
  .Dan Armstrong
  .Astro
  .Ateleia





B
  .Eraldo Bernocchi  (trx1)
  .Eraldo Bernocchi  (trx2)
  .Black Dot
  .Olivia Block
  .F.S. Blumm
  .Boca Raton  (trx1)
  .Boca Raton  (trx2)
  .Alessandro Bosetti
  .Frank Bretschneider
  .John Butcher





C
  .Kim Cascone  (trx1)
  .Kim Cascone  (trx2)
  .Mike Cooper
  .Alvin Curran
  .Chris Cutler and Thomas Dimuzio





D
  .Datach'i
  .Greg Davis
  .Frans De Waard  (trx1)
  .Frans de Waard  (trx2)
  .Deison
  .Amy Denio
  .Taylor Deupree
  .Giustino Di Gregorio
  .Thomas Dimuzio
  .DiscMan & WalkMan
  .Michel Doneda & Pierre-Olivier Boulant
  .Domotic
  .Donna Summer  (trx1)
  .Donna Summer  (trx2)
  .Düplo
  .Duul_drv





E
  .Ekkehard Ehlers
  .Electric Birds
  .Electric Turn To Me
  .Elettrodo  (trx1)
  .Elettrodo  (trx2)
  .Ent  (trx1)
  .Ent  (trx2)
  .Erikm
  .Karlheinz Essl
  .Evol  (trx1)
  .Evol  (trx2)





F
  .Farmers Manual  (trx1)
  .Fermers Manual  (trx2)
  .Flatbush
  .Four Color
  .Heribert Friedl
  .Erik Friedlander





G
  .David Grubbs
  .Brent Gutzeit





H
  .Haco
  .Kazumasa Hashimoto
  .Hauf
  .HDJ Tom  (trx1)
  .HDJ Tom  (trx2)
  .Heller
  .Gerry Hemingway
  .Hugh Hopper  (trx1)
  .Hugh Hopper  (trx2)
  .Hugh Hopper  (trx3)
  .John Hudak





I
  .Illusion Of Safety
  .Kozo Inada  (trx1)
  .Kozo Inada  (trx2)





J
  .Jass Halos
  .Jliat
  .Seth Josel / Joker Niess





K
  .Jason Kahn  (trx1)
  .Jason Kahn  (trx2)
  .Greg Kelley
  .Andrey Kiritchenko
  .Kenneth Kirschner
  .Cordell Klier
  .Masahiko Kono
  .Tomas Korber
  .Ulrich Krieger





L
  .O.Lamm
  .Brett Larner  (trx1)
  .Brett Larner  (trx2)
  .Brian Lavelle
  .Jason Lescalleet
  .Alan Licht
  .Lazy Listening
  .Lullatone





M
  .David Maranha
  .Mariko
  .Elio Martusciello  (trx1)
  .Elio Martusciello  (trx2)
  .Maurizio Martusciello
  .Massaccesi  (trx1)
  .Massaccesi  (trx2)
  .Massimo
  .Stephan Mathieu
  .Peter Maybury
  .Rob Mazurek
  .Roel Meelkop  (trx1)
  .Roel Meelkop  (trx2)
  .Mellana Osco
  .Radboud Mens  (trx1)
  .Radboud Mens  (trx2)
  .Marco Messina  (trx1)
  .Marco Messina  (trx2)
  .Frank Metzger
  .Nathan Michel
  .Paul D. Miller
  .Mils
  .Molecu
  .Mondii  (trx1)
  .Mondii  (trx2)
  .Jean Marc Montera
  .Manuel Mota
  .Motion  (trx1)
  .Motion  (trx2)
  .Mr.Dorgon
  .Guenter Mueller  (trx1)
  .Guenter Mueller  (trx2)
  .Mugen
  .My Jazzy Child





N
  .Vacuous Ninnies
  .KK Null





O
  .Osso Bucco
  .Julien Ottavi





P
  .Rosy Parlane
  .Phthalocyanine
  .Plank
  .Ghislain Poirier  (trx1)
  .Ghislain Poirier  (trx2)
  .PowerBooks for Peace
  .Pramrod Sexena
  .Jim Pugliese





R
  .Akira Rabelais
  .Radian
  .Bhob Rainey  (trx1)
  .Bhob Rainey  (trx2)
  .Retina.it  (trx1)
  .Retina.it  (trx2)
  .Ned Rothenberg  (trx1)
  .Ned Rothenberg  (trx2)
  .Sébastien Roux
  .Olaf Rupp





S
  .Sawako  (trx1)
  .Sawako  (trx2)
  .Sawako Vs Hypo
  .Scanner
  .Janek Schaefer
  .Mario Schiano
  .Schneider TM
  .Roddy Schrock
  .Sciajno  (trx1)
  .Domenico Sciajno  (trx2)
  .Shuttle358
  .si-cut.db
  .Martin Siewert
  .Sogar  (trx1)
  .Sogar  (trx2)
  .Staalplaat Soundsystem
  .Burkhard Stangl
  .Stapletape
  .Howard Stelzer
  .Steno
  .Carl Stone  (trx1)
  .Carl Stone  (trx2)
  .Joseph Suchy





T
  .Jason Talbot
  .Richard Thomas
  .Tonne  (trx1)
  .Tonne  (trx2)
  .Toy.Bizarre (C Peyronnet)
  .Uli Troyer  (trx1)
  .Ulrich Troyer  (trx2)
  .TV Pow  (trx1)
  .TV Pow  (trx2)
  .Twine





U
  .Ultra Milkmaids  (trx1)
  .Ultra Milkmaids  (trx2)
  .Un caddie renversé dans l'herbe





V
  .Luca Venitucci
  .Vert
  .Violet
  .Stephen Vitiello
  .Stephen Vitiello with Pauline Oliveros
  .Voice Crack





W
  .Wang Inc.  (trx1)
  .Wang Inc.  (trx2)
  .Dan Warburton
  .Warmdesk
  .Keith Fullerton Whitman
  .Wobbly  (trx1)
  .Wobbly  (trx2)
  .Christopher Willits





Y
  .Tetsuro Yasunaga





Z
  .z_e_l_l_e  (trx1)
  .z_e_l_l_e  (trx2)
  .Zenial [Palsecam]
  .Zeitblom
  .Harald "Sack" Ziegler
  .Carlos Zingaro





123...
  .87 central
  .*0


























:
..
..
..





Curated by TU M'





























:
..
..
..



Thanks to K.Michael Babcock / Aesova for the web space.

































..
..
..
..


Tu M'p3
www.tu-m.com


















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From ???@??? Tue Jan 25 11:43:31 2005
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Date: Tue, 25 Jan 2005 12:43:23 +0100
From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] R:[microsound] European Distribution
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Ciao,

I¹ m working with MDM <http://www.mutualism.de/>
Very professional and friendly

Best

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


Da: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Risposta: "microsound <xxxxxxxxxx@xxxxxxxxx.xxx>" <xxxxxxxxxx@xxxxxxxxx.xxx>
Data: Mon, 24 Jan 2005 16:25:15 -0000
A: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Oggetto: [microsound] European Distribution

Does anyone know who are considered the most electronic music friendly
distributors in the Europe?

I'm looking for coverage in Scandinavia, France, Germany, Spain in
particular.... Would appreciate any links to reputable companies dealing
with those territories.

Who is Mille Plateaux with now?

Thanks David 


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Date: Tue, 25 Jan 2005 11:46:54 +0100
From: douglas benford <xxxxxxx@xxxxx.xxxxx.xx.xx>
Subject: [microsound] INTERPLAY 3 in London
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Sprawl presents
INTERPLAY 3 - 2005

the 3rd mini-festival of international collaborations
Weds 9th and Thurs 10th February 2005

Once again London's haven for experimental audio, Sprawl, will
be inviting a selection of International artists for 2 nights of unique live
collaborations, traversing the sonic realms of minimal & post-techno beats,
new dub, voice, pop, jazz and improvisation.

Interplay 3 is dedicated to uncovering new relationships as well as
established clashes of style and technique, from novel instrumental
approaches to twisted technology.

Weds 9th Feb
POLE (scape/mute)  + DEADBEAT (scape/Intr_version)
MARKUS SCHMICKLER (pluramon) + THOMAS LEHN (mimeo)
MAX EASTLEY (obscure/bip hop) + FREEFORM (skam/sub rosa)

Thurs 10th Feb
STEPHAN MATHIEU (orthlorng/sirr) + SI-CUT.DB (fallt/bip-hop)
LEAFCUTTER JOHN (planet mu) + JANEK SCHAEFER (audiOh!/sirr)
SCANNER (sub rosa/bette) + IRIS GARRELFS (bip hop)

PLUS: The early evening will feature a sound based visual programme,
including audio-visual collaborations from DFuse, who have worked
with Burnt Friedmann, Kid 606 and recently Beck

This project is supported by the Goethe-Institut London and the PRS
Foundation

VENUE: Spitz, Spitalfields Market,109 Commercial Street, London E1 8BG
DATE: Wednesday 9th and Thursday 10th February 2005
TIME: 8pm - midnight
PRICE: £8 / £6 concs, £12 for both nights
BOX OFFICE: 0207 392 9032, www.spitz.co.uk
CONTACT: xxxx@xxxxxx.xxx.xx
WEB: www.sprawl.org.uk
--Boundary_(ID_6cmKnhI8X6Z81INhx2b/IQ)--

From ???@??? Tue Jan 25 04:53:40 2005
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Date: Mon, 24 Jan 2005 23:53:30 -0500
From: Kurt Ralske <xxxxxxxx@xxxx-xxxx.xxx>
Subject: [microsound] Morton Feldman: Triadic Memories
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Morton Feldman: Triadic Memories

Michael Century, piano
Kurt Ralske, video

Friday January 28 / 8pm
Chapel and Cultural Center at Rensselaer
Troy, NY

Triadic Memories was composed in 1979, one of Morton Feldman's long,
ruminative late works.  Quiet throughout and eccentrically repetitive, this
piece invites the listener to experience a now-unusual kind of long
duration.  For this performance, a newly created video will be projected,
inspired by Feldman's interest in the carpets of the Middle East.   The
composer was struck by parallels between his own off-centered,
memory-twisting rhythms and what he called the "disproportionate symmetry"
of  certain Turkish rugs' skewed repetition of motif.  Created by Kurt
Ralske, this video is not a literally synchronized accompaniment, but a
parallel and complementary track that scans, scrolls, cross-fades and morphs
between mostly detailed carpet images.  In this conjuncture of music and
image, we propose another kind of disproportionate symmetry.  Whereas
Feldman recast musical time with aspects of the stasis and scale of painting
and textiles, here the static carpet image is rendered with aspects of
Feldman's ineffable quietude and slow tempos.

 Michael Century is a musician and professor in the Department of the Arts
at Rensselaer Polytechnic Institute. http://www.arts.rpi.edu/people/century/

Kurt Ralske is a NYC-based video artist, composer, and programmer. Co-winner
in 2003 of Transmediale first prize for media art, he recently created the
video installation permanently on view in the the lobby of the re-opened
Museum of Modern Art. 

More info and directions
http://www.rpi.edu/web/C+CC/ccc/ccc.html




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Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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Sean Rooney Geschrieben hat .      ::                     .            :::
:      .

> Hi,

my opinion only . . .

>Is there some usefulness in being
> able to make small sounds/scores?

yes 

> Do people expect/hope to find some
> creative tactics that could be used elsewhere?

yes  

> Or is it the creative
> challenge itself, separate from anything that might be learned from it?

yes

> 

of course, afterwards what can be achieved with small files need not
be so strict as to require a 56k limitation - but, for web-based audio
personally have discovered some very interesting facts about mp3
encoding and what not.  useful too.

merci !

> /sean

         . 1001 




    €



                          .
              . €           €
                 
                      €

                                                      '
€
                                                                 ®
                                          .    €€
                           .·€
                         ·
                            ·.
                               €
                          €. .   € .                                .  ·
                                             €      ´·.    ·           €
                                                                      ´ · .
.              


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CALL FOR CONTRIBUTIONS

Berlin.Soundscape-FM : A City of Sounds : 4-8 February 2005

http://berlin.soundscape-fm.net

"How would you build a city of sounds?"

Berlin.Soundscape-FM is a collaborative soundwork, featuring field
recordings taken from the city of Berlin, which will be broadcast
locally via FM radio during the Transmediale 05 festival, and archived
in a user-uploadable database complete with an interactive soundmap of
the city.

During the days of 4-8 February 2005, sound artists, amateur sound
hunters, phonographers, among other interested participants, will
collaborate on gathering sounds from different places within the city of
Berlin. A physical workspace, located at the Transmediale Festival in
the Haus der Kulturen der Welt, will be a post-production booth for the
gathered sounds which can be uploaded immediately in a database system.
Uploads can also be made remotely via the Internet. The uploaded sounds
are accessible online via an interactive sound map, and will be
broadcasted via several local FM radio programs in Berlin during the
Festival.

We are seeking contributions of environmental recordings made in the
city of Berlin during any time period. Be it the sound of autos around
Alexanderplatz, distant Turkish music overheard in Kreuzberg or the rain
hitting the gutter outside a flat window in Friedrichshain, you will be
able to upload it to the Soundscape-FM server by locating your sound on
a scalable map of Berlin.

To contribute, please send an email to xxxxx@xxxxxx.xx with the subject
"Berlin.Soundscape-FM.net login", and please give a short description of
the sounds you would like to upload. Please note that, while "found"
music is acceptable as content, this project is not a forum for people's
bands or solo musical projects. Such tracks, along with direct transfers
of copyrighted material, will be removed. Thanks for understanding ;-)

Berlin.Soundscape-FM.net has been created by Sara Kolster, Derek Holzer
and Marc Boon for the Transmediale 05 Festival's BASEMENT workspace,
curated by Carsten Stabenow and Stefan Rikeles. The Soundscape-FM
project was originally commissioned for the Garage Festival 2004, with
inspiration from Yannick Dauby and the Phonographic Migrations series,
and with technical assistance from Olaf Matthes.

http://berlin.soundscape-fm.net
http://www.soundscape-fm.net
contact: xxxxx@xxxxxx.xx

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


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hallo,


    the 56k challenge = great $%#*!@ idea.  perhaps,
we should share research and methods so we can all 
learn best course of aktion.  

i hope the consensus is to move forward.


    . 1001


 

 ¿ .            .:                     .     ][+



                     l  º
                  •       a
                    - d   
                                   ·                   
                                                  
                                    ·        .º :            
                                      ·. `                                            
                                                                                                                  
                                                                                                           
       .                                                                
      ·                                                   
                                                                        
      •  å
                                                                        
   b ·      n
                                                                        
         g
     .   :               .  ·        .º : 
      .          ·                 '.      
          `       º: .

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--Boundary_(ID_wvNX2IMfwRsh2jATICJQQA)
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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: 27.01.05
~ time zone converter: http://www.thesaturnv.com/converter.html


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

 

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


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

we took detailed looks at a few releases in this edition, namely the latest instalment of the phonography organisation's series of raw field recording compilations.  we also listened to several tracks from crouton's reissue of an early irr. app. (ext.) work, dust pincher appliances, keith berry's latest release buddha's mile, and a recent release from the copyleft netlabel test tube by spanish artist ubeboet.  coming up this friday, we'll be listening, among other things, to the and/oar release by sawako, yours gray, and some internet-released work (on the netlabel stasisfield) by and/oar's (and phonography.org's) own dale lloyd.

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



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


21.01.05

this edition will be rebroadcast this wednesday, 25.01.05, at 11:00am gmt 

(artist  /  title  /  album  /  label)

adam wimbush  /  framework intro
recorded through the window of a bathroom in barbados, featuring the voice of a mysterious woman known only as liz
xxxxxxx@xxxxx.xx.xx

murmer  /  38,000 for madrid  /  phonography.org 6 (compilation)  /  phonography.org
the sound of a stadiumful of people during a minute's silence
http://www.phonography.org

irr. app (ext.)  /  narcoinvitatorintraphasieschatological music box  /  dust pincher appliances  /  crouton
crackling chorus of music boxes and rumbling drones
http://www.holocenesound.org/irr, http://www.croutonmusic.com

frederic yarm  /  bottle neck traffic  /  phonography.org 6 (compilation)  /  phonography.org
acoustic processing applied through the capture of sound from inside a bottle
http://www.phonography.org

keith berry  /  -  /  buddha's mile  /  authorised version
sublime field recordings and tonal elements slowly develop and disperse
http://www.inbetweensilence.com, http://www.a-version.co.uk/

josh russell  /  wall mounted gas heater overheating and shutting down  /  phonography.org 6 (compilation)  /  phonography.org
almost industrial sounding chaotic rhythms, crackles and rumblings
http://www.phonography.org

irr. app (ext.)  /  a body rendered disjecta membra through the application of dust pincher appliances  /  dust pincher appliances  /  crouton
rhythmic mechanics and clacking bones are pervaded over by a dysfunctional intercom
http://www.holocenesound.org/irr, http://www.croutonmusic.com

perri lynch  /  walking through eyebeam  /  phonography.org 6 (compilation)  /  phonography.org
reverberations of public space with an odd collection of mechanical and (mechanically?) natural sound
http://www.phonography.org

ubeboet  /  north wind  /  bleak ep  /  test tube
metallic rain and organic scratchings filter through multi-levelled tonescapes
xxxxxxx@xxxxx.xxx, http://www.monocromatica.com/netlabel

mathieu ruhlmann  /  water pipe pond drone  /  phonography.org 6 (compilation)  /  phonography.org
ubiquitous narrow pipe reverberations tempered with an active environment enfolding it
http://www.phonography.org

irr. app. (ext.)  /  desist in ceasing to cease to exist  /  dust pincher appliances  /  crouton
more layerings of indiscernible acoustic sources and percussing found objects
http://www.holocenesound.org/irr, http://www.croutonmusic.com

ubeboet  /  nocturno (danny kreutzfeldt version)  /  bleak ep  /  test tube
hissing and collapsing tones lead through the erosion
xxxxxxx@xxxxx.xxx, http://www.monocromatica.com/netlabel



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


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_wvNX2IMfwRsh2jATICJQQA)--

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 FILETIME=[265878B0:01C50262]

A possible solution to the high price of buying pro-level audio gear - one 
of my old roomates from undergrad works for a pro audio shop in LA, they 
rent out everything from the Fostex FR2 all the way up to the Aaton Cantar 
and can send the gear via Fed Ex, also they have a huge selection of 
extemely sensitive mics for rent, I never considered that before, but it 
could save you a lot of money, if you say knew that for a weekend you are 
planning a trip to make recordings and wanted to rent the gear for a 
fraction of the price instead of buying it. This could way of working could 
allow you to choose specific gear for specific types of recordings/recording 
situations and never really have to own anything. I see this method as sort 
of a way around starting to drop thousands on gear, instead maybe, get a R1 
and a very good mic, then rent the rest of the gear when needed. Save your 
money, buy a house instead.

Also, no one has mentioned this, but you can also rent/buy a portable Nagra, 
which is a tape based system, some people will argue/perfer this medium over 
digital, granted the fidelity ceiling is lower, but I wonder, would the 
Nagra sound better than most stuff under 1000$?, say like the R1? The 
portable Nagras, even used, are not cheap. I wonder is Watson used a Nagra 
for his older recordings?

Also on the very cheap end is the micro-cassette recorder, I know a few 
people who have managed to make some really really excellent recordings with 
a micro-cassette recorder using an external mic, granted its a mono medium.

Best
Scott

>A couple people asked me offlist what I thought might be a higher
>grade portable HD recorder than the Editrol R1 I mentioned earlier.
>Specifically, pro-quality recorders with XLR connections, digital
>IO, USB or firewire, more than 2 channels, ability to burn CDRs,
>decent battery life, etc... This list got posted to the Phonography
>list by Mark Griswold a while back, and I consider it an excellent
>starting point if you have USD 1500+ to spend and want the same kind
>of gear that gets used by video and film production companies to do
>their sound.
>
>http://www.trewaudio.com/downloads.htm
>http://www.trewaudio.com/download/non%20linear%20comp%20chart.pdf
>
>Based on the research I've done [but no field testing yet!], my
>recommendations for stereo would go to either the HHB Portadisk
>[msrp USD 1600] or the Fostex FR2 [msrp USD 1500], depending on
>which features and interface strikes you best.
>
>You can get 4 channels from the Sound Devices 744T [msrp 4,250],
>while Fostex makes a 6 channel model for about 8,500,. HHB has an 8
>channel monster going for 10,000, and Zaxcom's Deva V hauls a
>whopping 10 channels for USD 13,00. Top of the line, the Bentley of
>non-linear recorders, is the 8 channel Aaton Cantar, ringing in
>around 14,500, but man is it sweet!http



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So near and yet so far:
http://www.capturedbyrobots.com/

> From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
> Subject: L.E.M.U.R.
> 
> http://www.juilliard.edu/update/journal/j_articles385.html

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From ???@??? Mon Jan 24 21:08:15 2005
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hi lars

> it seems that the amount of CD's released with
> usable sounds are limited (more like slim to none).

for a great hippo recording you could check chris watsons 'outside the circle of fire' CD on touch. although, the recording isnt necessarily 'usable'.
 - stephan


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these colors don't run ... they roll ...


> here's one for all the arthur kroker fans...
> 
> http://news.bbc.co.uk/2/hi/americas/4199935.stm



                
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From ???@??? Mon Jan 24 20:23:27 2005
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From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
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>Is there some usefulness in being able to make small sounds/scores?
-Brevity.

AvS

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

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

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

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

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



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From ???@??? Mon Jan 24 20:19:32 2005
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Hi,

An honest question (not trying to prolong a flamewar):

what is it about this challenge that appeals to people (I know the reasons
that some list members don't like it)? Is there some usefulness in being
able to make small sounds/scores? Do people expect/hope to find some
creative tactics that could be used elsewhere? Or is it the creative
challenge itself, separate from anything that might be learned from it?

Like I said, its an honest question, not intended to find fault or
anything. Just trying to understand the appeal.

/sean


>
> hallo,
>
>
>     the 56k challenge = great $%#*!@ idea.  perhaps,
> we should share research and methods so we can all
> learn best course of aktion.
>
> i hope the consensus is to move forward.
>
>


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From ???@??? Mon Jan 24 20:09:44 2005
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now, if we could only get skynet up and running...

Patrick Valiquet wrote:

> here's one for all the arthur kroker fans...
>
> http://news.bbc.co.uk/2/hi/americas/4199935.stm
>
> =====
> ØäPnî?áÃ`Ìgx9KlóS•Ìh´9»=œ®_®*ö±ql°<|Pô“)”ì1xS@?ñì?eúë©?
> Çñ=*>2åûMsØ?h#Õxk·#Í6*ü:´kB*÷Ú©¶*ö“™GÎ3ü>u4Öÿ***Ú÷ç5
> À8¡ http://fragm.net/pinothefrog/ @*ø’ÈWϱïÚU€IéÑ**1Ñmà?s
> è+?5E“)I? ÃBâÅ/x@x€gº*ët(?eÙį?mè0%—íDcWï?Ÿ_Ÿ‰—
> ?[>¿B±¸ Ÿ_i}*Ëï35?_/çËÿ,¿k—ë¯*C`©rÉ?Ÿ Äxîõ$2,‚µ?Èd7’
>
> ______________________________________________________________________
> Post your free ad now! http://personals.yahoo.ca
>
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From ???@??? Mon Jan 24 19:47:38 2005
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here's one for all the arthur kroker fans...

http://news.bbc.co.uk/2/hi/americas/4199935.stm

=====
ØäPnî­áÃ`Ìgx9KlóS•Ìh´9»=œ®_®½ö±ql°<|Pô“)”ì¹xS@‹ñìðeúë©­
Çñ=Ž>²åûMsØ›h#Õ×k·#Í6žü:´kB*÷Ú©¶½ö“™Gγü>u4ÖÿžŽ¾Ú÷ç5
À8¡ http://fragm.net/pinothefrog/ @½ø’ÈWϱïÚU¤IéѼž¹ÑmàÝs 
è+ý5E“)IÐ ÃBâÅ/²@A€gºžët(‹eÙį–mè0%—íDcWïýŸ_Ÿ‰—
þ[>¿B±¸ Ÿ_i}¾Ëï³5ý_/çËÿ,¿k—믾C`©rÉ?Ÿ Ä×îõ$2,‚µðÈd7’

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

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From ???@??? Mon Jan 24 19:13:58 2005
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great signature!!

".` °·' ± `.° '·" wrote:

> hallo,
>
>     the 56k challenge = great $%#*!@ idea.  perhaps,
> we should share research and methods so we can all
> learn best course of aktion.
>
> i hope the consensus is to move forward.
>
>     . 1001
>
>
>
>  ¿ .            .:                     .     ][+
>
>                      l  º
>                   •       a
>                     - d
>                                    ·
>
>                                     ·        .º :
>                                       ·. `
>
>
>        .
>       ·
>
>       •  å
>
>    b ·      n
>
>          g
>      .   :               .  ·        .º :
>       .          ·                 '.
>           `       º: .
>
> ---------------------------------------------------------------------
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From ???@??? Mon Jan 24 19:16:02 2005
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From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] hard disk recorders roundup
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A couple people asked me offlist what I thought might be a higher grade 
portable HD recorder than the Editrol R1 I mentioned earlier. 
Specifically, pro-quality recorders with XLR connections, digital IO, 
USB or firewire, more than 2 channels, ability to burn CDRs, decent 
battery life, etc... This list got posted to the Phonography list by 
Mark Griswold a while back, and I consider it an excellent starting 
point if you have USD 1500+ to spend and want the same kind of gear that 
gets used by video and film production companies to do their sound.

http://www.trewaudio.com/downloads.htm
http://www.trewaudio.com/download/non%20linear%20comp%20chart.pdf

Based on the research I've done [but no field testing yet!], my 
recommendations for stereo would go to either the HHB Portadisk [msrp 
USD 1600] or the Fostex FR2 [msrp USD 1500], depending on which features 
and interface strikes you best.

You can get 4 channels from the Sound Devices 744T [msrp 4,250], while 
Fostex makes a 6 channel model for about 8,500,. HHB has an 8 channel 
monster going for 10,000, and Zaxcom's Deva V hauls a whopping 10 
channels for USD 13,00. Top of the line, the Bentley of non-linear 
recorders, is the 8 channel Aaton Cantar, ringing in around 14,500, but 
man is it sweet!

Save your milk-money ;-)
d

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

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From ???@??? Mon Jan 24 18:51:35 2005
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Subject: [microsound] [ann] Zs and David Grubbs at galapagos 1/26
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Wednesday, Jan 26th, 10pm...

DARMSTADT @ Galapagos presents:

Zs with special guest DJ David Grubbs of Drag City and Gastr del Sol!

New York's brutal chamber sextet, Zs (www.zzzsss.com) is a band working
between the worlds of Avant Rock and New Music. Mostly instrumental, the
music often explores the extremes of compositional complexity and
virtuosity as well as extended repetition. The sound ranges from bombastic
Prog Rock counterpoint to barely audible breathing sounds. Several members
contribute compositions, and some pieces are written collaboratively.

Zs formed in January 2002 and began performing in September, sharing bills
with the Flying Luttenbachers, Touchdown, Gang Gang Dance, Young People,
Ty Braxton and other experimental acts in New York and around the
Northeast. They also performed in conjunction with Wet Ink Musics, a
non-profit curatorial group for New Music, opening for seminal composer
Christian Wolff.

David Grubbs is a Brooklyn-based musician and writer.  His most recent
album is "A Guess at the Riddle" (Drag City/FatCat).  He has played in
Gastr del Sol, The Red Krayola, and Squirrel Bait; directs the Blue
Chopsticks record label; and contributes music criticism to the
Sueddeutsche Zeitung.

All this and more at Darmstadt:

Classics of the Avant-Garde listening party

$5.00....10pm - late.
galapagos
70 north 6 street, williamsburg, ny, 718.384.4586

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From ???@??? Mon Jan 24 18:13:15 2005
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Date: Mon, 24 Jan 2005 19:14:37 +0100
From: Noisejihad <xxxx@xxxxxxxxxx.xx>
Subject: [microsound] Hippo MP3
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--Boundary_(ID_1hcEmh1ju7WUoIFFEKpGRA)
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Hey all
I've uploaded a track, entirely made of sound from hippos, made for and performed at the opening of an exhibition last friday. All the source material were incredibly low-bit and badly compressed soundclips found on the internet, as it seems that the amount of CD's released with usable sounds are limited (more like slim to none). Same goes with the hippo, i discovered, it doesn't have a wide variety of sounds and nor does it use those sounds too often. Anyway the track is called "Post digital hippo collapse" (22.02 m/s - 20.1mb) and can be downloaded from the audio section, bottompage, here www.waldchengarten.dk 
Comments are welcomed, but please keep them off list...

enjoy!
Lars
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII
Next: Electrical Bonding on Desolation House >>> www.desolationhouse.com
Now: Uncomfortable Positions - mp3-ep on Fukk God >>> www.fukkgod.org
key to knowledge on danish noise >>> www.noisejihad.dk
art >>> www.ideations.dk
www.waldchengarten.dk
--Boundary_(ID_1hcEmh1ju7WUoIFFEKpGRA)--

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 music]
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---------- Original Message ----------------------------------
From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Date: Sun, 23 Jan 2005 22:16:01 +0100

>>absolutely true.  my order to FE last week included both german
>>electronic artist chronomad and folk enigma jandek.

>-Now the next phase is:
> how to inter-connect acoustic and electronic?

we do that in our music all the time.  some of the tracks are like 
what i thought "folktronica" would be...folky guitar and singing with 
crunchy electronic beats.  others are electronic-based with 
acoustic elements.  not sure if the best examples are online, but if 
anyone's interested:

http://www.dreamintodust.com


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From ???@??? Mon Jan 24 16:26:22 2005
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Does anyone know who are considered the most electronic music friendly 
distributors in the Europe?

I'm looking for coverage in Scandinavia, France, Germany, Spain in 
particular.... Would appreciate any links to reputable companies dealing 
with those territories.

Who is Mille Plateaux with now?

Thanks David 


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From ???@??? Mon Jan 24 16:12:19 2005
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Date: Mon, 24 Jan 2005 10:16:38 -0600
From: DaveX <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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> your expectations were too high.

Don't flatter yourself. 




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From ???@??? Mon Jan 24 14:19:47 2005
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hi

( 05.01.23 23:21 -0600 ) DaveX:
> For some smart folks, who really seem to love music, you sure do work
> hard at making composition into some sort of stupid game.

you are making an 'OR' when it may be an 'AND':
loving music OR playing music games [games can be stupid, but don't have to be]

> Frankly, I'm disappointed as hell in the quality of discussion at this
> list.

your expectations were too high.

-- 
\js       &http://or8.net/~johns $ ''=&$'! \*<_-@`   !~%{@       ) 
iraq body count: 15,458 [min] 17,683 [max] 

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Anyone has played live with the Roland SP-808 Groove
Sampler?

http://www.loopers-delight.com/tools/sp808/sp808.html

Is it enough for a good experimental electronic music
performance when the sources are previously created
into softwares? Does it handle a huge base wav file
and some wav samples in a 100mb zip withou crashing?

Please respond me off-list.

Thanks and best,
Zusa


        
        
                
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From ???@??? Mon Jan 24 07:30:33 2005
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I think the reason most people focused on that is because that's what 
was explicitly asked for:

 From the original email proposal:
"i have an idea for a microsound project . lets all compose a work that 
is over one minute and is no more than 56k in size [wav or mp3]"


/sean


On Jan 23, 2005, at 8:29 PM, Scott Carver wrote:

> Exactly. If the central tenets of the challenge are (a) 56k (b) sound, 
> then mp3 is probably the the least interesting ways of going about 
> this. It seems to me there are any number of ways a sound (a sonic 
> experience?) could be transmitted in a 56k file... I don't think the 
> way to start is thinking in terms of off-the-shelf data compression 
> like mp3. Software is one way to approach the problem, but I think 
> there is a lot of territory here that is left being unexplored.
>
> - Scott Carver
>
>> Certainly.
>>
>> I found it kind of interesting that most people on this list who 
>> responded immediately focused on mp3s and reducing their size. As if 
>> the only way to do it is to externally source a larger linear audio 
>> file you captured and compress it as much as possible
>
>
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I imagine there might be some territory to be covered by taking the  
lead of Cardew (by way of Treatise), and creating a 56k file with no  
explicit decoding procedure at all.

- Scott

On Jan 23, 2005, at 8:37 PM, Aaron Ximm wrote:

>> this. It seems to me there are any number of ways a sound (a sonic
>> experience?) could be transmitted in a 56k file... I don't think the
>
> MIDI files are arguably at least as portable as MP3s.
>
> And that's a lot of tablature in plaintext...
>
>  fast
>
>   
> ----(2)-0-----------(5)-0-------------(2)-0----------(3)(2) 
> -0----------
>   
> ------------(3)-5------------(3)-5-----------(3)-5-------------(3) 
> -5---
>  --...
>  --...
>  --...
> --...
>
>  :D
>
>   aaron
>
>   xxxxx@xxxx.xxx
>   http://www.quietamerican.org
>
>   |  quod omne animal post   |
>   |  cogitum est triste...   |
>
>
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" no, you're missing the point.  everyone here is really obsessed with all
these "constraints" and stuff"

*snip*

My thoughts exactly. For some smart folks, who really seem to love music,
you sure do work hard at making composition into some sort of stupid game.
Frankly, I'm disappointed as hell in the quality of discussion at this list.
Hopefully, things will improve, but I think I will be lurking until then.

DaveX


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From ???@??? Mon Jan 24 04:37:37 2005
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> this. It seems to me there are any number of ways a sound (a sonic
> experience?) could be transmitted in a 56k file... I don't think the

MIDI files are arguably at least as portable as MP3s.

And that's a lot of tablature in plaintext...

 fast

 ----(2)-0-----------(5)-0-------------(2)-0----------(3)(2)-0----------
 ------------(3)-5------------(3)-5-----------(3)-5-------------(3)-5---
 --...
 --...
 --...
--...

 :D

  aaron

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

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


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Exactly. If the central tenets of the challenge are (a) 56k (b) sound, 
then mp3 is probably the the least interesting ways of going about 
this. It seems to me there are any number of ways a sound (a sonic 
experience?) could be transmitted in a 56k file... I don't think the 
way to start is thinking in terms of off-the-shelf data compression 
like mp3. Software is one way to approach the problem, but I think 
there is a lot of territory here that is left being unexplored.

- Scott Carver

> Certainly.
>
> I found it kind of interesting that most people on this list who 
> responded immediately focused on mp3s and reducing their size. As if 
> the only way to do it is to externally source a larger linear audio 
> file you captured and compress it as much as possible


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From ???@??? Mon Jan 24 04:18:30 2005
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Date: Sun, 23 Jan 2005 20:17:38 -0800
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Don't worry Greg, I got it...and it was funny. In fact, I propose that  
for the next 24 hours, the members of this list only post comment to  
the list that display a good sense of humor... now that's a challenge.

k

On Jan 23, 2005, at 7:19 PM, greg g wrote:

> no, you're missing the point.  everyone here is really obsessed with  
> all these "constraints" and stuff, like only using certain software or  
> encoding, or certain samples, like the microsound releases for  
> example.
>
> so this obviously is a parody of that... how about the constraints  
> being "good music" for a change
>
>
>
>> From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>> Date: Sun, 23 Jan 2005 22:13:21 -0500
>>
>> I think greg means "good" as determined by whomever sends something  
>> in.  If you think you're stuff is "good", send it (if you want)
>> But I'm just guessing.
>> chris
>> On Jan 23, 2005, at 10:06 PM, greg g wrote:
>>
>>> you are thinking way too hard
>>>
>>> just chill
>>>
>>>
>>>> From: <xxxxxxxxxx@xxxxxxx.xxx>
>>>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> Subject: Re: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>> Date: Sun, 23 Jan 2005 21:56:24 -0500
>>>>
>>>> "good" as determined by who?
>>>> are you proposing that your subjective judgement represents a   
>>>> consensus?
>>>>
>>>> ----- Original Message -----
>>>> From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>>>> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> Sent: Sunday, January 23, 2005 9:20 PM
>>>> Subject: Re: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>>
>>>>
>>>> > that's why it's a challenge
>>>> >
>>>> > better get started.  i'm serious
>>>> >
>>>> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>>>> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>>>>  things
>>>> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
>>>> > >
>>>> > >that'll be a small site...
>>>> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
>>>> > >
>>>> > >>i propose the "good music" challenge--only good music  
>>>> submissions  plz,
>>>> > >>that's the only constraint.  i'll host the files free
>>>> > >>
>>>> > >>
>>>> > >>
>>>> > >>>From: xxxxxxx@xxx.xxx
>>>> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>>>> > >>>Subject: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>>>> > >>>
>>>> > >>>the reason i proposed the 56k challenge was because i wanted  
>>>> to  see
>>>> what
>>>> > >>>would happen if people are limited by certain restraints
>>>> .............be
>>>> > >>>it physiccal, mental, sonic or file size.....i could have just  
>>>> as
>>>> easily
>>>> > >>>proposed a project that involved everyone composing music/art   
>>>> using
>>>> > >>>nothing, but text files or the color red or even better only  
>>>> the  left
>>>> or
>>>> > >>>right channel. the reason why i chose 56k or smaller was that  
>>>> i  am on a
>>>> > >>>cheap laptop in indiana and im working w/ a 56k modem and im   
>>>> getting
>>>> > >>>tired of trying to down load 9MB or larger files....also i   
>>>> wanted to
>>>> > >>>challenge my self to write something that i could easily   
>>>> upload/down
>>>> > >>>load. i personally dont care what format you make the   
>>>> file.....just
>>>> keep
>>>> > >>>it under 56k.
>>>> > >>>
>>>> > >>>-thaniel ion lee///bridle wire
>>>> > >>>
>>>> > >>>oh, ya
>>>> > >>>
>>>> > >>>359 true and untrue I statements
>>>> > >>>by thaniel ion lee
>>>> > >>>online from january 23rd til february 23rd
>>>> > >>>located at
>>>> > >>>http://thanielionlee.com/
>>>> > >>>
>>>> > >>>if you would like to comment on the work kindly send the  
>>>> comment  to
>>>> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send  
>>>> it  to
>>>> > >>>everyone who got this email
>>>> > >>
>>>> >  
>>>> >>_________________________________________________________________
>>>> > >>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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>>>> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>> > >>website: http://www.microsound.org
>>>> > >>
>>>> > >>
>>>> > >mandra
>>>> > >c:410.258.5281
>>>> > >h:301 772 7376
>>>> > >
>>>> > >realtime experimentalist / guitarist for 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!
>>>> > >happening the 3rd Sunday of EVERY month
>>>> > >@ the Royal - 1542 Light Street, Baltimore, MD
>>>> > >watch, listen, dance, relax and explore the "known unknowns"
>>>> > >
>>>> > >AND check out "e+@13" - a new show the first Thursday of every   
>>>> month at
>>>> the
>>>> > >13th Floor in Baltimore highlighting live aspects of electronic   
>>>> music.
>>>> > >
>>>> > >
>>>> > >
>>>> >   
>>>> >------------------------------------------------------------------- 
>>>> --
>>>> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>> > >website: http://www.microsound.org
>>>> > >
>>>> >
>>>> > _________________________________________________________________
>>>> > 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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>>>> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>>>> >
>>>>
>>>>
>>>> -------------------------------------------------------------------- 
>>>> -
>>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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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/
>>>
>>>
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>>
>> mandra
>> c:410.258.5281
>> h:301 772 7376
>>
>> realtime experimentalist / guitarist for 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!
>> happening the 3rd Sunday of EVERY month
>> @ the Royal - 1542 Light Street, Baltimore, MD
>> watch, listen, dance, relax and explore the "known unknowns"
>>
>> AND check out "e+@13" - a new show the first Thursday of every month  
>> at  the 13th Floor in Baltimore highlighting live aspects of  
>> electronic  music.
>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>
> _________________________________________________________________
> 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 ???@??? Mon Jan 24 04:06:15 2005
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Date: Sun, 23 Jan 2005 23:07:01 -0500
From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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ergo, even though I missed your point, what I wrote is apropos...



On Jan 23, 2005, at 10:19 PM, greg g wrote:

> no, you're missing the point.  everyone here is really obsessed with  
> all these "constraints" and stuff, like only using certain software or  
> encoding, or certain samples, like the microsound releases for  
> example.
>
> so this obviously is a parody of that... how about the constraints  
> being "good music" for a change
>
>
>
>> From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>> Date: Sun, 23 Jan 2005 22:13:21 -0500
>>
>> I think greg means "good" as determined by whomever sends something  
>> in.  If you think you're stuff is "good", send it (if you want)
>> But I'm just guessing.
>> chris
>> On Jan 23, 2005, at 10:06 PM, greg g wrote:
>>
>>> you are thinking way too hard
>>>
>>> just chill
>>>
>>>
>>>> From: <xxxxxxxxxx@xxxxxxx.xxx>
>>>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> Subject: Re: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>> Date: Sun, 23 Jan 2005 21:56:24 -0500
>>>>
>>>> "good" as determined by who?
>>>> are you proposing that your subjective judgement represents a   
>>>> consensus?
>>>>
>>>> ----- Original Message -----
>>>> From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>>>> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> Sent: Sunday, January 23, 2005 9:20 PM
>>>> Subject: Re: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>>
>>>>
>>>> > that's why it's a challenge
>>>> >
>>>> > better get started.  i'm serious
>>>> >
>>>> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>>>> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>>>>  things
>>>> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
>>>> > >
>>>> > >that'll be a small site...
>>>> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
>>>> > >
>>>> > >>i propose the "good music" challenge--only good music  
>>>> submissions  plz,
>>>> > >>that's the only constraint.  i'll host the files free
>>>> > >>
>>>> > >>
>>>> > >>
>>>> > >>>From: xxxxxxx@xxx.xxx
>>>> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>>>> > >>>Subject: [microsound] thoughts on the 56k chalenge and other   
>>>> things
>>>> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>>>> > >>>
>>>> > >>>the reason i proposed the 56k challenge was because i wanted  
>>>> to  see
>>>> what
>>>> > >>>would happen if people are limited by certain restraints
>>>> .............be
>>>> > >>>it physiccal, mental, sonic or file size.....i could have just  
>>>> as
>>>> easily
>>>> > >>>proposed a project that involved everyone composing music/art   
>>>> using
>>>> > >>>nothing, but text files or the color red or even better only  
>>>> the  left
>>>> or
>>>> > >>>right channel. the reason why i chose 56k or smaller was that  
>>>> i  am on a
>>>> > >>>cheap laptop in indiana and im working w/ a 56k modem and im   
>>>> getting
>>>> > >>>tired of trying to down load 9MB or larger files....also i   
>>>> wanted to
>>>> > >>>challenge my self to write something that i could easily   
>>>> upload/down
>>>> > >>>load. i personally dont care what format you make the   
>>>> file.....just
>>>> keep
>>>> > >>>it under 56k.
>>>> > >>>
>>>> > >>>-thaniel ion lee///bridle wire
>>>> > >>>
>>>> > >>>oh, ya
>>>> > >>>
>>>> > >>>359 true and untrue I statements
>>>> > >>>by thaniel ion lee
>>>> > >>>online from january 23rd til february 23rd
>>>> > >>>located at
>>>> > >>>http://thanielionlee.com/
>>>> > >>>
>>>> > >>>if you would like to comment on the work kindly send the  
>>>> comment  to
>>>> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send  
>>>> it  to
>>>> > >>>everyone who got this email
>>>> > >>
>>>> >  
>>>> >>_________________________________________________________________
>>>> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
>>>> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
>>>> > >>
>>>> > >>
>>>> >   
>>>> >>------------------------------------------------------------------ 
>>>> -- -
>>>> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>> > >>website: http://www.microsound.org
>>>> > >>
>>>> > >>
>>>> > >mandra
>>>> > >c:410.258.5281
>>>> > >h:301 772 7376
>>>> > >
>>>> > >realtime experimentalist / guitarist for 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!
>>>> > >happening the 3rd Sunday of EVERY month
>>>> > >@ the Royal - 1542 Light Street, Baltimore, MD
>>>> > >watch, listen, dance, relax and explore the "known unknowns"
>>>> > >
>>>> > >AND check out "e+@13" - a new show the first Thursday of every   
>>>> month at
>>>> the
>>>> > >13th Floor in Baltimore highlighting live aspects of electronic   
>>>> music.
>>>> > >
>>>> > >
>>>> > >
>>>> >   
>>>> >------------------------------------------------------------------- 
>>>> --
>>>> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>> > >website: http://www.microsound.org
>>>> > >
>>>> >
>>>> > _________________________________________________________________
>>>> > 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
>>>> 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/
>>>
>>>
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>>
>>>
>> mandra
>> c:410.258.5281
>> h:301 772 7376
>>
>> realtime experimentalist / guitarist for 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!
>> happening the 3rd Sunday of EVERY month
>> @ the Royal - 1542 Light Street, Baltimore, MD
>> watch, listen, dance, relax and explore the "known unknowns"
>>
>> AND check out "e+@13" - a new show the first Thursday of every month  
>> at  the 13th Floor in Baltimore highlighting live aspects of  
>> electronic  music.
>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>
> _________________________________________________________________
> 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
>
>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for 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!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at  
the 13th Floor in Baltimore highlighting live aspects of electronic  
music.



---------------------------------------------------------------------
To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
website: http://www.microsound.org


From ???@??? Mon Jan 24 03:20:09 2005
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Date: Mon, 24 Jan 2005 03:19:47 +0000
From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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 FILETIME=[96D7E930:01C501C3]

no, you're missing the point.  everyone here is really obsessed with all 
these "constraints" and stuff, like only using certain software or encoding, 
or certain samples, like the microsound releases for example.

so this obviously is a parody of that... how about the constraints being 
"good music" for a change



>From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] thoughts on the 56k chalenge and other things
>Date: Sun, 23 Jan 2005 22:13:21 -0500
>
>I think greg means "good" as determined by whomever sends something in.  If 
>you think you're stuff is "good", send it (if you want)
>But I'm just guessing.
>chris
>On Jan 23, 2005, at 10:06 PM, greg g wrote:
>
>>you are thinking way too hard
>>
>>just chill
>>
>>
>>>From: <xxxxxxxxxx@xxxxxxx.xxx>
>>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>Subject: Re: [microsound] thoughts on the 56k chalenge and other  things
>>>Date: Sun, 23 Jan 2005 21:56:24 -0500
>>>
>>>"good" as determined by who?
>>>are you proposing that your subjective judgement represents a  consensus?
>>>
>>>----- Original Message -----
>>>From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>>>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>Sent: Sunday, January 23, 2005 9:20 PM
>>>Subject: Re: [microsound] thoughts on the 56k chalenge and other  things
>>>
>>>
>>> > that's why it's a challenge
>>> >
>>> > better get started.  i'm serious
>>> >
>>> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>>> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>>>things
>>> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
>>> > >
>>> > >that'll be a small site...
>>> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
>>> > >
>>> > >>i propose the "good music" challenge--only good music submissions  
>>>plz,
>>> > >>that's the only constraint.  i'll host the files free
>>> > >>
>>> > >>
>>> > >>
>>> > >>>From: xxxxxxx@xxx.xxx
>>> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>>> > >>>Subject: [microsound] thoughts on the 56k chalenge and other  
>>>things
>>> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>>> > >>>
>>> > >>>the reason i proposed the 56k challenge was because i wanted to  
>>>see
>>>what
>>> > >>>would happen if people are limited by certain restraints
>>>.............be
>>> > >>>it physiccal, mental, sonic or file size.....i could have just as
>>>easily
>>> > >>>proposed a project that involved everyone composing music/art  
>>>using
>>> > >>>nothing, but text files or the color red or even better only the  
>>>left
>>>or
>>> > >>>right channel. the reason why i chose 56k or smaller was that i  am 
>>>on a
>>> > >>>cheap laptop in indiana and im working w/ a 56k modem and im  
>>>getting
>>> > >>>tired of trying to down load 9MB or larger files....also i  wanted 
>>>to
>>> > >>>challenge my self to write something that i could easily  
>>>upload/down
>>> > >>>load. i personally dont care what format you make the  
>>>file.....just
>>>keep
>>> > >>>it under 56k.
>>> > >>>
>>> > >>>-thaniel ion lee///bridle wire
>>> > >>>
>>> > >>>oh, ya
>>> > >>>
>>> > >>>359 true and untrue I statements
>>> > >>>by thaniel ion lee
>>> > >>>online from january 23rd til february 23rd
>>> > >>>located at
>>> > >>>http://thanielionlee.com/
>>> > >>>
>>> > >>>if you would like to comment on the work kindly send the comment  
>>>to
>>> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it  
>>>to
>>> > >>>everyone who got this email
>>> > >>
>>> > >>_________________________________________________________________
>>> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
>>> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
>>> > >>
>>> > >>
>>> >  
>>> >>-------------------------------------------------------------------- -
>>> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> > >>website: http://www.microsound.org
>>> > >>
>>> > >>
>>> > >mandra
>>> > >c:410.258.5281
>>> > >h:301 772 7376
>>> > >
>>> > >realtime experimentalist / guitarist for 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!
>>> > >happening the 3rd Sunday of EVERY month
>>> > >@ the Royal - 1542 Light Street, Baltimore, MD
>>> > >watch, listen, dance, relax and explore the "known unknowns"
>>> > >
>>> > >AND check out "e+@13" - a new show the first Thursday of every  month 
>>>at
>>>the
>>> > >13th Floor in Baltimore highlighting live aspects of electronic  
>>>music.
>>> > >
>>> > >
>>> > >
>>> >  
>>> >---------------------------------------------------------------------
>>> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> > >website: http://www.microsound.org
>>> > >
>>> >
>>> > _________________________________________________________________
>>> > 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
>>>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/
>>
>>
>>---------------------------------------------------------------------
>>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>website: http://www.microsound.org
>>
>>
>mandra
>c:410.258.5281
>h:301 772 7376
>
>realtime experimentalist / guitarist for 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!
>happening the 3rd Sunday of EVERY month
>@ the Royal - 1542 Light Street, Baltimore, MD
>watch, listen, dance, relax and explore the "known unknowns"
>
>AND check out "e+@13" - a new show the first Thursday of every month at  
>the 13th Floor in Baltimore highlighting live aspects of electronic  music.
>
>
>
>---------------------------------------------------------------------
>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>website: http://www.microsound.org
>

_________________________________________________________________
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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From ???@??? Mon Jan 24 03:12:40 2005
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Date: Sun, 23 Jan 2005 22:13:21 -0500
From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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I think greg means "good" as determined by whomever sends something in.  
If you think you're stuff is "good", send it (if you want)
But I'm just guessing.
chris
On Jan 23, 2005, at 10:06 PM, greg g wrote:

> you are thinking way too hard
>
> just chill
>
>
>> From: <xxxxxxxxxx@xxxxxxx.xxx>
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>> Date: Sun, 23 Jan 2005 21:56:24 -0500
>>
>> "good" as determined by who?
>> are you proposing that your subjective judgement represents a  
>> consensus?
>>
>> ----- Original Message -----
>> From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>> Sent: Sunday, January 23, 2005 9:20 PM
>> Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>>
>>
>> > that's why it's a challenge
>> >
>> > better get started.  i'm serious
>> >
>> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other  
>> things
>> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
>> > >
>> > >that'll be a small site...
>> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
>> > >
>> > >>i propose the "good music" challenge--only good music submissions  
>> plz,
>> > >>that's the only constraint.  i'll host the files free
>> > >>
>> > >>
>> > >>
>> > >>>From: xxxxxxx@xxx.xxx
>> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>> > >>>Subject: [microsound] thoughts on the 56k chalenge and other  
>> things
>> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>> > >>>
>> > >>>the reason i proposed the 56k challenge was because i wanted to  
>> see
>> what
>> > >>>would happen if people are limited by certain restraints
>> .............be
>> > >>>it physiccal, mental, sonic or file size.....i could have just as
>> easily
>> > >>>proposed a project that involved everyone composing music/art  
>> using
>> > >>>nothing, but text files or the color red or even better only the  
>> left
>> or
>> > >>>right channel. the reason why i chose 56k or smaller was that i  
>> am on a
>> > >>>cheap laptop in indiana and im working w/ a 56k modem and im  
>> getting
>> > >>>tired of trying to down load 9MB or larger files....also i  
>> wanted to
>> > >>>challenge my self to write something that i could easily  
>> upload/down
>> > >>>load. i personally dont care what format you make the  
>> file.....just
>> keep
>> > >>>it under 56k.
>> > >>>
>> > >>>-thaniel ion lee///bridle wire
>> > >>>
>> > >>>oh, ya
>> > >>>
>> > >>>359 true and untrue I statements
>> > >>>by thaniel ion lee
>> > >>>online from january 23rd til february 23rd
>> > >>>located at
>> > >>>http://thanielionlee.com/
>> > >>>
>> > >>>if you would like to comment on the work kindly send the comment  
>> to
>> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it  
>> to
>> > >>>everyone who got this email
>> > >>
>> > >>_________________________________________________________________
>> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
>> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
>> > >>
>> > >>
>> >  
>> >>-------------------------------------------------------------------- 
>> -
>> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> > >>website: http://www.microsound.org
>> > >>
>> > >>
>> > >mandra
>> > >c:410.258.5281
>> > >h:301 772 7376
>> > >
>> > >realtime experimentalist / guitarist for 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!
>> > >happening the 3rd Sunday of EVERY month
>> > >@ the Royal - 1542 Light Street, Baltimore, MD
>> > >watch, listen, dance, relax and explore the "known unknowns"
>> > >
>> > >AND check out "e+@13" - a new show the first Thursday of every  
>> month at
>> the
>> > >13th Floor in Baltimore highlighting live aspects of electronic  
>> music.
>> > >
>> > >
>> > >
>> >  
>> >---------------------------------------------------------------------
>> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> > >website: http://www.microsound.org
>> > >
>> >
>> > _________________________________________________________________
>> > 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
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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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>
>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for 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!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at  
the 13th Floor in Baltimore highlighting live aspects of electronic  
music.



---------------------------------------------------------------------
To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
website: http://www.microsound.org


From ???@??? Mon Jan 24 03:07:20 2005
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From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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 FILETIME=[C60FB040:01C501C1]

you are thinking way too hard

just chill


>From: <xxxxxxxxxx@xxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] thoughts on the 56k chalenge and other things
>Date: Sun, 23 Jan 2005 21:56:24 -0500
>
>"good" as determined by who?
>are you proposing that your subjective judgement represents a consensus?
>
>----- Original Message -----
>From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>To: <xxxxxxxxxx@xxxxxxxxx.xxx>
>Sent: Sunday, January 23, 2005 9:20 PM
>Subject: Re: [microsound] thoughts on the 56k chalenge and other things
>
>
> > that's why it's a challenge
> >
> > better get started.  i'm serious
> >
> > >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
> > >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > >Subject: Re: [microsound] thoughts on the 56k chalenge and other things
> > >Date: Sun, 23 Jan 2005 21:17:28 -0500
> > >
> > >that'll be a small site...
> > >On Jan 23, 2005, at 9:13 PM, greg g wrote:
> > >
> > >>i propose the "good music" challenge--only good music submissions plz,
> > >>that's the only constraint.  i'll host the files free
> > >>
> > >>
> > >>
> > >>>From: xxxxxxx@xxx.xxx
> > >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
> > >>>Subject: [microsound] thoughts on the 56k chalenge and other things
> > >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
> > >>>
> > >>>the reason i proposed the 56k challenge was because i wanted to see
>what
> > >>>would happen if people are limited by certain restraints
>.............be
> > >>>it physiccal, mental, sonic or file size.....i could have just as
>easily
> > >>>proposed a project that involved everyone composing music/art using
> > >>>nothing, but text files or the color red or even better only the left
>or
> > >>>right channel. the reason why i chose 56k or smaller was that i am on 
>a
> > >>>cheap laptop in indiana and im working w/ a 56k modem and im getting
> > >>>tired of trying to down load 9MB or larger files....also i wanted to
> > >>>challenge my self to write something that i could easily upload/down
> > >>>load. i personally dont care what format you make the file.....just
>keep
> > >>>it under 56k.
> > >>>
> > >>>-thaniel ion lee///bridle wire
> > >>>
> > >>>oh, ya
> > >>>
> > >>>359 true and untrue I statements
> > >>>by thaniel ion lee
> > >>>online from january 23rd til february 23rd
> > >>>located at
> > >>>http://thanielionlee.com/
> > >>>
> > >>>if you would like to comment on the work kindly send the comment to
> > >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
> > >>>everyone who got this email
> > >>
> > >>_________________________________________________________________
> > >>FREE pop-up blocking with the new MSN Toolbar - get it now!
> > >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
> > >>
> > >>
> > >>---------------------------------------------------------------------
> > >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >>website: http://www.microsound.org
> > >>
> > >>
> > >mandra
> > >c:410.258.5281
> > >h:301 772 7376
> > >
> > >realtime experimentalist / guitarist for 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!
> > >happening the 3rd Sunday of EVERY month
> > >@ the Royal - 1542 Light Street, Baltimore, MD
> > >watch, listen, dance, relax and explore the "known unknowns"
> > >
> > >AND check out "e+@13" - a new show the first Thursday of every month at
>the
> > >13th Floor in Baltimore highlighting live aspects of electronic music.
> > >
> > >
> > >
> > >---------------------------------------------------------------------
> > >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >website: http://www.microsound.org
> > >
> >
> > _________________________________________________________________
> > 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
>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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From ???@??? Mon Jan 24 03:00:37 2005
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Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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"good" as determined by who?
are you proposing that your subjective judgement represents a consensus?

----- Original Message ----- 
From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, January 23, 2005 9:20 PM
Subject: Re: [microsound] thoughts on the 56k chalenge and other things


> that's why it's a challenge
>
> better get started.  i'm serious
>
> >From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
> >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >Subject: Re: [microsound] thoughts on the 56k chalenge and other things
> >Date: Sun, 23 Jan 2005 21:17:28 -0500
> >
> >that'll be a small site...
> >On Jan 23, 2005, at 9:13 PM, greg g wrote:
> >
> >>i propose the "good music" challenge--only good music submissions plz,
> >>that's the only constraint.  i'll host the files free
> >>
> >>
> >>
> >>>From: xxxxxxx@xxx.xxx
> >>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
> >>>Subject: [microsound] thoughts on the 56k chalenge and other things
> >>>Date: Mon, 24 Jan 2005 01:07:57 +0000
> >>>
> >>>the reason i proposed the 56k challenge was because i wanted to see
what
> >>>would happen if people are limited by certain restraints
..............be
> >>>it physiccal, mental, sonic or file size.....i could have just as
easily
> >>>proposed a project that involved everyone composing music/art using
> >>>nothing, but text files or the color red or even better only the left
or
> >>>right channel. the reason why i chose 56k or smaller was that i am on a
> >>>cheap laptop in indiana and im working w/ a 56k modem and im getting
> >>>tired of trying to down load 9MB or larger files....also i wanted to
> >>>challenge my self to write something that i could easily upload/down
> >>>load. i personally dont care what format you make the file.....just
keep
> >>>it under 56k.
> >>>
> >>>-thaniel ion lee///bridle wire
> >>>
> >>>oh, ya
> >>>
> >>>359 true and untrue I statements
> >>>by thaniel ion lee
> >>>online from january 23rd til february 23rd
> >>>located at
> >>>http://thanielionlee.com/
> >>>
> >>>if you would like to comment on the work kindly send the comment to
> >>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
> >>>everyone who got this email
> >>
> >>_________________________________________________________________
> >>FREE pop-up blocking with the new MSN Toolbar - get it now!
> >>http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/
> >>
> >>
> >>---------------------------------------------------------------------
> >>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> >>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >>website: http://www.microsound.org
> >>
> >>
> >mandra
> >c:410.258.5281
> >h:301 772 7376
> >
> >realtime experimentalist / guitarist for 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!
> >happening the 3rd Sunday of EVERY month
> >@ the Royal - 1542 Light Street, Baltimore, MD
> >watch, listen, dance, relax and explore the "known unknowns"
> >
> >AND check out "e+@13" - a new show the first Thursday of every month at
the
> >13th Floor in Baltimore highlighting live aspects of electronic music.
> >
> >
> >
> >---------------------------------------------------------------------
> >To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >website: http://www.microsound.org
> >
>
> _________________________________________________________________
> 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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This past fall I saw Mari Kimura demonstrate and talk about her work at 
Harvestworks in NYC. I was surprised and heartened to learn that she 
teaches a class in interactive performance technique where these 
juliard kids not only have to play with computers but have to learn to 
do there own programing in max/msp. Not quite the bastion of 19th 
century musical values it once was I guess.


On Sunday, January 23, 2005, at 08:45 PM, Kim Cascone wrote:

> http://www.juilliard.edu/update/journal/j_articles385.html


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From ???@??? Mon Jan 24 02:21:11 2005
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Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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 FILETIME=[58C5B030:01C501BB]

that's why it's a challenge

better get started.  i'm serious

>From: (chris) mandra <xxxxxx@xxxxxxxxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] thoughts on the 56k chalenge and other things
>Date: Sun, 23 Jan 2005 21:17:28 -0500
>
>that'll be a small site...
>On Jan 23, 2005, at 9:13 PM, greg g wrote:
>
>>i propose the "good music" challenge--only good music submissions plz, 
>>that's the only constraint.  i'll host the files free
>>
>>
>>
>>>From: xxxxxxx@xxx.xxx
>>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>>>Subject: [microsound] thoughts on the 56k chalenge and other things
>>>Date: Mon, 24 Jan 2005 01:07:57 +0000
>>>
>>>the reason i proposed the 56k challenge was because i wanted to see what 
>>>would happen if people are limited by certain restraints .............be 
>>>it physiccal, mental, sonic or file size.....i could have just as easily 
>>>proposed a project that involved everyone composing music/art using 
>>>nothing, but text files or the color red or even better only the left or 
>>>right channel. the reason why i chose 56k or smaller was that i am on a 
>>>cheap laptop in indiana and im working w/ a 56k modem and im getting 
>>>tired of trying to down load 9MB or larger files....also i wanted to 
>>>challenge my self to write something that i could easily upload/down 
>>>load. i personally dont care what format you make the file.....just keep 
>>>it under 56k.
>>>
>>>-thaniel ion lee///bridle wire
>>>
>>>oh, ya
>>>
>>>359 true and untrue I statements
>>>by thaniel ion lee
>>>online from january 23rd til february 23rd
>>>located at
>>>http://thanielionlee.com/
>>>
>>>if you would like to comment on the work kindly send the comment to
>>>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
>>>everyone who got this email
>>
>>_________________________________________________________________
>>FREE pop-up blocking with the new MSN Toolbar – get it now! 
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>>
>>
>mandra
>c:410.258.5281
>h:301 772 7376
>
>realtime experimentalist / guitarist for 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!
>happening the 3rd Sunday of EVERY month
>@ the Royal - 1542 Light Street, Baltimore, MD
>watch, listen, dance, relax and explore the "known unknowns"
>
>AND check out "e+@13" - a new show the first Thursday of every month at the 
>13th Floor in Baltimore highlighting live aspects of electronic music.
>
>
>
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From ???@??? Mon Jan 24 02:16:45 2005
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Date: Sun, 23 Jan 2005 21:17:28 -0500
From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] thoughts on the 56k chalenge and other things
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that'll be a small site...
On Jan 23, 2005, at 9:13 PM, greg g wrote:

> i propose the "good music" challenge--only good music submissions plz, 
> that's the only constraint.  i'll host the files free
>
>
>
>> From: xxxxxxx@xxx.xxx
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>> Subject: [microsound] thoughts on the 56k chalenge and other things
>> Date: Mon, 24 Jan 2005 01:07:57 +0000
>>
>> the reason i proposed the 56k challenge was because i wanted to see 
>> what would happen if people are limited by certain restraints 
>> .............be it physiccal, mental, sonic or file size.....i could 
>> have just as easily proposed a project that involved everyone 
>> composing music/art using nothing, but text files or the color red or 
>> even better only the left or right channel. the reason why i chose 
>> 56k or smaller was that i am on a cheap laptop in indiana and im 
>> working w/ a 56k modem and im getting tired of trying to down load 
>> 9MB or larger files....also i wanted to challenge my self to write 
>> something that i could easily upload/down load. i personally dont 
>> care what format you make the file.....just keep it under 56k.
>>
>> -thaniel ion lee///bridle wire
>>
>> oh, ya
>>
>> 359 true and untrue I statements
>> by thaniel ion lee
>> online from january 23rd til february 23rd
>> located at
>> http://thanielionlee.com/
>>
>> if you would like to comment on the work kindly send the comment to
>> xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
>> everyone who got this email
>
> _________________________________________________________________
> FREE pop-up blocking with the new MSN Toolbar – get it now! 
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>
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>
>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for 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!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at 
the 13th Floor in Baltimore highlighting live aspects of electronic 
music.



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From ???@??? Mon Jan 24 02:14:10 2005
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 FILETIME=[5E5BDA70:01C501BA]

i propose the "good music" challenge--only good music submissions plz, 
that's the only constraint.  i'll host the files free



>From: xxxxxxx@xxx.xxx
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx (xxxxxxxxxx@xxxxxxxxx.xxx)
>Subject: [microsound] thoughts on the 56k chalenge and other things
>Date: Mon, 24 Jan 2005 01:07:57 +0000
>
>the reason i proposed the 56k challenge was because i wanted to see what 
>would happen if people are limited by certain restraints .............be it 
>physiccal, mental, sonic or file size.....i could have just as easily 
>proposed a project that involved everyone composing music/art using 
>nothing, but text files or the color red or even better only the left or 
>right channel. the reason why i chose 56k or smaller was that i am on a 
>cheap laptop in indiana and im working w/ a 56k modem and im getting tired 
>of trying to down load 9MB or larger files....also i wanted to challenge my 
>self to write something that i could easily upload/down load. i personally 
>dont care what format you make the file.....just keep it under 56k.
>
>-thaniel ion lee///bridle wire
>
>oh, ya
>
>359 true and untrue I statements
>by thaniel ion lee
>online from january 23rd til february 23rd
>located at
>http://thanielionlee.com/
>
>if you would like to comment on the work kindly send the comment to
>xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
>everyone who got this email

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http://www.juilliard.edu/update/journal/j_articles385.html


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From ???@??? Mon Jan 24 01:08:04 2005
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the reason i proposed the 56k challenge was because i wanted to see what would happen if people are limited by certain restraints .............be it physiccal, mental, sonic or file size.....i could have just as easily proposed a project that involved everyone composing music/art using nothing, but text files or the color red or even better only the left or right channel. the reason why i chose 56k or smaller was that i am on a cheap laptop in indiana and im working w/ a 56k modem and im getting tired of trying to down load 9MB or larger files....also i wanted to challenge my self to write something that i could easily upload/down load. i personally dont care what format you make the file.....just keep it under 56k.

-thaniel ion lee///bridle wire

oh, ya

359 true and untrue I statements
by thaniel ion lee
online from january 23rd til february 23rd
located at
http://thanielionlee.com/

if you would like to comment on the work kindly send the comment to
xxxxxxxxxxxxx@xxxxx.xxx ....do not ......i repeat do not send it to
everyone who got this email
--Boundary_(ID_Y7XO1drzZpoGk6l5ZCCpvw)--

From ???@??? Mon Jan 24 00:05:35 2005
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> At variable bit rate MP3, lower frequencies require less information to
> encode than higher frequencies. With some calculation, you could make a
> pretty long bass drone that would still come in under 56K easy. I
> remember something like a 10 minute Slub track using this technique 
> that
> still fit on a floppy.
>
> Likewise, a MIDI file, PD patch or any other essentially "textual"
> instructions for playing a "track" need not take up more than a few Kb
> of space.

Certainly.

I found it kind of interesting that most people on this list who 
responded immediately focused on mp3s and reducing their size. As if 
the only way to do it is to externally source a larger linear audio 
file you captured and compress it as much as possible

Lo-Fi fetish aside, maybe I'm old or something but the first thing that 
popped into my mind was that this was intended as a retro code 
programming challenge to begin with, not the challenge of compressing 
linear data.

  I'm old enough to remember when programmers would get props for fast 
and efficient code rather than tell others by default to go buy 
themselves a faster machine with more RAM or else they are never going 
to run that bloatware app.

Round about 1989 I was working at a college computer lab with a room 
full of already aged IMB PC XTs (pre-286 machines) - so there were 
quite a few afternoons when no classes were held.  I came up with some 
code,  probably compiled Turbo Pascal, all of about 6K that would make 
the PC output insect-like clicking sounds to the speakers along with 
some no frills graphics made with repeated line segments that drew sort 
of palm tree leaves on the screens. So that was my app. Kind of lame on 
one computer but quite a surround environment running on all 16-20 
machines in the room.


ndkent
http://www.technopop.info/ndkent/


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I also consider john's response to be "doing it well"

well!

On Jan 23, 2005, at 5:31 PM, John Nowak wrote:

>
> On Jan 23, 2005, at 4:41 PM, Arie van Schutterhoef wrote:
>
>>> by doing it well.
>
>> -Which applied method would this mean?
>
> Do you consider yourself an artist?
>
> - John
>
>
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Date: Sun, 23 Jan 2005 16:49:05 -0600
From: john kannenberg <xxxx@xxxxxxxxxxx.xxx>
Subject: [microsound]  NEW : Ernesto Rodrigues / ARCHIVE : Takuji Tokiwa
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-----------------------------------------------

Stasisfield begins the 2005 release season
with a new recording and an old favorite.

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

+ NEW RELEASE

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

  SF-4001: Prisma : Ernesto Rodrigues

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

Portugese violinist, composer, and Creative Sources Recordings label 
head Ernesto Rodrigues begins our fourth year with a set of acoustic 
improvised music recorded in Lisbon, Portugal. Recorded by a trio 
consisting of Rodrigues on violin and viola, Michael Thieke on 
clarinet and alto clarinet, and Guilherme Rodrigues on cello and 
pocket trumpet, the three tracks in Prisma move from sparsely 
claustrophobic twittering percussive noises to hi-frequency drones 
and expansive breathing exercises to deceptively simple plucked 
strings and bowed notes. Along the way, the structure of the tracks' 
musical events becomes denser, yet the sounds break free of their 
original condensed field to paint a broad acoustic landscape. A 
challenging, compelling set of music.

Available for download and streaming at:

[ http://www.stasisfield.com/releases/year04/sf-4001.html ]

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

+ ARCHIVE RELEASE

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

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

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

SF-1006 : Four Tears : Takuji Tokiwa

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

Composed by Japanese sound artist Takuji Tokiwa, Four Tears is "an 
electroacoustic symphonic poem." Its four distinct movements each 
display a slightly different acoustic approach, moving from 
manipulated field recordings to layers of synthesized sound. The four 
movements build slowly and contemplatively, meandering between 
ambient drones and visceral noise.

Originally released 13.05.2002

Available for download at:

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

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

As always, thanks for listening.

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

>>

john kannenberg

[ http://www.johnkannenberg.com ]

[ http://www.stasisfield.com ]



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On Jan 23, 2005, at 5:38 PM, Arie van Schutterhoef wrote:

>> Do you consider yourself an artist?

> -No a toilet-cleaner, especially when it comes to
>  remarks containing thoughts you are propagating...
>  Generally flushing the toilet will do the job.
>  Detergents are not really needed, just clean water.

Can you really blame me?

> "Which applied method would this mean?"

Come on now.

- John


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>Do you consider yourself an artist?
-No a toilet-cleaner, especially when it comes to
 remarks containing thoughts you are propagating...
 Generally flushing the toilet will do the job.
 Detergents are not really needed, just clean water.

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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On Jan 23, 2005, at 4:41 PM, Arie van Schutterhoef wrote:

>> by doing it well.

> -Which applied method would this mean?

Do you consider yourself an artist?

- John


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this would mean

- making conscious choices as to one's acoustic and electonic 
instruments

- in a solo situation, avoiding this "dsp'd to death" thing that has 
been mentioned, in this context, I mean using the acoustic instrument 
as a signifier, while letting one's electronics simply makes cool 
noises out of this signifier.

- in a group situation, knowing one's limits as a musician, (for 
instance, that an electronic player can easily just turn it up in order 
make his/herself heard, as opposed to performing a compelling moment or 
series of moments), basically, know yr instrument

- be a musician, not a programmer (duh there is programming involved, 
but i am always a musician _first_)

- content over appearance

personally AvS, i feel that "doing it well" is self explanatory.

what "doing it well" is varies from ears to ears - I may not like one 
musician "doing it well" but I should be able to hear how "well it is 
done"

if an artist does not know "doing it well" in context of their own or 
someone else's work, they are not working, or watching, or listening, 
hard enough.

b.


On Jan 23, 2005, at 4:41 PM, Arie van Schutterhoef wrote:

>> by doing it well.
> -Which applied method would this mean?
>
> AvS
>
>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
> .....................................................................
>
>   `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +
>
>     `  |# -laboratory for live electro-acoustic music- #            |
>        |             http://www.schreck.nl/                         |
>        |             http://www.xs4all.nl/~schreck/                 |
>      ` *===========================================================++
>      ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
>      ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
>      ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
>      ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |
>
>      ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |
>
>        *===========================================================++
>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
> .....................................................................
>
>
>
> ---------------------------------------------------------------------
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>by doing it well.
-Which applied method would this mean?

AvS

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

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

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

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

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



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From ???@??? Sun Jan 23 21:35:26 2005
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by doing it well.

On Jan 23, 2005, at 4:16 PM, Arie van Schutterhoef wrote:

>> absolutely true.  my order to FE last week included both german
>> electronic artist chronomad and folk enigma jandek.
> -Now the next phase is:
>  how to inter-connect acoustic and electronic?
>
> AvS
>
>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
> .....................................................................
>
>   `    |Schreck Ensemble    . . . . . . . . . . . . . . . . . . . . +
>
>     `  |# -laboratory for live electro-acoustic music- #            |
>        |             http://www.schreck.nl/                         |
>        |             http://www.xs4all.nl/~schreck/                 |
>      ` *===========================================================++
>      ` |Compositions http://www.xs4all.nl/~schreck/html/compo.html  |
>      ` |Samples      http://www.xs4all.nl/~schreck/html/samp.html   |
>      ` |Patches      http://www.xs4all.nl/~schreck/html/pat.html    |
>      ` |Videos       http://www.xs4all.nl/~schreck/html/video.html  |
>
>      ` |Scores       http://www.xs4all.nl/~schreck/html/scores.html |
>
>        *===========================================================++
>   . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
> .....................................................................
>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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>absolutely true.  my order to FE last week included both german
>electronic artist chronomad and folk enigma jandek.
-Now the next phase is:
 how to inter-connect acoustic and electronic?

AvS

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

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

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

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

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



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From ???@??? Sun Jan 23 21:13:58 2005
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On Jan 23, 2005, at 2:17 PM, John McCaig wrote:
>
> but seriously, i think what has ending is technical difficulty of
> making electronic music.
> now, anyone with a computer can make some in an evening, its up to
> artists to now to make Art. we just cannot be awed by DSP magic
> anymores.  content will be king.

while I agree that the tools to make very impressive electronic music 
are now readily available at reasonable prices, understanding it and 
leveraging it to make "dsp magic" is still fairly inaccessible.

It might be easy to make "crazy" breakbeat drill'n'bass style these 
days. Actually, I know it is, cuz I make a lot of that stuff. But 
getting it to sound "right" is hard and knowing how best to leverage 
the tools you have at hand takes enormous effort. It's easier and 
easier every day for people to "punk rock" on their computers and bitch 
about software costing a few hundred dollars when it does the job of a 
$4,000 synth.

The "progressive rock" side of electronic music will continue just 
fine. Autechre will still impress the hell out of people.

In fact, I'd say that the easier it is to access the basic tools of 
computer music, the more people will actually understand why certain 
technical feats are impressive, possibly inflating the cult of "DSP 
Magic".

(before people read what too far into what I'm saying accusing me of 
being an elitist snob, I'll point out that I love gabber and 
trackers... and Autechre for that matter.)

Anthony


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From ???@??? Sun Jan 23 20:44:03 2005
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>  >so to >dismiss music purely because the sound
>>originates from an electronic source
>-The opposite is also the case.
>  It nice to remind the electronic laptop performance warriors
>  that all nice sounds don't have to be electronic...

absolutely true.  my order to FE last week included both german 
electronic artist chronomad and folk enigma jandek.

d.

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yes! I seem to remember this exact same argument pertaining to every 
single style/genre/sub-culture I've ever been involved with. after 15 
some years of my involvement in music it is getting a little old!

-------------------------------------
audio @ http://www.myspace.com/myo



On Jan 23, 2005, at 3:11 PM, John Nowak wrote:

>
> On Jan 23, 2005, at 2:49 PM, chthonic streams wrote:
>
>> however, here i believe such a topic is splitting hairs, preaching to 
>> the converted, or just annoying people.
>
> Beautiful. :-)
>
> - John
>
>
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On Jan 23, 2005, at 2:49 PM, chthonic streams wrote:

> however, here i believe such a topic is splitting hairs, preaching to 
> the converted, or just annoying people.

Beautiful. :-)

- John


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>On Jan 23, 2005, at 2:07 PM, Arie van Schutterhoef wrote:
>
>>>Or rather, a completely unimportant notion that I've read 100 times
>>>since I began signing up for mailing lists.
>
>>-Maybe not all people spend their time in that way and they
>>  might find this an important topic to be reminded of.
>>  Maybe as remedy to your overload, try unsubscribing.
>
>How is this knowledge important, and who are these people that need 
>to be reminded of it?

i think some people could benefit from thinking about it that way for 
a few seconds, but these are people who would never be on this list. 
i'm talking about mind-numbingly traditionalist people who fancy 
themselves musical purists.  they worship at the altar of blues-based 
rock guitar or still bemoan when dylan went electric, without 
considering all the electronic gadgets that make their heroes sound 
the way they do, whether onstage or on record.

unless people sit in a small room with the musicians singing and 
playing an acoustic with no sound support whatsoever, they're 
experiencing some measure of electronics affecting the music (and 
even the smallest amount makes a significant difference).  so to 
dismiss music purely because the sound  originates from an electronic 
source is not seeing the forest for the trees.

however, here i believe such a topic is splitting hairs, preaching to 
the converted, or just annoying people.

d.

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>so to >dismiss music purely because the sound
>originates from an electronic source
-The opposite is also the case.
 It nice to remind the electronic laptop performance warriors
 that all nice sounds don't have to be electronic...

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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On Jan 23, 2005, at 10:53 AM, John Nowak wrote:

>
> On Jan 23, 2005, at 1:28 PM, Glenn Folkvord ((Hyperion Media)) wrote:
>
>> ----- Original Message -----
>> From: "graham miller" <xxxxxxxxxxxx@xxxxxxxxx.xx>
>>
>>> as soon as music is recorded it becomes electronic music. anything 
>>> music
>>> produced by a speaker is electronic music.
>>
>> No, it becomes electronic sound.
>
> Ah christ... Must I really see this same blather again?


    Yes, you must.
>
> Go to your rooms.

  I'm already in my room.
>
>
  I guess there might be a difference between 'electronic sound' and 
'electronic music' , the latter requiring a listener while the former 
doesn't require a listener. Of course this brings to mind the age old 
proverb: " If a tree fell on the moderately priced ($6,195 + shipping) 
tannoy monitors and no-one was there to hear it , was the person who 
wasn't there

  a) a lousy gardener
  b) an incompetent audio engineer
  c) someone with an exciting social life. "


  I think it is an axiom which is constantly being reevaluated, though 
and this is one reason there is such a huge market for electronic 
music.



                                                                 Bill

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On Jan 23, 2005, at 2:17 PM, John McCaig wrote:

>> Blah blah blah blah blah -- that's what you sound like to me!
>>
>> ;-)
>
> i fart on you.

That's the spirit. ;-)

> but seriously, i think what has ending is technical difficulty of
> making electronic music.

In regards to commercial applications, yes. It is very easy for someone 
to fire up Reason and knock out some tunes. Of course, there are still 
areas and applications that require a lot of knowledge and experience. 
Morphing one sound into another still amuses my friends pretty well (or 
at least I'd think it would).

> now, anyone with a computer can make some in an evening, its up to
> artists to now to make Art. we just cannot be awed by DSP magic
> anymores.  content will be king.

I'm not sure if I agree with this or not, but if it is true, it can 
only be a good thing. I've heard far too many warbling sine waves out 
of academia in my day... and I've not even been around that long. ;-)

- John


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On Jan 23, 2005, at 2:07 PM, Arie van Schutterhoef wrote:

>> Or rather, a completely unimportant notion that I've read 100 times
>> since I began signing up for mailing lists.

> -Maybe not all people spend their time in that way and they
>  might find this an important topic to be reminded of.
>  Maybe as remedy to your overload, try unsubscribing.

How is this knowledge important, and who are these people that need to 
be reminded of it?

I was only teasing before (as evidenced by the blatant winking 
emoticon), but now I'm curious.

Enlighten me.

- John


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On Sun, 23 Jan 2005 13:55:22 -0500, John Nowak <xxxx@xxxxxxxxx.xxx> wrote:

> Blah blah blah blah blah -- that's what you sound like to me!
> 
> ;-)
> 
> - John
> 

i fart on you.


but seriously, i think what has ending is technical difficulty of
making electronic music.
now, anyone with a computer can make some in an evening, its up to
artists to now to make Art. we just cannot be awed by DSP magic
anymores.  content will be king.


xxxxxxxx@xxxxx.xxx

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>Or rather, a completely unimportant notion that I've read 100 times
>since I began signing up for mailing lists.
-Maybe not all people spend their time in that way and they
 might find this an important topic to be reminded of.
 Maybe as remedy to your overload, try unsubscribing.
 It can have some comforting benefits.

>Blah blah blah blah blah -- that's what you sound like to me!
-Thank you John...
 That was very kind of you...

with all possible friendliness,

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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On Jan 23, 2005, at 1:52 PM, Arie van Schutterhoef wrote:

>> No, it becomes electronic sound

> -An important notion, people tend to forget, or perhaps
>  not even aware of.
>  Like a lot of things...

Or rather, a completely unimportant notion that I've read 100 times 
since I began signing up for mailing lists.

Blah blah blah blah blah -- that's what you sound like to me!

;-)

- John


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On Jan 23, 2005, at 1:28 PM, Glenn Folkvord ((Hyperion Media)) wrote:

> ----- Original Message -----
> From: "graham miller" <xxxxxxxxxxxx@xxxxxxxxx.xx>
>
>> as soon as music is recorded it becomes electronic music. anything 
>> music
>> produced by a speaker is electronic music.
>
> No, it becomes electronic sound.

Ah christ... Must I really see this same blather again?

Go to your rooms.

- John


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>No, it becomes electronic sound.
-An important notion, people tend to forget, or perhaps
 not even aware of.
 Like a lot of things...

AvS

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

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

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

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

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



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----- Original Message ----- 
From: "graham miller" <xxxxxxxxxxxx@xxxxxxxxx.xx>

> as soon as music is recorded it becomes electronic music. anything music
> produced by a speaker is electronic music.

No, it becomes electronic sound. 

Best greetings from Glenn
Chief editor @ Electronic Shadows

http://www.jarretribute.com
http://www.electronicshadows.com



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On Sat, 22 Jan 2005 20:32:44 +0100, derek holzer <xxxxx@x-x.xxx> wrote:
> Hi Eric,
> 
> Eric b wrote:
> > On a somewhat related note anyone have any experience
> > running Linux on their ipod for th purpose of field
> > recordings?
> 
>

ive have used this system. i have found that the background noise
present in the recording is too great for when recording anything
quiet, but acceptable in more noisy situations.

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From ???@??? Sun Jan 23 14:17:11 2005
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From: Alex Perepelycia <xxxxxxxxx@xxxxx.xx.xx>
Subject: [microsound] new EP on-line
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Dear Microsounders,
I've attached a link to some new tracks.
Hope U enjoy them.
All the best.
@.

http://www.archive.org/audio/audio-details-db.php?collection=dreamland_recordings&collectionid=dlnet024



        
        
                
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From ???@??? Sun Jan 23 10:59:25 2005
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Date: Sun, 23 Jan 2005 11:59:15 +0100
From: ".kspr" <xxxx@x-xxxxx.xx>
Subject: [microsound] [ot] Roberto Pflech
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This is very off topic, I'm sorry. I am hosting some sounds from an 
experimental sound artist with a very special sound and approach 
towards electronic music. Roberto Pflech uses real instruments like 
drums, piano, guitar and organ. I find the music very interesting and 
just thought I might share it with you.

Check Roberto Pflech and his music here: http://rpflech.cjb.net

There's a 3-track ep available at his website, download it for free as 
high quality mp3.

Regards -
/.kspr

http://kspr.pale-dawn.dk
http://monobond.pale-dawn.dk


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From ???@??? Sun Jan 23 07:12:24 2005
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For a Marxist the material relationships present in the production and 
consumption of the music are necessarily of primary concern.  Hence we 
can't really ask if Adorno COULD fuck...we can only ask questions about the 
forces that construct him as a "fucker," or one who gets "fucked."  :-)

"Adorno is at his best when he critiques the economic
systems and structures that, in his view, are the machinations of culture.
His cutting tone and slicing critique are some kind of relief at the turn of
the 21C... However, when he attempts to turn aesthetics to ethical critique,
he is not so much generalizing as condemning an essential aspect of
existence: the rhythm of repetition that, one comes to realise, touches our
world .. the sun up, the sun down .. we dance, we drink, we sleep, we make
love .. Adorno's lack of understanding of rhythm-- no, scratch that -- that
he can't FEEL rhythm worries the shit out of me .. how did Adorno make love
without rhythm? How did he dance in bed? How did he see the sun everyday?
How did he write sans the rhythm, the very ritual, the discipline and
masochism required to write over and over again?"

Totally.  There are so many great thinkers guilty of doing exactly 
this.  Heidegger's writing on art for example.  I like these moments 
though: moments in which the thinker makes a puzzlingly reductive move with 
respect to a certain phenomenon in the culture in which they find 
themselves.  These moments remind us that thinking is inextricably tied to 
the thinker's cultural and historical moment.  Jazz for Adorno was not our 
jazz, even if we're listening to the same records - music is never a 
"timeless classic".  As others have pointed out, his critique of jazz was 
rooted in where and when he lived.  It is my opinion that Adorno's comments 
on jazz say much more about the history of jazz than they do about 
Adorno.  Were his opinions eccentric?  Perhaps, but Heidegger was a 
Nazi.  From our perspective it's hard to be more "eccentric" than being a 
Nazi sympathizer.  Perhaps, like Heidegger, he might call this a "blunder" 
if he had had more time to reflect.  Had Heidegger owned a time machine, he 
never would have supported the Nazis.  Had Adorno been privy to our 
perspective, it would be difficult to believe that he would persist in his 
obviously shortsighted condemnation.  My point: you gotta know when to hold 
em, know when to fold em.  Or...you can't polish a turd.



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From ???@??? Sun Jan 23 06:49:23 2005
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From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] [ot] the 56k challenge
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At variable bit rate MP3, lower frequencies require less information to 
encode than higher frequencies. With some calculation, you could make a 
pretty long bass drone that would still come in under 56K easy. I 
remember something like a 10 minute Slub track using this technique that 
still fit on a floppy.

Another idea would be to provide song "fragements" that could be 
arranged randomly, in a playlist, or by some other set of instructions. 
There was a whole bunch of stuff done on the Fallt site a while back 
that simply used the broswer's "refresh" function to mix a series of 
*extremely* small fragments. Total size of the various "tracks" ranged 
started somewhere around 6 or 12 Kb. I think maybe Pimmon was involved 
in that project.

Likewise, a MIDI file, PD patch or any other essentially "textual" 
instructions for playing a "track" need not take up more than a few Kb 
of space.

thinking out of the box,
d.


Chris Bryan wrote:
> It seems to me that it is impossible to have a .mp3 or .wav that is
> more than 1min and 56k or less.  I think 60k is the smallest you can
> get 1 min of .wav or .mp3.
> 
> I looked around on the net, and tried a bunch of programs and the only
> thing I could come up with would be to use a different file type.
> If I'm missing something, or there is some program that can bypass
> these limitations could someone clue me in.
> 
> If I'm right, and the project is an impossibility should we decide on
> a revision?  How about .ogg files.  This would give us lots of time to
> work with.
> 
> -Chris


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

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From ???@??? Sun Jan 23 05:54:02 2005
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It seems to me that it is impossible to have a .mp3 or .wav that is
more than 1min and 56k or less.  I think 60k is the smallest you can
get 1 min of .wav or .mp3.

I looked around on the net, and tried a bunch of programs and the only
thing I could come up with would be to use a different file type.
If I'm missing something, or there is some program that can bypass
these limitations could someone clue me in.

If I'm right, and the project is an impossibility should we decide on
a revision?  How about .ogg files.  This would give us lots of time to
work with.

-Chris
-- 
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
(1.8)sec.records
www.1pt8.tk
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

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On Jan 22, 2005, at 10:55 PM, DaveX wrote:

> How about the Mini Macs? I bet they'd make a nice field recorder. 
> Hell, I'd
> drag a car battery and a 386 into the jungle if I thought I could get 
> some
> cool noises. *lol*

For the price of a new mini disc recorder, I'd pick up a used iBook. It 
doesn't take much horsepower to record a single track to disk. You'd 
have a lot of space too.

Crap battery life though, and much more awkward to use and carry 
around. Hm.

Ah what do I care... I get all my source material from Audio Hijack and 
the ITMS...

- John


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How about the Mini Macs? I bet they'd make a nice field recorder. Hell, I'd
drag a car battery and a 386 into the jungle if I thought I could get some
cool noises. *lol*

DaveX


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From ???@??? Sat Jan 22 19:31:02 2005
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From: derek holzer <xxxxx@x-x.xxx>
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Hi Eric,

Eric b wrote:
 > On a somewhat related note anyone have any experience
 > running Linux on their ipod for th purpose of field
 > recordings?

So happy to hear that someone else has an interest in this kind of 
hacking. I'm doing some work with IPAQs and Linux at STEIM next March, 
trying to build an algorithmic field recording device. But the whole 
package gets pretty bulky: IPAQ, extra battery/CF card jacket, external 
2496 preamp/AD converter, plus a Bluetooth GPS for tagging sounds with 
location information. You can read about it here:

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

In the end, I'm not sure I'd recommend an IPAQ as a rugged field 
solution. The interface is a bit too wierd, with the stylus and all, and 
battery life is a serious issue. For the kind of cash it takes buy an 
IPAQ and trick it out with CF soundcard and external preamp/AD unit, you 
could almost certainly buy a dedicated HD recorder. But you wouldn't be 
able to program the HD recorder to do fancy tricks, and that's where it 
gets wild!

So I'd be *very* interested to know if Ipod + Linux could be used for 
something similar. I'll also be checking out lunchbox-sized computers 
running on mini-ITX motherboards for a more cost-efficient way of 
handling the idea, but almost everybody and their dog [within a certain 
socioeconomic bracket, anyway] seem to have an Ipod.

My whole point is that, once you have access to OS running all these 
portable devices, you have a small, portable computer that is probably 
faster than your average desktop of five years ago! Good for much more 
than playing MP3s or storing phone numbers. Keep me up to date on it.

best,
Derek

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

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From ???@??? Sat Jan 22 19:08:32 2005
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On a somewhat related note anyone have any experience
running Linux on their ipod for th purpose of field
recordings? Apparently i can record uncompressed audio
at 96khz now. I've sucessfully installed podzilla on
my ipod just can't find a way to set my mic levels in
the OS. Which leads me to believe that i might have to
find an external pre amp.




--- Aaron Ximm <xxxxx@xxxx.xxx> wrote:

> Another comment on my hobby horse:
> 
> > wow this is cool, forget md's then...what do you
> mean by it produces small
> 
> The big unsolved -- for me -- issue with all CF/HD
> recorders (as opposed
> to either DAT or MD) is the "single point of
> failure" problem. Almost as
> big is the having-enough-media-in-the-field problem.
> 
> Neither are big issues if you're doing excursion
> recording from your
> house, or traveling with a laptop, but on longer
> trips, this is a REAL
> problem. There are various portable boxes made for
> photographers  that
> will rip CF cards to a backup HD or burn CD(s), but
> then you're carrying
> around a bunch of relatively fragile disks --
> nonideal.
> 
> This problem moved from the theoretical to the
> extremely relevant for me
> earlier this year when my day kit bag was stolen
> while I was traveling. I
> lost my recorder, mics, and a few hours of
> recordings.
> 
> If it'd been an HD recorder (as I'd thought of
> bringing), it would have
> been several weeks worth of work...
> 
> Something to consider!
> 
>  best,
>   aaron
> 
>   xxxxx@xxxx.xxx
>   http://www.quietamerican.org
> 
>   |  quod omne animal post   |
>   |  cogitum est triste...   |
> 
>
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> 


                
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From ???@??? Sat Jan 22 17:47:18 2005
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On Jan 21, 2005, at 12:11 PM, precursor wrote:

>> Inauguration: Lifestyles of the Rich and Heartless
>
> that hurts!!!!...its insane to be sane in this world, aint it?

I can't even be concerned about the inauguration spending to be honest. 
The fact that people are complaining about this recently more than the 
millions we spend in Iraq every day shows how insane the American 
public is as a whole.

- John, part of the American public


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either that, or its the cleverest plug I wish I'd thought of first.

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fuck. sorry. I swear I tried to sent that offlist. oh well. beat my ass
already.


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John--

Regarding:

"I'm going to try something else, a series of split CDRs, thirty minutes
allocated for each artist, with two per release. Anyway, if you're
interested in this project get in touch off list."

    Can you give me a little more info? I'm curious if you have a deadline
going right now, or details, etc. My name is DaveX. I work with experimental
sound in pretty much every variety, I rarely have any real boundaries. And
interestingly enough, I have one of those Knurl 3" limited editions that
Alan sent me, so I thought that was a nice sign that your label was
something I would dig on.

At any rate, right now, I am working on some extended pieces involving slow
sound, and homemade turntable setups to produce different sounds, also with
experimental tone arms and needle setups. The project is not yet complete,
but should be fairly soon. If this is something you might be interested in,
I could send it your way. Let me know your preferred method of arrival,
possibly an FTP?

In addition, I wanted to let you know about my radio show, which
incidentally, is where I am already apparently playing your latest release,
ha ha. I'll have to mention that this evening. Full details of the show are
at: http://home.mchsi.com/~itde  but the nitty-gritty is that I broadcast
from a not-for-profit community radio station and host a weekly show
featuring experimental music of all types. I routinely play long cuts, I
never play excerpts, and I'm not picky about what format I receive
submissions in, just so long as the sound is equal to or greater than the
sound of an ordinary car radio. I'd love to be able to review some
submissions from Cohort, since my goal is to be able to play the finest
experimental music available today. If you sign up for the e-mail list
(which only gets about one mail from me a week) then you can get playlists,
and individual show info, usually the same day of the show. My station,
WDBX, broadcasts terrestrially at 91.1FM in Southern Illinois, and also live
online. Check www.wdbx.org for info on that.

I'd appreciate hearing back from you on these matters, thanks so much!

DaveX

ps-- if you see Alan, tell him "hi" for me.


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From ???@??? Sat Jan 22 00:54:58 2005
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Date: Fri, 21 Jan 2005 16:53:50 -0800
From: roberth <xxxxxxx@xxxxxx.xxx>
Subject: [microsound]  call for demos
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hi john i emailed a few days ago but haven't heard from you. i wanted more 
info about your compilation. what are you looking for.
deadline. mailing address and whether you are ok with sound designer 2 
files.
thanks
robert horton
----- Original Message ----- 
From: <xxxxxxxxx@xxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, January 17, 2005 11:28 PM
Subject: [microsound] Re: call for demos


> Hello Microsounders,
>
> John Gore here from Cohort Records. I"ve tried comps but can't seem to get
> enough tracks for one bloody CDR release. Or maybe it's the fact that it's 
> a
> CDR. (If it is I'd appreciate the feedback on this issue since it's a 
> major
> frigging time waster to go through this process every 6 months and have it 
> fail). I
> don't know, but I'm going to try something else, a series of split CDRs,
> thirty minutes allocated for each artist, with two per release. Anyway, if 
> you're
> interested in this project get in touch off list. But please, no mp3 
> files. I
> know it's a bit old fashioned but I want wave files.
>
> John
> http://cohortrecords.0catch.com
> 


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From ???@??? Sat Jan 22 00:39:11 2005
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Date: Fri, 21 Jan 2005 18:38:20 -0600
From: Francisco Alvarez Alvarez <xxxxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] more noise
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 FILETIME=[C658B860:01C5001A]

Hi! new ART GALLERY interested in sound, noise and alternative art 
behaviour:

DF_ARTE CONTEMPORANEA. Santiago de Compostela (Galicia, SPAIN).

xx_xxxx@xxxxxxxxxx.xxx


Now:

GREENS. ANTONIO BALLESTER. Jan.8 to Feb.12 2005. 24 Drawings (green pencil) 
on paper(70x100 cm).
Images from the web page of Guardia Civil (Spanish Public Order Forces 
dressed in dark green) showing their activities against crime. The artist 
also build a table with the incriminatory objects of a drug dealers gang 
(obviously, all the drugs and chemical products are fake -or legal- 
material).


AT THE OPENING, GREAT NOISE EVENT WITH:

GRANDMOFFWORK(MADRID)voices+big muff,bass+driller,trumpet,TV,tone 
generator,recorded ?????? on CD,drums,flying objects...

GUESTS:
BAIKAL-a.k.a.LA BESCHEISSEN UNDERGROUND-(from 
LLANES,ASTURIAS):voice,prepared guitar.

VX featuring 5735 (from ?????????): iBook(SuperCollider).

Almost 40 minutes of noise,feedback and distortion stopped by the police!

All recorded by GRANDMOFFOWRK & filmed by artist ANTONIO BALLESTER.



MORE:

Dec.16 2004  at TRONIC DISEASE (MADRID):GRANDMOFFWORK + PAN_SONIC.


Dec.16 2004 to Jan.21 2005 at LOS 29 ENCHUFES EN ESPACIO F (MADRID): ANTONIO 
BALLESTER. JUST A LITTLE CRIME, NEW DOMINIONS.
Reconstruction (with cheap materials and artist own clothes) of a crime 
scene. Four corpses -3 guys, 1 cop-  in a public park. The expo ends with... 
ANOTHER GREAT NOISE EVENT with GRANDMOFFWORK.

Also filmed by the artist.

_________________________________________________________________
T1msn Fotos: Todo lo que quieres saber sobre fotografía digital 
http://search.t1msn.com.mx/


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From ???@??? Sat Jan 22 00:31:50 2005
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From: Aaron Ximm <xxxxx@xxxx.xxx>
Subject: Re: [microsound] [ot] minidisc recorders
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Another comment on my hobby horse:

> wow this is cool, forget md's then...what do you mean by it produces small

The big unsolved -- for me -- issue with all CF/HD recorders (as opposed
to either DAT or MD) is the "single point of failure" problem. Almost as
big is the having-enough-media-in-the-field problem.

Neither are big issues if you're doing excursion recording from your
house, or traveling with a laptop, but on longer trips, this is a REAL
problem. There are various portable boxes made for photographers  that
will rip CF cards to a backup HD or burn CD(s), but then you're carrying
around a bunch of relatively fragile disks -- nonideal.

This problem moved from the theoretical to the extremely relevant for me
earlier this year when my day kit bag was stolen while I was traveling. I
lost my recorder, mics, and a few hours of recordings.

If it'd been an HD recorder (as I'd thought of bringing), it would have
been several weeks worth of work...

Something to consider!

 best,
  aaron

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

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

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From ???@??? Fri Jan 21 18:15:33 2005
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Date: Fri, 21 Jan 2005 13:22:54 -0500
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Subject: [microsound] [mp3] addenda update 2004/+ new
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greetings
  thanks for the support and feedback from so many people over 2004

new sounds on addenda for january 2005 from omnid

-     -

2004 addenda archive _ sounds from
Andy Hayleck, sawako, Sebastien Roux, the beige channel, sc.all, 
Kenneth Kirschner, NY Phonographers Union Performance, Ian Epps, 
Accelera Deck, radio bcst from Ian Epps / Andy Graydon/ benowen,  and 
Luxury Estates.

-     -

new work posted each month.
http://www.seasonalbk.net/_addenda.html


best wishes
  ben



www.seasonalbk.net


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From ???@??? Fri Jan 21 18:21:48 2005
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Date: Fri, 21 Jan 2005 13:21:40 -0500
From: Peter Price <xxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Re: privilege, boundaries and class
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Hi Tobias,

You're right...i have conflated the piece "Fuck Art, Let's Dance" which 
you linked to some time ago into your last post to this group without 
making that clear.

Also I should have clarified my thoughts on your rhythmic reductionism. 
The meshing of a musicalogicaly reductive definition of rhythm with a 
broad non musical definition is how your "naturalization" of particular 
musical forms functions.

Your stuff about "posing a question of affect" is either too cagey or 
too subtle for me. But I will try to pick it up some time when I have 
more time to think.

"rhythm as affect?" Maybe something like the "intensive" qualities of 
rhythm rather than "extensive" qualities?

But I do see a change in your thinking...before the question was if 
Adorno could dance, now its if he can fuck.

On Friday, January 21, 2005, at 12:57 PM, tobias c. van Veen wrote:

> hi Peter,
>
> - First, you might want to parse what is presented as "my" writing -- 
> I have
> presented a number of possible theses and reduxes -- these are possible
> avenues of thought, and this has been made explicit;
>
> - I never once mentioned electronic dance music; nor did I ever say I
> "prefer music.. this way;" nor would I characterize what I am trying 
> to do
> as "naturalizing;" (an upcoming publication of a talk I have at SLS 
> Paris
> last summer actually discusses city grids to binary and digital logic, 
> among
> other things);
>
> - I think mentioning rhythm as the rhythm of making love to the sun to 
> that
> of culture is a fairly broad definition of rhythm and hardly 
> "musicological"
> nor "reductive;" I never once mentioned a time signature nor any 
> metric;
>
> - I think what you mistake in my writing for "ethical critique" 
> (though I
> would never wish to restrain your critique) would perhaps better be
> described as "posing a question of affect" -- if only for the sake of
> accuracy;
>
> - You might want to re-read and notice the performative switch from
> understanding to FEEL -- to qualify this -- a switch from the critique 
> of
> judgement to that of affect (I use "feel" as most people will get this
> term.. however on the critical level I would wish to make a distinction
> between affect and emotion, between, say, the theories of Lawrence 
> Grossberg
> over affect and Brian Massumi -- however it doesn't matter if nobody 
> knows
> these references, what I am getting at is a sense of affect -- rhythm 
> as
> affect -- which has nothing to do with metrics, mathematics, 
> quantification,
> calculation, nor the sensory faculties of emotion):
>
> "However, when [Adorno] attempts to turn aesthetics to ethical 
> critique, he
> is not so much generalizing as condemning an essential aspect of 
> existence:
> the rhythm of repetition that, one comes to realise, touches our world 
> ..
> the sun up, the sun down .. we dance, we drink, we sleep, we make love 
> ..
> Adorno's lack of understanding of rhythm-- no, scratch that -- that he 
> can't
> FEEL rhythm worries the shit out of me .. how did Adorno make love 
> without
> rhythm? How did he dance in bed? How did he see the sun everyday?"
>
> In this paragraph:
>
>
> rhythm of repetition
> touches
> FEEL
>
> also a "scratch:" a thought posed and removed, reframed from 
> "understanding"
> (Kant) to "FEEL" (affect, we might think Deleuze / Massumi here if 
> anyone
> wishes to follow the trail of references I usually leave out when 
> writing
> emails in a casual manner .. )
>
> .. no mention here of dance music, metrics, counting time, a certain 
> BPM,
> preferring anything, etc.
>
> Instead I want to pose the questions:
>
> ".. how did Adorno make love without rhythm? How did he dance in bed? 
> How
> did he see the sun everyday?"
>
>
> Which reminds me, just now, of the question Derrida poses in the 
> DERRIDA
> documentary -- he wanted to know what the major philosophers were like 
> in
> bed.. Heidegger.. Kant..
>
> So how about Adorno? Did he ever lighten up?
> Did he ever get a hard-on for Emma Goldman?
>
> cheers,
>
>     tV
>
>
>
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>


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From ???@??? Fri Jan 21 17:57:10 2005
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hi Peter,

- First, you might want to parse what is presented as "my" writing -- I have
presented a number of possible theses and reduxes -- these are possible
avenues of thought, and this has been made explicit;

- I never once mentioned electronic dance music; nor did I ever say I
"prefer music.. this way;" nor would I characterize what I am trying to do
as "naturalizing;" (an upcoming publication of a talk I have at SLS Paris
last summer actually discusses city grids to binary and digital logic, among
other things);

- I think mentioning rhythm as the rhythm of making love to the sun to that
of culture is a fairly broad definition of rhythm and hardly "musicological"
nor "reductive;" I never once mentioned a time signature nor any metric;

- I think what you mistake in my writing for "ethical critique" (though I
would never wish to restrain your critique) would perhaps better be
described as "posing a question of affect" -- if only for the sake of
accuracy;

- You might want to re-read and notice the performative switch from
understanding to FEEL -- to qualify this -- a switch from the critique of
judgement to that of affect (I use "feel" as most people will get this
term.. however on the critical level I would wish to make a distinction
between affect and emotion, between, say, the theories of Lawrence Grossberg
over affect and Brian Massumi -- however it doesn't matter if nobody knows
these references, what I am getting at is a sense of affect -- rhythm as
affect -- which has nothing to do with metrics, mathematics, quantification,
calculation, nor the sensory faculties of emotion):

"However, when [Adorno] attempts to turn aesthetics to ethical critique, he
is not so much generalizing as condemning an essential aspect of existence:
the rhythm of repetition that, one comes to realise, touches our world ..
the sun up, the sun down .. we dance, we drink, we sleep, we make love ..
Adorno's lack of understanding of rhythm-- no, scratch that -- that he can't
FEEL rhythm worries the shit out of me .. how did Adorno make love without
rhythm? How did he dance in bed? How did he see the sun everyday?"

In this paragraph:


rhythm of repetition
touches
FEEL

also a "scratch:" a thought posed and removed, reframed from "understanding"
(Kant) to "FEEL" (affect, we might think Deleuze / Massumi here if anyone
wishes to follow the trail of references I usually leave out when writing
emails in a casual manner .. )

... no mention here of dance music, metrics, counting time, a certain BPM,
preferring anything, etc.

Instead I want to pose the questions:

".. how did Adorno make love without rhythm? How did he dance in bed? How
did he see the sun everyday?"


Which reminds me, just now, of the question Derrida poses in the DERRIDA
documentary -- he wanted to know what the major philosophers were like in
bed.. Heidegger.. Kant..

So how about Adorno? Did he ever lighten up?
Did he ever get a hard-on for Emma Goldman?

cheers,

    tV



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From ???@??? Fri Jan 21 17:39:16 2005
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Tobias,

I disagree with almost everything you are saying here which makes it a 
little difficult to know where to start. Part of it is that I think I 
must have a different way of parsing what I read. I am not getting some 
of the readings you are finding in your quotes from Adorno, and feel 
like you are missing (or ignoring) a lot in these quotes that I see as 
significant.

Much of this comes down to , as you have rightly pointed out, a 
question of the meaning of "rhythm." Adorno says he is using the word 
"rhythmical" in the "everyday sense" and the goes on to define this 
usage. He does this so that his meaning will be clear to those who 
might be used to thinking of the term with a broader musicological 
meaning. To make some sense of your comments it is important to note 
that your use of the term "rhythmic" is also of this "everyday sense." 
So we can with your permission include you in a quote like

> To play
> rhythmically means, to these people, to play in such a way that even if
> pseudo-individualizations--counter-accents and other
> "differentiations"-occur, the relation to the ground meter is 
> preserved. To
> be musical means to them to be capable of following given rhythmical
> patterns without being disturbed by "individualizing" aberrations, and 
> to
> fit even the syncopations into the basic time units.

A modern paraphraze of this might be "a music is rhythmic if any 
musically illiterate wanker can nod his head to the beat." Actually 
your understanding of "rhythm" is even more reductive than the 
understanding Adorno was complaining about, because at least back in 
the day popular dance music could be in either duple or triple meter 
over a broad range of tempos. I am willing to bet that when you say 
"rhythm" you mean a steady four on the floor within a tempo range of 
100-160 beats per minute, and likely furthermore a structural 
organization (if one exists at all past the meter unit) emphasizing the 
logical units of binary code: 2, 4, 8, 16, 32, 64 etc.

Can great music be made within these restrictions? Of course. I am a 
huge fan of....fill in your own blank here.

But if this is what "rhythm" has come to mean than we certainly have 
lost a lot of musical possibilities. That you prefer your music 
structured this way is understandable...it is closely related to the 
functioning of our machines, the rectilinear grids of our cites, and 
yes to the bilateral symetry of our bodies....but not for instance the 
triple meter beating of our heart.

The tendancy to try and naturalize industrialized dance music with 
mythic third world purity and natural "rhythmic" cycles of the planet 
is particularly misguided it seems to me as neither the natural world 
nor remaining pre-literate cultural forms are organized in ways that 
mimic the functioning of our machines.

You complained about Adorno turning aesthetic critic into ethical 
critique. But I feel this much more strongly in your writing...for 
instance below...


> However, when he attempts to turn aesthetics to ethical critique,
> he is not so much generalizing as condemning an essential aspect of
> existence: the rhythm of repetition that, one comes to realise, 
> touches our
> world .. the sun up, the sun down .. we dance, we drink, we sleep, we 
> make
> love .. Adorno's lack of understanding of rhythm-- no, scratch that -- 
> that
> he can't FEEL rhythm worries the shit out of me .. how did Adorno make 
> love
> without rhythm? How did he dance in bed? How did he see the sun 
> everyday?

In your schema here its almost like you are denying the very personhood 
of someone if they don't share your very reductive understanding of 
"rhythm."


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From ???@??? Fri Jan 21 17:21:37 2005
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on 1/20/05 7:08 AM, Sascha Bondzio at xxxxx@xxx.xxx wrote:

> Am 20.01.2005 15:02 Uhr schrieb "xxxxxxx@xxx.xxx" unter <xxxxxxx@xxx.xxx>:
> 
>> can anyone kindly suggest a minidisc player/recorder w/ a microphonejack.
>> thats good for making field recordings and is under 300 dollars.
>> -t
> 
> 
> Hi t,
> 
> I can not recommend Minidisc-Recorder.
> I have bought recently an Archos Gmini 120. It has a WAV-recordingfunction,
> produces however unfortunately small interferences. Show you that... Thats
> to be recommended...
> 
> http://www.edirol.com/products/info/r1.html
> 
> 
> Greatings
> Sascha
> 
> 
> 
> 
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> 

wow this is cool, forget md's then...what do you mean by it produces small
interference's ??? 


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From ???@??? Fri Jan 21 17:11:17 2005
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Subject: Re: [microsound] [ot] Fwd: Lifestyles of the Rich and Heartless
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on 1/21/05 9:03 AM, Bill Ashline at xxxxxxx@xxxxx.xxx wrote:

>> 
>> by Christy Harvey, Judd Legum and Jonathan Baskin
>> with Nico Pitney and Mipe Okunseinde
>> 
>> Inauguration: Lifestyles of the Rich and Heartless
>> 
>> Due to $17 million worth of inaugural security - paid for by the city of
>> Washington, D.C. - the Progress Report is unable to access its office.
>> Never fear - it takes a lot more than that to keep us down. We put this
>> list together for you ahead of time. Your regularly scheduled Progress
>> Report returns tomorrow.
>> 
>> A look at this week's festivities by the numbers:
>> 
>> $40 million:
>> <http://www.newsday.com/news/nationworld/nation/ny-uscost0118,0,4726940.story
>> ?coll=ny-nation-big-pix>
>> Cost of Bush inaugural ball festivities, not counting security costs.
>> 
>> $2,000: <http://www.csmonitor.com/2005/0119/p03s01-uspo.html> Amount FDR
>> spent on the inaugural in 1945...about $20,000 in today's dollars.
>> 
>> $20,000:
>> <http://www.ritzcarlton.com/hotels/washington_dc/overview/pressreleases/inaug
>> ural_amenities.html>
>> Cost of yellow roses purchased for inaugural festivities by D.C.'s Ritz
>> Carlton.
>> 
>> 200:
>> <http://news.yahoo.com/news?tmpl=story&cid=544&u=/ap/20050114/ap_on_go_pr_wh/
>> inaugural_price_tag_3&printer=1>
>> Number of Humvees outfitted with top-of-the-line armor for troops in
>> Iraq that could have been purchased with the amount of money blown on
>> the inauguration.
>> 
>> $10,000: <http://www.philly.com/mld/dailynews/news/local/10678137.htm>
>> Price of an inaugural package at the Fairmont Hotel, which includes a
>> Beluga caviar and Dom Perignon reception, a chauffeured Rolls Royce and
>> two actors posing as "faux" Secret Service agents, complete with black
>> sunglasses and cufflink walkie-talkies.
>> 
>> 400: <http://www.csmonitor.com/2005/0119/p03s01-uspo.html> Pounds of
>> lobster provided for "inaugural feeding frenzy" at the exclusive
>> Mandarin Oriental hotel.
>> 
>> 3,000: <http://www.csmonitor.com/2005/0119/p03s01-uspo.html> Number of
>> "Laura Bush Cowboy cookies" provided for "inaugural feeding frenzy" at
>> the Mandarin hotel.
>> 
>> $1: <http://kutv.com/topstories/topstories_story_014105652.html> Amount
>> per guest President Carter spent on snacks for guests at his inaugural
>> parties. To stick to a tight budget, he served pretzels, peanuts,
>> crackers and cheese and had cash bars.
>> 
>> 22 million:
>> <http://news.yahoo.com/news?tmpl=story&cid=544&u=/ap/20050114/ap_on_go_pr_wh/
>> inaugural_price_tag_3&printer=1>
>> Number of children in regions devastated by the tsunami who could have
>> received vaccinations and preventive health care with the amount of
>> money spent on the inauguration.
>> 
>> 1,160,000: <http://www.worldonfire.ca/donations.html> Number of girls
>> who could be sent to school for a year in Afghanistan with the amount of
>> money lavished on the inauguration.
>> 
>> $15,000: <http://www.npr.org/templates/story/story.php?storyId=4282216>
>> The down payment to rent a fur coat paid by one gala attendee who didn't
>> want the hassle of schlepping her own through the airport.
>> 
>> $200,500:
>> <http://www.usatoday.com/travel/hotels/2005-01-06-inauguration_x.htm>
>> Price of a room package at D.C.'s Mandarin Oriental, including
>> presidential suite, chauffeured Mercedes limo and outfits from Neiman
>> Marcus.
>> 
>> 2,500: <http://news.bostonherald.com/politics/view.bg?articleid=63696>
>> Number of U.S. troops used to stand guard as President Bush takes his
>> oath of office
>> 
>> 26,000:
>> <http://www.oregonlive.com/letters/oregonian/index.ssf?/base/editorial/110613
>> 9753241490.xml>
>> Number of Kevlar vests for U.S. soldiers in Iraq and Afghanistan that
>> could be purchased for $40 million.
>> 
>> $290: <http://news.bbc.co.uk/2/hi/americas/4187023.stm> Bonus that could
>> go to each American solider serving in Iraq, if inauguration funds were
>> used for that purpose.
>> 
>> $6.3 million: <http://www.citizen.org/pressroom/release.cfm?ID=1860>
>> Amount contributed by the finance and investment industry, which works
>> out to be 25 percent of all the money collected.
>> 
>> $17 million: <http://news.bbc.co.uk/2/hi/americas/4187023.stm> Amount of
>> money the White House is forcing the cash-strapped city of Washington,
>> D.C., to pony up for inauguration security.
>> 
>> 9: <http://www.csmonitor.com/2005/0119/p03s01-uspo.html> Percentage of
>> D.C. residents who voted for Bush in 2004.
>> 
>> 66: <http://abcnews.go.com/images/Politics/972a1BushPreInaugural.pdf>
>> Percentage of Americans who think this over-the-top inauguration should
>> have been scaled back.
>> 
> 
> 

that hurts!!!!...its insane to be sane in this world, aint it?


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From ???@??? Fri Jan 21 16:58:49 2005
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on 1/21/05 3:14 AM, chad vollrath at xxxxxx@xxx.xxx wrote:

> "...unless of course it's fashionable to participate in a PC-feel-good
> fashion marketing plan...e.g. last night I heard something on NPR w/r/t
> Bank of America building a 'green' skyscraper in NYC"
> Ha ha - I missed the discussion, but I love the idea of a green skyscraper.
> Some of you may be interested in this re: current discussions.  It's a
> project I'm working on with Carbon Defense League.  www.peoplesjeans.com
> It's a fake business idea that we plan to begin pitching to investment
> groups in a couple months and documenting their responses.  Doing a bunch
> of "focus groups" too.  One request: don't forward the link.  It will be a
> hard sell if everyone knows it's a joke.
> 
> 
> 
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:-)


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From ???@??? Fri Jan 21 15:15:32 2005
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> so while taking Adorno to task for his dismissal of Jazz is not
> privileged or bourgeois, dismissing Adorno on the grounds that music
> can be separated from the political-economic forces that shape it is.

Yah, bingo.

One must wrestle with Adorno. For those soundbiting the "Adorno couldn't
dance" comment, it was a subtle hint --


"At the dances I was one of the most untiring and gayest. One evening a
cousin of Sasha [Alexander Berkman], a young boy, took me aside. With a
grave face, as if he were about to announce the death of a dear comrade, he
whispered to me that it did not behoove an agitator to dance. Certainly not
with such reckless abandon, anyway. It was undignified for one who was on
the way to become a force in the anarchist movement. My frivolity would only
hurt the Cause.

I grew furious at the impudent interference of the boy. I told him to mind
his own business, I was tired of having the Cause constantly thrown into my
face. I did not believe that a Cause which stood for a beautiful ideal, for
anarchism, for release and freedom from conventions and prejudice, should
demand the denial of life and joy. I insisted that our Cause could not
expect me to become a nun and that the movement should not be turned into a
cloister. If it meant that, I did not want it. "I want freedom, the right to
self-expression, everyboy's right to beautiful, radiant things." Anarchism
meant that to me, and I would live it in spite of the whole world--prisons,
persecution, everything. Yes, even in spite of the condemnation of my own
comrades I would live my beautiful ideal."


 Emma Goldman, _Living My Life_, New York: Knopf, 1934, p. 56.

If I can't dance I don't want to be part of your revolution
If I can't dance I don't want to be in your revolution
If I can't dance to it, it's not my revolution


[np.. Adorno:
    http://www2.rz.hu-berlin.de/fpm/texte/adorno.htm   ]

"[37] Individuals of the rhythmically obedient type are mainly found among
the youth--the so-called radio generation. They are most susceptible to a
process of masochistic adjustment to authoritarian collectivism. The type is
not restricted to any one political attitude. The adjustment to
anthropophagous collectivism is found as often among left-wing political
groups as among right-wing groups. Indeed, both overlap: repression and
crowd mindedness overtake the followers of both trends. The psychologies
tend to meet despite the surface distinctions in political attitudes."

"39] This obedient type is the rhythmical type, the word "rhythmical" being
used in its everyday sense. Any musical experience of this type is based
upon the underlying, unabating time unit of the music--its "beat." To play
rhythmically means, to these people, to play in such a way that even if
pseudo-individualizations--counter-accents and other
"differentiations"-occur, the relation to the ground meter is preserved. To
be musical means to them to be capable of following given rhythmical
patterns without being disturbed by "individualizing" aberrations, and to
fit even the syncopations into the basic time units. This is the way in
which their response to music immediately expresses their desire to obey.
However, as the standardized meter of dance music and of marching suggests
the coordinated battalions of a mechanical collectivity, obedience to this
rhythm by overcoming the responding individuals leads them to conceive of
themselves as agglutinized with the untold millions of the meek who must be
similarly overcome. Thus do the obedient inherit the earth."



--> .. if I had to choose between Goldman and Adorno, I'm down twirling with
Goldman (I bet she could really shake it), while Adorno rants in the corner,
or sits in concert at some oldskool new music audience/performer deal, in a
chair, listening for the individual moment of revolution .. meanwhile, the
dancers revolve and r/evolve .. Adorno's critique, here stripped down not to
jazz but to the essence of its aesthetics, is quite simple: it equates
rhythm with authoritarianism, to the "obedient type."

I.e., any culture with rhythm is thus authoritarian-collective and obedient.
It is a particular "type."

I.e., all pan-African cultures are obviously simply obedient at their
essence, to extend the argument. But so are gypsies. So are the rites of
carnival, the ball, the masquerade, the drunken dance, the jive, swing, the
jig.. it looks like every culture is an "obedient type." This either loses
the meaning of "type" or this "type" is applied with a criteria that would
have to be discerned. Whoever they are, "They are most susceptible to a
process of masochistic adjustment to authoritarian collectivism."

Possible redux: for Adorno, rhythm is plain wrong: it leads to everyone
acting in the same way, just like how everyone dances all in the same way,
right?

    --> Or, so we should obey Adorno, right?
    Afterall, he keeps repeating it.

Possible thesis: it seems to me that, if we wanted to push it, Adorno's
writing is the more authoritarian of the two -- like poor Alex whispering in
Emma's ear as he sees her give way to Nietzschean abandon, Dionysus .. a
hint of insecurity in that which moves collectively, without the great
intellectual individual demarcating right from wrong in the cultural
superstructure..?

Dance, at least in its European sphere of meaning, is also masochistic, and
masochism for Adorno is a negative value (contra Deleuze, Foucault, etc.,
who were all very interested in masochism as a way to delimit the body and
to reconfigure control). We would need to spend some time on masochism here,
Sacher-Masoch.. could Adorno not give up his impenetrable fortress of purity
for a minute to give his feet a spin?

Possible investigation: for Adorno, the only type of freedom is
"individualization" -- an odd thing for a Marxist, but perhaps not -- one
would have to spend some time picking apart how Adorno understands the
Marxist concept of individuation and individuality as distinct from the
capitalist pressure to "be your own person" (as a consumer--pick your iPod
colour) to the individualist or atomist view of society (in capitalist
economics -- the "rational agent" in ethics).

Redux: the issue with Adorno isn't the "Jazz he was critiquing at the time"
as an aberrance of "real Jazz from North America" but rather that he
condemns rhythm over and over again. Possible thesis: Adorno as somewhat
blind to the necessity of rhythm and those other kinds of rhythms to be
found in life -- for what is revolution but a rhythm that turns around and
around?

Of course we understand why -- the torchlit Nazi gatherings, the repetition
of military marches and chants -- but to equate this with dance, with
festival, with carnival, with ritual and movement, is to not only negate the
difference between the two but also to mistake the one for the many, the
particular for the general, the actual for the virtual, the act for the law.
It abstracts from Nazi use of ritual to condemn all ritual. It misrecognises
collective obedience to collective embodiment _of collectivity_. To what
directions, tendencies, means or ends collectivity is spun is not the
essence of collectivity-itself.

Possible thesis: that abstracting type leads to negation. Consider similar
authoritarian arguments found in Nazi condemnation of racial types. For
Adorno, there are "obedient types;" for the Nazis, there are "racial types"
(who also are usually characterized as "obedient"). Possible thesis: the
language of Adorno (which would have to be read in German), considered here
in its implications, but also the way in which Adorno sets up "types" and
the structure of his argument concerning rhythm and types in the movement of
abstraction (is this a negative dialectical method? what are the
implications of this method?).

Drifting thoughts // Adorno is at his best when he critiques the economic
systems and structures that, in his view, are the machinations of culture.
His cutting tone and slicing critique are some kind of relief at the turn of
the 21C... However, when he attempts to turn aesthetics to ethical critique,
he is not so much generalizing as condemning an essential aspect of
existence: the rhythm of repetition that, one comes to realise, touches our
world .. the sun up, the sun down .. we dance, we drink, we sleep, we make
love .. Adorno's lack of understanding of rhythm-- no, scratch that -- that
he can't FEEL rhythm worries the shit out of me .. how did Adorno make love
without rhythm? How did he dance in bed? How did he see the sun everyday?
How did he write sans the rhythm, the very ritual, the discipline and
masochism required to write over and over again?  Hell .. I wouldn't want to
be part of any alternative political arrangement where I couldn't dance and
swing .. and spin .. the authoritarian USSR shut down discos ... in a
relentless and violent fashion .. as did our "democracies" contra rave
culture, etc. -- any movement of collective gathering threatens any
hegemonic theory of power -- this is perhaps too naïve -- we need to read
Graham St. John..

Repeat, over and over.


tV


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From ???@??? Sat Jan 22 14:27:00 2005
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Date: Fri, 21 Jan 2005 15:26:00 +0100
From: Sascha Bondzio <xxxxx@xxx.xxx>
Subject: Re: [microsound] [ot] minidisc recorders
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Am 21.01.2005 18:20 Uhr schrieb "precursor" unter <xxxxxxxxx@xxxxxxxxx.xxx>:

> on 1/20/05 7:08 AM, Sascha Bondzio at xxxxx@xxx.xxx wrote:
> 
>> Am 20.01.2005 15:02 Uhr schrieb "xxxxxxx@xxx.xxx" unter <xxxxxxx@xxx.xxx>:
>> 
>>> can anyone kindly suggest a minidisc player/recorder w/ a microphonejack.
>>> thats good for making field recordings and is under 300 dollars.
>>> -t
>> 
>> 
>> Hi t,
>> 
>> I can not recommend Minidisc-Recorder.
>> I have bought recently an Archos Gmini 120. It has a WAV-recordingfunction,
>> produces however unfortunately small interferences. Show you that... Thats
>> to be recommended...
>> 
>> http://www.edirol.com/products/info/r1.html
>> 
>> 
>> Greatings
>> Sascha
>> 
>> 
>> 
>> 
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>> website: http://www.microsound.org
>> 
> 
> wow this is cool, forget md's then...what do you mean by it produces small
> interference's ???



Hi!

If you´re recording silent fields e.g. ticks of a clock, whispering, marimba
or so, you hear afterwards on your recording on the right channel a
periodical noise. It is always then, if the Buffer is full and the data are
written on the disk. That´s a great pity, since the quality is very good
otherwise. I have connected an OKM II with an A3-Adaptor (www.soundman.de).
Now the Gmini operates as a Backup-HD for recorded CF´s from the R1.
The problem of MD is the ATRAC coding. Take good Headphones or Monitors -
you will hear - and feel... - it. I think, MP3 at 192 and higher and/or VBR
sounds much better. But if you´re interesting in very good results, you will
take an DAT or the R1.

Bye
Sascha


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From ???@??? Fri Jan 21 14:04:25 2005
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Subject: [microsound] [ot] Fwd: Lifestyles of the Rich and Heartless (fwd)
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>
>by Christy Harvey, Judd Legum and Jonathan Baskin
>with Nico Pitney and Mipe Okunseinde
>
>Inauguration: Lifestyles of the Rich and Heartless
>
>Due to $17 million worth of inaugural security - paid for by the city of
>Washington, D.C. - the Progress Report is unable to access its office.
>Never fear - it takes a lot more than that to keep us down. We put this
>list together for you ahead of time. Your regularly scheduled Progress
>Report returns tomorrow.
>
>A look at this week's festivities by the numbers:
>
>$40 million:
><http://www.newsday.com/news/nationworld/nation/ny-uscost0118,0,4726940.story?coll=ny-nation-big-pix>
>Cost of Bush inaugural ball festivities, not counting security costs.
>
>$2,000: <http://www.csmonitor.com/2005/0119/p03s01-uspo.html> Amount FDR
>spent on the inaugural in 1945...about $20,000 in today's dollars.
>
>$20,000:
><http://www.ritzcarlton.com/hotels/washington_dc/overview/pressreleases/inaugural_amenities.html>
>Cost of yellow roses purchased for inaugural festivities by D.C.'s Ritz
>Carlton.
>
>200:
><http://news.yahoo.com/news?tmpl=story&cid=544&u=/ap/20050114/ap_on_go_pr_wh/inaugural_price_tag_3&printer=1>
>Number of Humvees outfitted with top-of-the-line armor for troops in
>Iraq that could have been purchased with the amount of money blown on
>the inauguration.
>
>$10,000: <http://www.philly.com/mld/dailynews/news/local/10678137.htm>
>Price of an inaugural package at the Fairmont Hotel, which includes a
>Beluga caviar and Dom Perignon reception, a chauffeured Rolls Royce and
>two actors posing as "faux" Secret Service agents, complete with black
>sunglasses and cufflink walkie-talkies.
>
>400: <http://www.csmonitor.com/2005/0119/p03s01-uspo.html> Pounds of
>lobster provided for "inaugural feeding frenzy" at the exclusive
>Mandarin Oriental hotel.
>
>3,000: <http://www.csmonitor.com/2005/0119/p03s01-uspo.html> Number of
>"Laura Bush Cowboy cookies" provided for "inaugural feeding frenzy" at
>the Mandarin hotel.
>
>$1: <http://kutv.com/topstories/topstories_story_014105652.html> Amount
>per guest President Carter spent on snacks for guests at his inaugural
>parties. To stick to a tight budget, he served pretzels, peanuts,
>crackers and cheese and had cash bars.
>
>22 million:
><http://news.yahoo.com/news?tmpl=story&cid=544&u=/ap/20050114/ap_on_go_pr_wh/inaugural_price_tag_3&printer=1>
>Number of children in regions devastated by the tsunami who could have
>received vaccinations and preventive health care with the amount of
>money spent on the inauguration.
>
>1,160,000: <http://www.worldonfire.ca/donations.html> Number of girls
>who could be sent to school for a year in Afghanistan with the amount of
>money lavished on the inauguration.
>
>$15,000: <http://www.npr.org/templates/story/story.php?storyId=4282216>
>The down payment to rent a fur coat paid by one gala attendee who didn't
>want the hassle of schlepping her own through the airport.
>
>$200,500:
><http://www.usatoday.com/travel/hotels/2005-01-06-inauguration_x.htm>
>Price of a room package at D.C.'s Mandarin Oriental, including
>presidential suite, chauffeured Mercedes limo and outfits from Neiman
>Marcus.
>
>2,500: <http://news.bostonherald.com/politics/view.bg?articleid=63696>
>Number of U.S. troops used to stand guard as President Bush takes his
>oath of office
>
>26,000:
><http://www.oregonlive.com/letters/oregonian/index.ssf?/base/editorial/1106139753241490.xml>
>Number of Kevlar vests for U.S. soldiers in Iraq and Afghanistan that
>could be purchased for $40 million.
>
>$290: <http://news.bbc.co.uk/2/hi/americas/4187023.stm> Bonus that could
>go to each American solider serving in Iraq, if inauguration funds were
>used for that purpose.
>
>$6.3 million: <http://www.citizen.org/pressroom/release.cfm?ID=1860>
>Amount contributed by the finance and investment industry, which works
>out to be 25 percent of all the money collected.
>
>$17 million: <http://news.bbc.co.uk/2/hi/americas/4187023.stm> Amount of
>money the White House is forcing the cash-strapped city of Washington,
>D.C., to pony up for inauguration security.
>
>9: <http://www.csmonitor.com/2005/0119/p03s01-uspo.html> Percentage of
>D.C. residents who voted for Bush in 2004.
>
>66: <http://abcnews.go.com/images/Politics/972a1BushPreInaugural.pdf>
>Percentage of Americans who think this over-the-top inauguration should
>have been scaled back.
>



-- 
"Artists tear percepts out of their perceptions, in the same way that
Impressionist painters twist our perception of light by showing us
their impression of it with colour instead of line, creating a percept
called Impressionism.  Deleuze states that this creates a completely
new habit of thought, one that twists our nerves and creates "a crack
in the skull" (Parnet  1996). "

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From ???@??? Fri Jan 21 09:44:23 2005
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From: slow sound system <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] slow sound system on resonance 104.4fm, tonight
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--Boundary_(ID_zYWsGPfadaAvwoap/ZvjuQ)
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SLOW SOUND SYSTEM
LIE DOWN AND BE COUNTED


SMALL PIECES, MIDNIGHT-1AM GMT, RESONANCE 104.4FM

the 'small pieces' show runs every friday night on resonance 104.4fm. small pieces is an audio platform for the london leftfield electronica community to display its wares. 

tonight the slow sound system is in the chair. expect the usual selection of relaxed audio, with new / old tracks by (among others) lau nau, sebastien roux, the sighs, diego morales, pharoah sanders, chas smith, accrual, the marcia blaine school for girls, we're breaking up, kapital band 1 and the heavenly gospel singers.

those in London, set your receivers to resonance 104.4fm. everyone else, go to www.resonancefm.com for live streaming audio. 

happy listening!


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.sprawl.org.uk

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"...unless of course it's fashionable to participate in a PC-feel-good
fashion marketing plan...e.g. last night I heard something on NPR w/r/t
Bank of America building a 'green' skyscraper in NYC"
Ha ha - I missed the discussion, but I love the idea of a green skyscraper.
Some of you may be interested in this re: current discussions.  It's a 
project I'm working on with Carbon Defense League.  www.peoplesjeans.com
It's a fake business idea that we plan to begin pitching to investment 
groups in a couple months and documenting their responses.  Doing a bunch 
of "focus groups" too.  One request: don't forward the link.  It will be a 
hard sell if everyone knows it's a joke. 



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From ???@??? Fri Jan 21 04:29:58 2005
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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] Re: privilege, boundaries and class
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> I guess my confusion resulted and still resides in not understanding  
> how taking Adorno to task for his dismissal of jazz in 'the jazz  
> quote' is privileged or bourgeois.  Maybe its my insistence of  
> focusing solely on the music that makes it that way.  As I stated  
> earlier, I don't really have a complaint about Adorno on the whole, as  
> I've not read enough of him to muster a complaint.

it is hard for most americans to read Marxist philosophy because a) the  
'real' left has no coherent presence or voice in the US; the result  
being a lack of 'leftist culture', b) the US mindset: soviet styled  
communism 'failed' which delegated the US system of democracy as the  
'winner' - result: Marx has been reduced to being a quaint and  
problematic philosopher who is no longer valid and c) Marxism as a  
cultural critique has been paved over by young fashionistas spouting  
po-mo Sokal-like rants...as a result it is difficult to casually take  
Adorno to task without placing the discourse in the broader context of  
Marxist cultural criticism...
Adorno was a great thinker but he drew from many other wonderful  
Marxist thinkers around him (e.g. the Frankfurt School) and before him  
(like Newton, he stood on the shoulders of giants)...so his opinions  
about Jazz were most likely not unique to him but might have been  
typical of someone of his political background and exposure (as Tad  
pointed out) to what 'Jazz' consisted of in Germany circa 1940's...
since most Marxist critique looks at the politcal-economic context in  
which a particular set of events takes place culture can not be  
analyzed/critiqued in a vacuum isolated from the forces that shape it  
and bring it into our lives...trying to bracket music off into a corner  
by itself serves no-one except music journalists trying to be 'on the  
tip' and people needing their music reviews reduced to clever  
soundbites...while we can (and do) pretend that music is separate from  
political-economic forces, the truth is that it isn't...
so while taking Adorno to task for his dismissal of Jazz is not  
privileged or bourgeois, dismissing Adorno on the grounds that music  
can be separated from the political-economic forces that shape it is.

for a broad introduction to Adorno you might want to check out a  
collection of his essays titled: "Prisms"
http://www.amazon.com/exec/obidos/tg/detail/-/0262510251/ref=lpr_g_2/ 
103-2427804-5497424?v=glance&s=books
there is a used copy or two through Amazon for around $10.00


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duhh

should have been off list....pressed the wrong button..sorry!

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just read a thread about your minidisc being up for sale?



it is still available?...



let me know 



Carlos

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Just to clarify Scott's comments:

> I got one a year ago or more for under $200. You'll still have to
> transfer to a computer the old fashioned analog way, but there are
> really no other options. Last I heard, it was still impossible to
> download recorded tracks from minidisc digitally... thank you Sony &

With a component deck like my 1998-model Sony JB920 you can do realtime
digital transfers over SPDIF. No analog stage in this, but you do get the
decoded 16/44 stream, not the original ATRAC. I've been doing this since
98. Only downside it's realtime, you must have SPDIF/optical ins on your
soundcard, and you must "record" the incoming file with audio software.

There ARE custom solutions that rip the ATRAC to your PC for software
decompression, I have such a system but it's rickety and obsolete. HiMD
would be better in every regard.

The new HiMD *does* allow (as I wrote in a previous mail) uploading of
recordings via USB, which can end up as non-DRM .WAV files on your PC,
with no analog stage.  Since it's USB 1 though apparently the speed
advantage over realtime when transferring uncompressed 16/44 recordings
(which HiMD allows) is minimal... :/

 best,
   aaron

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

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From ???@??? Fri Jan 21 00:31:57 2005
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Subjective comments below... I agree with most of Derek's points btw re:
connectors, A/D, etc.

Derek wrote:

> 2) No digital outs. This means the DA converter of the MD, and then the

Just to clarify Derek's later comments, the new HiMD decks can transfer
digitally at higher than realtime -- with the limitation that as he says,
you must use their Windows application to do it. Once uploaded, a second
trivial step is necessary to convert uploaded recordings to non-DRM .WAV
files.

Both compressed and un-compressed recordings can be uploaded this way.

Sony's own software does not allow you to "unlock" recordings made through
portables' optical digital inputs.

However, an enterprising MD fan has made a convertor utility themselves
which WILL unlock recordings made through the digital ins.

QED you can use a high-quality pre/AD box like a Zerofire or maybe the
Core Sound Mic2496,  send the signal via optical in to the HiMD
portable, record uncompressed PCM 16/44 and then upload it and decode to
WAV on your PC.

Not QUITE as useful as a drag-and-drop CF/HD recorder with no limitations,
but my number one reason for still using MD is that my original MDs are my
permanent reliable archival medium of everything that I record. I never
have to burn CDs/DVDs, remember to back up, etc...

(My other reasons are battery consumption and size).

> 3) No digital ins [at least on newer models, my old MZ-R35 had an

Many don't but many actually do, check the equipment browser at
minidisc.org for a model-by-model breakdown.

> Getting a recordable MP3 player [like the some of the IRiver models] is
> an option, but your still stuck with many problems, namely compressed

iRiver recorders have now stopped supporting uncompressed recording; the
most likely reason is they have never been able to get the uncompressed
recording feature on their last generation of recorders working correctly.
It notoriously drops hundreds of samples regularly if unpredictably
(presumably it can't keep up with the data stream)...

But despite all these fits and starts it's a golden era for portable
quality recording.

FWIW I still regularly record with/perform with a set of 5+ year old Sony
MZ-R50's and MZ-R37's purchased on eBay for an average price of $60 each.

The MZ-R50 in particular is a TANK with a great interface, dedicated line
out, optical in, etc. Downsides are that it's big and uses proprietary
rechargeables internally (though it can run off AAs with a screw-on case).

 best,
  aaron

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

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Portable CD recorders from marantz, and I think the other portable Cd
recorders I looked into, weren't really portable.  That is, even though they
look portable, their suggested use was for studio (something to do with no
guarantees that the jostling wouldn't disrupt the recording, but the only
thing I clearly remember now is that they were not good in the field. )
However, I use both the portable minidisc marantz (now phased out) and the
portable solid state marantz, and am pleased with both.
J


On 1/20/05 2:12 PM, "mandra  (chris)" <xxxxxx@xxxxxxxxxxxxxx.xxx> wrote:

> what about portable CD recorders - like the Marantz?
> On Jan 20, 2005, at 2:00 PM, derek holzer wrote:
> 
>> I used a Sony MZ-R35 for years. It's from about 1999, back when they
>> built things a bit more sturdy, and it has yet to fail me. I'd be a
>> little nervous about the newer make MDs, which get closer and closer
>> to the size of a credit card and generally don't look nearly so
>> robust. I also really liked the "jog-wheel" function. See here:
>> 
>> http://www.minidisc.org/part_Sony_MZ-R35.html
>> 
>> In general, however, the things I disliked about Minidiscs were this:
>> 
>> 1) Bad AD converters, very noisy!!! Consumer grade stuff will always
>> be like this. I tend to record *very* tiny sounds, and every dB of
>> noise floor I can remove counts.
>> 
>> 2) No digital outs. This means the DA converter of the MD, and then
>> the AD converter of whatever you are capturing with, add up even more
>> noise. You could get a full-sized MD deck for the digital out, but
>> that doesn't really help you "in the field" if you need to capture and
>> edit something right away.
>> 
>> 3) No professional connections. This means balanced, XLR microphone
>> connections. Ask any audio technician, and they will probably tell you
>> that the mismatched impedence between a pro mike and the
>> consumer-grade input probably adds more noise than all the other
>> factors combined!
>> 
>> 3) No digital ins [at least on newer models, my old MZ-R35 had an
>> optical line in]. This I suppose is some Digital Rights Manipulation
>> scheme, to keep clean copies of CDs from making their way between MD
>> players. But it's a pain if you want to bypass the crappy MD mike
>> inputs and AD converters with an aftermarket preamp/AD unit. The only
>> consolation is that you can use an external preamp and then the line
>> input, allowing the use of balanced XLRs [if you have such a preamp],
>> but the transfer to the MD is still analog.
>> 
>> OTOH, the ATRAC compression never bothered me too much. But for the
>> lack of professional mike inputs, I might even consider the new HiMD
>> format except that the software to extract the audio is proprietary
>> Sony stuff, and I'm just not down with that. Use an open standard and
>> you'll get my attention and hard-earned cash.
>> 
>> I would recommend to get a portable DAT from EBay, but as most people
>> know, this standard is going to be quite dead soon enough, as nobody
>> makes parts or tapes any more. A Sony TR-[something] usually goes for
>> between USD 300 and 500, and I am still using just such a model.
>> Inputs aren't great, but it has full digital IO which is something I
>> really needed. I could record something and then immediately offload
>> it digitally to my laptop and get to work on it.
>> 
>> My honest advice would be to save your pennies a little longer and go
>> for one of the new hard-disk based recorders. They usually have much
>> better inputs and AD converters [although maybe not with XLR inputs],
>> can do 24/96 [usually] and most importantly are fully digital IO
>> compatible, so you can use whatever preamp/AD you want, so can easily
>> offload to your computer with no sound quality loss or stupid
>> proprietary formats.
>> 
>> The R1 Editrol looks like a nice starter unit, and goes for +/- USD
>> 500:
>> 
>> http://www.sweetwater.com/store/detail/R1Edirol/
>> 
>> Getting a recordable MP3 player [like the some of the IRiver models]
>> is an option, but your still stuck with many problems, namely
>> compressed audio format and crappy consumer-grade inputs. In general,
>> there seems to be a huge conspiricy on the part of hardware
>> manufacturers to keep decent-quality sound recording *out* of the
>> hands of the masses...
>> 
>> Good luck,
>> d.
>> 
>> -- 
>> derek holzer ::: http://www.umatic.nl
>> ---Oblique Strategy # 36:
>> "Consult other sources
>> -promising
>> -unpromising"
>> 
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>> 
>> 
> mandra
> c:410.258.5281
> h:301 772 7376
> 
> realtime experimentalist / guitarist for 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!
> happening the 3rd Sunday of EVERY month
> @ the Royal - 1542 Light Street, Baltimore, MD
> watch, listen, dance, relax and explore the "known unknowns"
> 
> AND check out "e+@13" - a new show the first Thursday of every month at
> the 13th Floor in Baltimore highlighting live aspects of electronic
> music.
> 
> 
> 
> ---------------------------------------------------------------------
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> website: http://www.microsound.org
> 
> 


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From ???@??? Thu Jan 20 21:47:58 2005
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Date: Thu, 20 Jan 2005 22:45:15 +0100
From: Malte Steiner <xxxxxxx@xxxxxx.xxx>
Subject: [microsound] saturday in berlin
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a nice evening of sound and art on 22.januar at ZurMoebelGalerie, 
Berlin, Germany with

sound from

- xyramat
- sonata rec.
- evapori
- johannes beck
- ntcn
- cint

art from

- manfred michl
- daniela thomsen
- elektronengehirn / malte steiner

its the release event of the 4. issue of the art cdr magazine tinah, 
start 21:00

More:

http://www.thisisnotahomepage.com

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according to the site http://www.whatsthattune.co.uk it is:
 
Company: Audi
Product: A6 
Artist: Tankerville - Entangled
Year: 2004
Description: Advert for Audi A6


sarah-michelle geller <xxxxxxxxxxxxxxxxxxx@xxxxxxx.xxx> wrote:

does anyone know the name and the author of the music on the new audi advert 
in the UK in which a black car slowly explodes into letters which float down 
a city street, some of which form the words 'versprung', 'durch' and 
'technik'? (i apologise for my bad german)

_________________________________________________________________
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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smr242



                
---------------------------------
Do you Yahoo!?
 Yahoo! Search presents - Jib Jab's 'Second Term'
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----- Original Message ----- 
From: derek holzer 
>I hope I'm not the only person who finds this important...

i had to find out the "hard way"...:((
thost


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

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

>> we gonna fight for your right to apathy... <<
°°°°°
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In a message dated 20/01/2005 18:20:31 GMT Standard Time, 
xxxxxxxxxxxxxxxxxxx@xxxxxxx.xxx writes:

> does anyone know the name and the author of the music on the new audi 
> advert 
> in the UK in which a black car slowly explodes into letters which float down 
> 
> a city street, some of which form the words 'versprung', 'durch' and 
> 'technik'? (i apologise for my bad german)
> 
> 

   dunno, but it was directed by a french duo apparently, you can view the 
ad, with music, on the audi uk website, but I couldn't find any credits...





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



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From ???@??? Thu Jan 20 19:40:15 2005
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on 1/20/05 2:00 PM, derek holzer at xxxxx@x-x.xxx wrote:

> I used a Sony MZ-R35 for years. It's from about 1999, back when they
> built things a bit more sturdy, and it has yet to fail me. I'd be a
> little nervous about the newer make MDs, which get closer and closer to
> the size of a credit card and generally don't look nearly so robust. I
> also really liked the "jog-wheel" function. See here:
> 
> http://www.minidisc.org/part_Sony_MZ-R35.html
> 
> In general, however, the things I disliked about Minidiscs were this:
> 
> 1) Bad AD converters, very noisy!!! Consumer grade stuff will always be
> like this. I tend to record *very* tiny sounds, and every dB of noise
> floor I can remove counts.

i would recommend than getting a sony mic such as a ECM-MC907 , this mic
sounds amazing with sony's md's, low noise, wide imaging.


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From ???@??? Thu Jan 20 19:36:30 2005
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From: derek holzer <xxxxx@x-x.xxx>
Subject: Re: [microsound] [ot] minidisc recorders
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Mika Martini wrote:
> "Last I heard, it was still impossible to download recorded tracks from minidisc digitally..." 
>  
> ¿this is true??? even in the Sony Hi-MD MZ-NH700 ??

Like I just wrote, you can transfer digitally from a full-sized deck, 
but not from a portable. Doesn't help you much "in the field". The HiMD 
is a nice idea, but it uses a proprietary system to do it. That means 
you are trapped with *their* software to do your transfers. Nobody else 
can write a different utility to do the trick. So if you have an 
unsupported OS [like Linux, maybe also Mac OS9, for example] or you want 
a feature that doesn't exist [maybe you'd like to "gate" the input so 
you don't record silence, or whatever...] it cannot be done. I hope I'm 
not the only person who finds this important...

d.

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

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From ???@??? Thu Jan 20 19:36:00 2005
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Mika Martini wrote:
> "Last I heard, it was still impossible to download recorded tracks from minidisc digitally..." 
>  
> ¿this is true??? even in the Sony Hi-MD MZ-NH700 ??

Like I just wrote, you can transfer digitally from a full-sized deck, 
but not from a portable. Doesn't help you much "in the field". The HiMD 
is a nice idea, but it uses a proprietary system to do it. That means 
you are trapped with *their* software to do your transfers. Nobody else 
can write a different utility to do the trick. So if you have an 
unsupported OS [like Linux] or you want a feature that doesn't exist 
[maybe you'd like to "gate" the input so you don't record silence, or 
whatever...] it cannot be done. I hope I'm not the only person who finds 
this important...

d.

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

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From ???@??? Thu Jan 20 19:11:52 2005
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From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
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what about portable CD recorders - like the Marantz?
On Jan 20, 2005, at 2:00 PM, derek holzer wrote:

> I used a Sony MZ-R35 for years. It's from about 1999, back when they 
> built things a bit more sturdy, and it has yet to fail me. I'd be a 
> little nervous about the newer make MDs, which get closer and closer 
> to the size of a credit card and generally don't look nearly so 
> robust. I also really liked the "jog-wheel" function. See here:
>
> http://www.minidisc.org/part_Sony_MZ-R35.html
>
> In general, however, the things I disliked about Minidiscs were this:
>
> 1) Bad AD converters, very noisy!!! Consumer grade stuff will always 
> be like this. I tend to record *very* tiny sounds, and every dB of 
> noise floor I can remove counts.
>
> 2) No digital outs. This means the DA converter of the MD, and then 
> the AD converter of whatever you are capturing with, add up even more 
> noise. You could get a full-sized MD deck for the digital out, but 
> that doesn't really help you "in the field" if you need to capture and 
> edit something right away.
>
> 3) No professional connections. This means balanced, XLR microphone 
> connections. Ask any audio technician, and they will probably tell you 
> that the mismatched impedence between a pro mike and the 
> consumer-grade input probably adds more noise than all the other 
> factors combined!
>
> 3) No digital ins [at least on newer models, my old MZ-R35 had an 
> optical line in]. This I suppose is some Digital Rights Manipulation 
> scheme, to keep clean copies of CDs from making their way between MD 
> players. But it's a pain if you want to bypass the crappy MD mike 
> inputs and AD converters with an aftermarket preamp/AD unit. The only 
> consolation is that you can use an external preamp and then the line 
> input, allowing the use of balanced XLRs [if you have such a preamp], 
> but the transfer to the MD is still analog.
>
> OTOH, the ATRAC compression never bothered me too much. But for the 
> lack of professional mike inputs, I might even consider the new HiMD 
> format except that the software to extract the audio is proprietary 
> Sony stuff, and I'm just not down with that. Use an open standard and 
> you'll get my attention and hard-earned cash.
>
> I would recommend to get a portable DAT from EBay, but as most people 
> know, this standard is going to be quite dead soon enough, as nobody 
> makes parts or tapes any more. A Sony TR-[something] usually goes for 
> between USD 300 and 500, and I am still using just such a model. 
> Inputs aren't great, but it has full digital IO which is something I 
> really needed. I could record something and then immediately offload 
> it digitally to my laptop and get to work on it.
>
> My honest advice would be to save your pennies a little longer and go 
> for one of the new hard-disk based recorders. They usually have much 
> better inputs and AD converters [although maybe not with XLR inputs], 
> can do 24/96 [usually] and most importantly are fully digital IO 
> compatible, so you can use whatever preamp/AD you want, so can easily 
> offload to your computer with no sound quality loss or stupid 
> proprietary formats.
>
> The R1 Editrol looks like a nice starter unit, and goes for +/- USD 
> 500:
>
> http://www.sweetwater.com/store/detail/R1Edirol/
>
> Getting a recordable MP3 player [like the some of the IRiver models] 
> is an option, but your still stuck with many problems, namely 
> compressed audio format and crappy consumer-grade inputs. In general, 
> there seems to be a huge conspiricy on the part of hardware 
> manufacturers to keep decent-quality sound recording *out* of the 
> hands of the masses...
>
> Good luck,
> d.
>
> -- 
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 36:
> "Consult other sources
> -promising
> -unpromising"
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for 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!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at 
the 13th Floor in Baltimore highlighting live aspects of electronic 
music.



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From ???@??? Thu Jan 20 19:05:18 2005
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From: Mika Martini <xxxxxxxxxxx@xxxxx.xxx>
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--Boundary_(ID_1LggCTNviqXnqHgWagrWhg)
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"Last I heard, it was still impossible to download recorded tracks from minidisc digitally..." 
 
¿this is true??? even in the Sony Hi-MD MZ-NH700 ??
 
Mika.

xxxxxxx@xxxx.xxx wrote:
http://www.minidisco.com is a very good source.

/sean

> The Sharp MT190 definitely rocks. They can be a bit tough to find, but
> I got one a year ago or more for under $200. You'll still have to
> transfer to a computer the old fashioned analog way, but there are
> really no other options. Last I heard, it was still impossible to
> download recorded tracks from minidisc digitally... thank you Sony &
> co.
>
> http://minidisc.org/equipment_browser.html is a good resource, btw.
>
> - Scott Carver
>
> On Jan 20, 2005, at 6:02 AM, xxxxxxx@xxx.xxx wrote:
>
>> can anyone kindly suggest a minidisc player/recorder w/ a
>> microphonejack. thats good for making field recordings and is under
>> 300 dollars.
>> -t
>
>
> ---------------------------------------------------------------------
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> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>
>



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



---------------------------------
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From ???@??? Thu Jan 20 18:58:44 2005
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I used a Sony MZ-R35 for years. It's from about 1999, back when they 
built things a bit more sturdy, and it has yet to fail me. I'd be a 
little nervous about the newer make MDs, which get closer and closer to 
the size of a credit card and generally don't look nearly so robust. I 
also really liked the "jog-wheel" function. See here:

http://www.minidisc.org/part_Sony_MZ-R35.html

In general, however, the things I disliked about Minidiscs were this:

1) Bad AD converters, very noisy!!! Consumer grade stuff will always be 
like this. I tend to record *very* tiny sounds, and every dB of noise 
floor I can remove counts.

2) No digital outs. This means the DA converter of the MD, and then the 
AD converter of whatever you are capturing with, add up even more noise. 
You could get a full-sized MD deck for the digital out, but that doesn't 
really help you "in the field" if you need to capture and edit something 
right away.

3) No professional connections. This means balanced, XLR microphone 
connections. Ask any audio technician, and they will probably tell you 
that the mismatched impedence between a pro mike and the consumer-grade 
input probably adds more noise than all the other factors combined!

3) No digital ins [at least on newer models, my old MZ-R35 had an 
optical line in]. This I suppose is some Digital Rights Manipulation 
scheme, to keep clean copies of CDs from making their way between MD 
players. But it's a pain if you want to bypass the crappy MD mike inputs 
and AD converters with an aftermarket preamp/AD unit. The only 
consolation is that you can use an external preamp and then the line 
input, allowing the use of balanced XLRs [if you have such a preamp], 
but the transfer to the MD is still analog.

OTOH, the ATRAC compression never bothered me too much. But for the lack 
of professional mike inputs, I might even consider the new HiMD format 
except that the software to extract the audio is proprietary Sony stuff, 
and I'm just not down with that. Use an open standard and you'll get my 
attention and hard-earned cash.

I would recommend to get a portable DAT from EBay, but as most people 
know, this standard is going to be quite dead soon enough, as nobody 
makes parts or tapes any more. A Sony TR-[something] usually goes for 
between USD 300 and 500, and I am still using just such a model. Inputs 
aren't great, but it has full digital IO which is something I really 
needed. I could record something and then immediately offload it 
digitally to my laptop and get to work on it.

My honest advice would be to save your pennies a little longer and go 
for one of the new hard-disk based recorders. They usually have much 
better inputs and AD converters [although maybe not with XLR inputs], 
can do 24/96 [usually] and most importantly are fully digital IO 
compatible, so you can use whatever preamp/AD you want, so can easily 
offload to your computer with no sound quality loss or stupid 
proprietary formats.

The R1 Editrol looks like a nice starter unit, and goes for +/- USD 500:

http://www.sweetwater.com/store/detail/R1Edirol/

Getting a recordable MP3 player [like the some of the IRiver models] is 
an option, but your still stuck with many problems, namely compressed 
audio format and crappy consumer-grade inputs. In general, there seems 
to be a huge conspiricy on the part of hardware manufacturers to keep 
decent-quality sound recording *out* of the hands of the masses...

Good luck,
d.

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

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From ???@??? Thu Jan 20 18:56:01 2005
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on 1/20/05 9:02 AM, xxxxxxx@xxx.xxx at xxxxxxx@xxx.xxx wrote:

> can anyone kindly suggest a minidisc player/recorder w/ a microphonejack.
> thats good for making field recordings and is under 300 dollars.
> -t
> 

sony mz-r55, along with a sony ecm-ms907 mic and your set...this disk
recorder is a little bit old, but is made well compared to the latest ones
which im afraid would break from a simple drop.


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From ???@??? Thu Jan 20 18:50:38 2005
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Date: Thu, 20 Jan 2005 13:50:23 -0500
From: Adam Young <xxxx_xxxxx@xxxxxx.xx>
Subject: [microsound] Greetings
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Just wanted to say hello to everyone, I'm new to the list. Name's Adam
Young, I am 1/2 of the minimal techno outfit "Tractile" and produce
experiemental ambient material under the name "Direwires". I'm from Southern
Ontario in Canada. Tractile will be releasing records soon, Direwires
material has no official plans currently and I've been really trying to find
a home for it lately. Folks with labels and people familiar with labels -
maybe you could help me find an appropriate placement?

This list looks great. Can't wait to contribute to the microsound projects
if there are any in the future.

-adam

www.tractile.net | www.direwires.com | www.yearofthemachine.com


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From ???@??? Thu Jan 20 18:39:51 2005
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Just wanted to say hello to everyone, I'm new to the list. Name's Adam
Young, I am 1/2 of the minimal techno outfit "Tractile" and produce
experiemental ambient material under the name "Direwires". I'm from Southern
Ontario in Canada. Tractile will be releasing records soon, Direwires
material has no official plans currently and I've been really trying to find
a home for it lately. Folks with labels and people familiar with labels -
maybe you could help me find an appropriate placement?

This list looks great. Can't wait to contribute to the microsound projects
if there are any in the future.

-adam

www.tractile.net | www.direwires.com | www.yearofthemachine.com


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From ???@??? Thu Jan 20 18:20:13 2005
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does anyone know the name and the author of the music on the new audi advert 
in the UK in which a black car slowly explodes into letters which float down 
a city street, some of which form the words 'versprung', 'durch' and 
'technik'? (i apologise for my bad german)

_________________________________________________________________
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From ???@??? Thu Jan 20 18:10:56 2005
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From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] [ot] minidisc recorders
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BTW- the one that lasted a loooong time was a sony mz-r30 - about a 
third larger than current sony units (and much more robust it would 
seem)

also, the reporters @ NPR use minidiscs as well mostly the mzb100 
(though they always use external mics as the npr engineers disconnect 
the built in stereo mic. Also has a built in speaker, which could be 
useful.

chris

On Jan 20, 2005, at 12:57 PM, ale*** wrote:

> From my experience the Sonys are plagued with problems (even though 
> they
> look cool), if you can try a Sharp, generally they are more reliable.
> Just my 2 cents...
>
> ale***
>
> ---
> http://www.pachinkostudio.com
> http://www.12k.com/term/term10.htm
>
> ----- Original Message -----
> From: <xxxxxxx@xxx.xxx>
> To: <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Thursday, January 20, 2005 3:02 PM
> Subject: [microsound] [ot] minidisc recorders
>
>
>> can anyone kindly suggest a minidisc player/recorder w/ a 
>> microphonejack.
> thats good for making field recordings and is under 300 dollars.
>> -t
>
>
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>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for 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!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at 
the 13th Floor in Baltimore highlighting live aspects of electronic 
music.



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From: Matthew Mitchell <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] privilege, boundaries and class
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> I undoubtedly feel privileged to be a
> musician, to be able to think about such things, and to live in the 
> country in
> which I live, the recent political situation notwithstanding.
>>that statement is another discussion altogether...but in passing: why 
do you feel privileged to live in your country - which I am assuming to 
be the US given the reference to the 'recent political situation' in 
your statement...but most countries have had 'recent political 
situations' and I could be wrong here...

Yeah, its the US - I was originally trying to avoid trumpeting a 'proud to be an American' tone which I find distasteful in many others who use it.  I guess what makes me feel that way, not intending to sound proud, is a general love of life and the general feeling that what has made that possible for me is my location, though in retrospect time is the other big factor.  So I guess its not the US per se, it just happens to be so, if that makes sense.


>>also, aren't borders/nation-states et. al. just 'artificial' constructs 
that we are sold through indoctrination and media? and if they are 
artificial why do we cling to them? what real purpose do these 
boundaries serve?

That's a huge question that I don't have time to explore really at the moment, but my basic response would be no.


>>in any event, by using the term 'privilege' I didn't mean 'the feeling 
of gratitude' but an 'immunity' from the underlying mechanisms and 
agendas of consumer capitalism...a state of 'privilege' tends to blind 
those who have had life-long indoctrination by western power 
structures...our privileged way of life colors how we see things (or 
not see things), our unquestioned bourgeois life-style of convenience 
which some person in a remote part of the planet has made available to 
us through their labor...we wall all this off so that it remains 
hidden...this is the psychic defense mechanism of 'freedom' we learn to 
acquire in a late stage capitalist society...a system where markets 
aren't free but manipulated and programmed to benefit the corporate 
power structures that sustain them...the point being 
that privilege creates a state of being made politically unaware and 
isolated by the very act of consumption...

I understand what you're saying.  That tendency for Americans to be not politically aware is why I've tried for years to be as politically aware as I can.  I guess my confusion resulted and still resides in not understanding how taking Adorno to task for his dismissal of jazz in 'the jazz quote' is privileged or bourgeois.  Maybe its my insistence of focusing solely on the music that makes it that way.  As I stated earlier, I don't really have a complaint about Adorno on the whole, as I've not read enough of him to muster a complaint.  

-matt




www.mattmitchell.us  
Listen to free music, read the blog, sign the guestbook!

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From ???@??? Thu Jan 20 18:00:27 2005
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From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
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 From my experience with the minidisc (used one steadily from 1999 until 
last year when it finally died) - if it is subjected to constant 
vibration for over a minute or so w/ out pause it will shut off - 
that's why I always sat it on a towel or folded t-shirt when recording 
shows with it. Generally a fine enough unit  for archiving things to 
not really be released for audiophiles, but the adtrac encoding is a 
little weird i.e. my audio technica stereo mic always picked up people 
talking at shows, but thanks to adtrac, I could never really make out 
individual words from voices in a crowd  - creating instant paul 
lanskyish chatter...
chris
On Jan 20, 2005, at 12:25 PM, th_ost wrote:

>
>
> Sony MZ-NHF900 HiMD
> http://minidisc.org/hi-md_faq.html
>
>> can anyone kindly suggest a minidisc player/recorder w/ a
>> microphonejack. thats good for making field recordings and is under
>> 300 dollars.
>> -t
>
>
>
> - i've got the MZ-NHF700 myself. it's a nice unit, can transfer files 
> to pc via usb, but i did have some problems with transmitting wav/pcm 
> format files, as sonic stage (the somewhat fascist prog that comes 
> with it for that purpose) seems to automatically encode them when 
> transferring... i read that an update version has wav export, though, 
> so i need to check again... (was partially lazy about it)
>
> only downside so far (got it since october), i tried recording a 
> live-act, and it automatically switched off 2 times... might have been 
> some "faulty" autorecord settings on my behalf as well, so i am 
> carefull with downright criticism...
>
> anyway, the whole nhf series seems decent, esp. the one gb hi-md 
> feature...
> (you can even use it as an external hd, drag and drop from win 
> exploder...)
>
> best,
> oliver
> °°°
> th_ost: tomoroh hidari_oliver stummer
> acronymic symbiosis of alter & ego
>
> http://www.tomoroh.com/
> http://www.stiege44.com/
> xxxxxx@xxx.xxx
> ay, sigue:56825202
>
>>> we gonna fight for your right to apathy... <<
> °°°°°
>
>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for 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!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at 
the 13th Floor in Baltimore highlighting live aspects of electronic 
music.



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From: ale*** <xxxx@xxxxxxxxxxxxxx.xxx>
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From my experience the Sonys are plagued with problems (even though they
look cool), if you can try a Sharp, generally they are more reliable.
Just my 2 cents...

ale***

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

----- Original Message ----- 
From: <xxxxxxx@xxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Thursday, January 20, 2005 3:02 PM
Subject: [microsound] [ot] minidisc recorders


> can anyone kindly suggest a minidisc player/recorder w/ a microphonejack.
thats good for making field recordings and is under 300 dollars.
> -t


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From ???@??? Thu Jan 20 17:57:03 2005
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http://www.minidisco.com is a very good source.

/sean

> The Sharp MT190 definitely rocks. They can be a bit tough to find, but
> I got one a year ago or more for under $200. You'll still have to
> transfer to a computer the old fashioned analog way, but there are
> really no other options. Last I heard, it was still impossible to
> download recorded tracks from minidisc digitally... thank you Sony &
> co.
>
> http://minidisc.org/equipment_browser.html is a  good resource, btw.
>
> - Scott Carver
>
> On Jan 20, 2005, at 6:02 AM, xxxxxxx@xxx.xxx wrote:
>
>> can anyone kindly suggest a minidisc player/recorder w/ a
>> microphonejack. thats good for making field recordings and is under
>> 300 dollars.
>> -t
>
>
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>
>



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Subject: Re: [microsound] Adorno redux
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for anyone interested in researching what Adorno may or may not have  
said on music I recommend the following collection:

http://www.amazon.com/exec/obidos/tg/detail/-/0520231597/ 
qid=1106243107/sr=8-1/ref=pd_csp_1/104-2881749- 
3491128?v=glance&s=books&n=507846




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From: th_ost <xxxxxx@xxx.xxx>
Subject: Re: [microsound] [ot] minidisc recorders
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--Boundary_(ID_rgCdnuxnbGmb1DbBsYiXJQ)
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Sony MZ-NHF900 HiMD
http://minidisc.org/hi-md_faq.html

>can anyone kindly suggest a minidisc player/recorder w/ a 
>microphonejack. thats good for making field recordings and is under 
>300 dollars.
>-t



- i've got the MZ-NHF700 myself. it's a nice unit, can transfer files to pc via usb, but i did have some problems with transmitting wav/pcm format files, as sonic stage (the somewhat fascist prog that comes with it for that purpose) seems to automatically encode them when transferring... i read that an update version has wav export, though, so i need to check again... (was partially lazy about it)

only downside so far (got it since october), i tried recording a live-act, and it automatically switched off 2 times... might have been some "faulty" autorecord settings on my behalf as well, so i am carefull with downright criticism...

anyway, the whole nhf series seems decent, esp. the one gb hi-md feature...
(you can even use it as an external hd, drag and drop from win exploder...)

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

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

>> we gonna fight for your right to apathy... <<
°°°°°

--Boundary_(ID_rgCdnuxnbGmb1DbBsYiXJQ)--

From ???@??? Thu Jan 20 17:03:43 2005
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The Sharp MT190 definitely rocks. They can be a bit tough to find, but 
I got one a year ago or more for under $200. You'll still have to 
transfer to a computer the old fashioned analog way, but there are 
really no other options. Last I heard, it was still impossible to 
download recorded tracks from minidisc digitally... thank you Sony & 
co.

http://minidisc.org/equipment_browser.html is a  good resource, btw.

- Scott Carver

On Jan 20, 2005, at 6:02 AM, xxxxxxx@xxx.xxx wrote:

> can anyone kindly suggest a minidisc player/recorder w/ a 
> microphonejack. thats good for making field recordings and is under 
> 300 dollars.
> -t


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Matthew Mitchell wrote on 1/20/05:

> Here's what I wrote, as a reminder:  "Adorno was far too subtle to
>simply look for a justification for his own tastes.  that would be an
>unbelievably dumb reading of Adorno."

I have to agree with Bill.  As much as you may not like it, it's a
critique of an action, not a person.  There's a big difference between
saying:

"That was a dumb thing to do."

and

"You're dumb."

(Which wasn't what Bill said.)

>To imply that someone would be offended by a 'misreading' is just 
>utterly preposterous.  I said from the outset that Adorno was simply 
>justifying his own tastes.  It seemed to me that, regardless of the 
>larger social agenda he had, he was simply speaking a lot of nonsense 
>about the music while not dealing with the music at all.  If someone is 
>offended by my actually saying that, well, then, they can get over it!

Well, "offended" might not be what I'd offer, but "uninterested in
continuing the conversation" is pretty close.  Adorno did deal very
explicitly with the music of his time.  Sadly, most of us are too lazy
to discover/understand what the music of his time was.  For those with
some energy try:

J. Bradford Robinson, "Jazz Reception in Germany: in Search of a Shimmy
Figure" in _Music and Peformance during the Weimar Republic_, edited by
Bryan Gilliam, Cambridge Studies in Performance Practice 3, Cambridge,
1994.

Best,

Tad


<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Thu Jan 20 16:45:10 2005
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Date: Thu, 20 Jan 2005 08:45:03 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] privilege, boundaries and class
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> I undoubtedly feel privileged to be a
> musician, to be able to think about such things, and to live in the 
> country in
> which I live, the recent political situation notwithstanding.
that statement is another discussion altogether...but in passing: why 
do you feel privileged to live in your country - which I am assuming to 
be the US given the reference to the 'recent political situation' in 
your statement...but most countries have had 'recent political 
situations' and I could be wrong here...

also, aren't borders/nation-states et. al. just 'artificial' constructs 
that we are sold through indoctrination and media? and if they are 
artificial why do we cling to them? what real purpose do these 
boundaries serve?

in any event, by using the term 'privilege' I didn't mean 'the feeling 
of gratitude' but an 'immunity' from the underlying mechanisms and 
agendas of consumer capitalism...a state of 'privilege' tends to blind 
those who have had life-long indoctrination by western power 
structures...our privileged way of life colors how we see things (or 
not see things), our unquestioned bourgeois life-style of convenience 
which some person in a remote part of the planet has made available to 
us through their labor...we wall all this off so that it remains 
hidden...this is the psychic defense mechanism of 'freedom' we learn to 
acquire in a late stage capitalist society...a system where markets 
aren't free but manipulated and programmed to benefit the corporate 
power structures that sustain them...
unless of course it's fashionable to participate in a PC-feel-good 
fashion marketing plan...e.g. last night I heard something on NPR w/r/t 
Bank of America building a 'green' skyscraper in NYC - Bof A's real 
motives are submerged while the consumer gets the friendly face on all 
this posturing...if BofA were really to be effective at being 'green' 
they would take their resources and re-distribute it to building an 
infrastructure of greenness rather than erecting a monument to their 
own political-correctness...not that what they are doing is 'wrong' per 
se but that is another discussion and I am digressing...the point being 
that privilege creates a state of being made politically unaware and 
isolated by the very act of consumption...

sorry for the fragmented scattered thoughts but still nursing my first 
cup of French roast! :)


>   However, for
> anyone who owns a computer to take someone to task for a position they 
> see
> as bourgeois is beyond rich, in my opinion.
you are misreading the term bourgeois...I mean it as more of a mind-set 
and less of a power to consume afforded to particular class 
structure...


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From ???@??? Thu Jan 20 16:14:10 2005
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Date: Thu, 20 Jan 2005 16:13:11 +0000
From: Juan Gil <xxxxxxx@xxxxxxx.xxx>
Subject: RE: [microsound] Hit Song Science & Adorno
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 FILETIME=[10407780:01C4FF0B]

That could reinforce the Adornian criticism to the popular music related 
with the fact of the "standardization". I dont support the Adorno ideas out 
of the context in what he wrote it but i think that it could work with some 
industrialize styles. HSS (Hit song Science) seem to justify it if its 
efficiency is tested.

[i apologize to you for my english]

Juan

>From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
>Reply-To: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: [microsound] Hit Song Science
>Date: Tue, 18 Jan 2005 07:52:09 -0800
>
>Keywords: AI, hit song selection, automation of taste
>
>http://slashdot.org/article.pl?sid=05/01/18/1329238
>
>
>--
>Phil Thomson
>xxxxxxxxxxxxxxxxx@xxxxx.xxx
>
>{ home: http://www.sfu.ca/~pthomson/
>{ blog: http://www.bloglines.com/blog/PhilThomson
>{ label: http://centibel.org/
>
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Date: Thu, 20 Jan 2005 08:11:53 -0800 (PST)
From: Gregory Elliott <xxxxxxxx@xxxxxxxxxx.xxx>
Subject: [microsound] Austin, TX 1-22 Experimental Music at COFG
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Experimental music event at The Church of The Friendly Ghost in Austin, Texas

Anvil Salute (Norman, OK) - Droning neo-folk improvisation. These guys have shared the stage as an opening act with the likes of Jack Rose, Six Organs of Admittance, MV & EE, Tony Conrad, and most recently Austin's own Weird Weeds. Now they are bringing their wild neo-folk stylings to Austin for a show you won't want to miss.

The Bronze Eye (Oklahoma City, OK) - Glitchy turntable loops and found sound.

Inalonelyplace (Austin, TX) - Ambient soundtrack muzac performed live along with a short film.

Saturday, Jan. 22
show starts at 8, doors at 7
$5.00

http://spagirus.ivdt.net


--- Alex Perepelycia <xxxxxxxxx@xxxxx.xx.xx> wrote:

From: Alex Perepelycia <xxxxxxxxx@xxxxx.xx.xx>
Date: Thu, 20 Jan 2005 08:53:03 +0000 (GMT)
To: xxxxxxxxxx@xxxxxxxxx.xxx
Subject: [microsound] Alexis Perepelycia New EP

Dear all,
I,ve just want to share with U some music.
Click on the link below.
All the best.
Alexis.

http://www.archive.org/audio/audio-details-db.php?collection=dreamland_recordings&collectionid=dlnet024&from=recentAdditions&PHPSESSID=91a3c0f5d3acc531a18b8e28ea159bed


        
        
                
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From ???@??? Thu Jan 20 15:52:15 2005
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From: Matthew Mitchell <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Adorno redux
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> One last thing:  I didn't know that calling people (or statements
> made by people, whatever) 'unbelievably dumb' recently became acceptable
> discourse on this list.  I guessed I missed that memo.

>>Try to read a bit more subtly, Matt.  I talked about what "would" be
dumb readings of Adorno.  If that offends, just think of how offensive
the readings are to people like Kim, Peter, and me.  Prideful displays
of ignorance--followed by the inevitable resentment when called on it.
 Here's what I wrote, as a reminder:  "Adorno was far too subtle to
simply look for a justification for his own tastes.  that would be an
unbelievably dumb reading of Adorno."

To imply that someone would be offended by a 'misreading' is just utterly preposterous.  I said from the outset that Adorno was simply justifying his own tastes.  It seemed to me that, regardless of the larger social agenda he had, he was simply speaking a lot of nonsense about the music while not dealing with the music at all.  If someone is offended by my actually saying that, well, then, they can get over it!  
 
I'll ignore alll the other garbage except to say that for you to complain about 'misreadings and facile reductions' is hilarious.

At any rate, this is ridiculous, so I'm personally through with this thread.  

-matt

www.mattmitchell.us  
Listen to free music, read the blog, sign the guestbook!

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From ???@??? Thu Jan 20 15:08:08 2005
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On Jan 20, 2005, at 10:04 AM, DaveX wrote:

> Hello. My name is DaveX.

You're from the future, aren't you!

> "As knives, so does one man sharpen another."

Unless both men have knives. Then they kill each other.

- John


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From ???@??? Thu Jan 20 15:02:13 2005
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Hello. My name is DaveX. I am a new member of the .microsound list; I
thought I might take an opportunity to introduce myself.

I am an experimental sound artist in Southern Illinois. I am very interested
in trying to make sounds and recordings that are what I think of as "sounds
from the future", or sounds that have no connection to the present. I am
also interested in using these sounds to overwhelm the self, and possibly
transform the experience of the listener into something more like an
"accident" rather than a controlled action.

I often find that my music is lacking some element that would make me
satisfied with it, although I am often very satisfied with the process of
creating it, and the ideas surrounding its composition, etc.

For the past five years, I have hosted a weekly experimental radio show at a
volunteer run, not-for-profit community radio station. Anyone wanting more
info on that can e-mail me directly: itde AT mchsi.com

In addition; I collect produce stickers, solid color plastic animals,
photomat photos, remote controls for the Midwest Clicker Museum, Jimmy
Swaggart albums, pictures of cattle, and bizarre vinyl.

I am hoping that by being a part of this list, I'll be able to further
understand a lot of what I didn't "get" in Curtis Roads book. *lol*

DaveX

ps- I love discussion. If I bring something up in an e-mail that is
interesting to you, and maybe not terribly useful to the general microsound
list, don't hesitate to e-mail me. "As knives, so does one man sharpen
another."



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From ???@??? Thu Jan 20 15:04:54 2005
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Another alternative is to pick up a used one off eBay. The interfaces 
on Sony minidisk players (and most of their products actually) are 
horrid. I picked up a used Sharp player for $40 on eBay. Sounds good 
enough for my purposes, and the recording interface is very intuitive.

Actually, hell, if you want mine, let me know. Cheap cheap. I never use 
the thing... bought it for field recordings but never actually made 
any. Comes with lots of stuff... :-)

- John


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From ???@??? Thu Jan 20 14:39:10 2005
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 FILETIME=[C8BBAC20:01C4FEFD]

>can anyone kindly suggest a minidisc player/recorder w/ a 
microphonejack. thats good for making field recordings and is under 300 
dollars.
>-t

This is a new one of the sony HI MD series.

http://www.sonystyle.com/is-bin/INTERSHOP.enfinity/eCS/Store/en/-/USD/SY_DisplayProductInformation-Start?ProductSKU=MZNHF800KIT&Dept=pa&CategoryName=pa_DigitalMusicPlayers_MiniDisc_HiMDWalkman

It does not record at 24 bit like most minidisc recorders (24 bit at ATRAC 
mind you), but the sony can record 16 bit uncompressed files, and if your on 
a PC, using the software, you can transfer the files from the mini disc to 
your Hard drive directly (sony has not created a version of the software for 
the mac), with out having to waste quality re-recording your recordings on 
to your computer. Also the unit can use the 1 gig discs, lots of storage 
space. it sells for around 250$, a friend of mine just got one of these, he 
is a total gear freak, and really likes/recommends the unit.

For around 450$ Edirol has a nice unit called somethign like the R1 or maybe 
it s the R4, it can record 24 bit uncompressed, it uses flash cards, and can 
transfer the files via USB 2.0, it is supposed to have a decent ADC, so the 
extra $ could result in better recordings. Personally I have not had a 
chance to try one of these out, anyone have any real expreience with this 
handheld unit?



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From ???@??? Thu Jan 20 14:48:31 2005
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--Boundary_(ID_e1PM67GPlwzRAeycjprAiw)
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Sony MZ-NHF900 HiMD
http://minidisc.org/hi-md_faq.html

>can anyone kindly suggest a minidisc player/recorder w/ a 
>microphonejack. thats good for making field recordings and is under 
>300 dollars.
>-t


-- 
Rob Danielson
Film Department
University of Wisconsin-Milwaukee
--Boundary_(ID_e1PM67GPlwzRAeycjprAiw)--

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--Boundary_(ID_nzLK3mQmREtEOvYnYkCiXg)
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can anyone kindly suggest a minidisc player/recorder w/ a microphonejack. thats good for making field recordings and is under 300 dollars.
-t
--Boundary_(ID_nzLK3mQmREtEOvYnYkCiXg)--

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

> can anyone kindly suggest a minidisc player/recorder w/ a microphonejack.
> thats good for making field recordings and is under 300 dollars.
> -t


Hi t,

I can not recommend Minidisc-Recorder.
I have bought recently an Archos Gmini 120. It has a WAV-recordingfunction,
produces however unfortunately small interferences. Show you that... Thats
to be recommended...

http://www.edirol.com/products/info/r1.html


Greatings
Sascha




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From ???@??? Fri Jan 21 12:09:06 2005
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Am 20.01.2005 15:02 Uhr schrieb "xxxxxxx@xxx.xxx" unter <xxxxxxx@xxx.xxx>:

> can anyone kindly suggest a minidisc player/recorder w/ a microphonejack.
> thats good for making field recordings and is under 300 dollars.
> -t


Hi t,

I can not recommend Minidisc-Recorder.
I have bought recently an Archos Gmini 120. It has a WAV-recordingfunction,
produces however unfortunately small interferences. Show you that... Thats
to be recommended...

http://www.edirol.com/products/info/r1.html


Greatings
Sascha




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From ???@??? Thu Jan 20 08:53:12 2005
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Date: Thu, 20 Jan 2005 08:53:03 +0000 (GMT)
From: Alex Perepelycia <xxxxxxxxx@xxxxx.xx.xx>
Subject: [microsound] Alexis Perepelycia New EP
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Dear all,
I,ve just want to share with U some music.
Click on the link below.
All the best.
Alexis.

http://www.archive.org/audio/audio-details-db.php?collection=dreamland_recordings&collectionid=dlnet024&from=recentAdditions&PHPSESSID=91a3c0f5d3acc531a18b8e28ea159bed


        
        
                
___________________________________________________________ 
ALL-NEW Yahoo! Messenger - all new features - even more fun! http://uk.messenger.yahoo.com

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From ???@??? Thu Jan 20 04:47:07 2005
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On Wed, 19 Jan 2005 16:47:1 -0500, Matthew Mitchell <xxxxx@xxxxxxxxx.xxx> wrote:
> 
> I guess I should have made clear in my
> 'unbelievably dumb' reading of that Adorno quote that I was really responding to
> that quote in particular and have not much of an opinion yet regarding Adorno on
> the whole, having read only bits and pieces scattered over the years.  

>What
> it set off in me was a general revulsion for music criticism that deals little
> with the actual music and instead speaks in sweeping generalities.  

> At any rate, my real, only semi-related complaint that always stews in my
> brain is that 98% of music critics seem to actually know nothing about
> music.  

Rather odd here, don't you think, to indict music critics for making
sweeping generalizations and knowing not of which they speak and yet
making a sweeping indictment of Adorno with having read only "bits and
pieces?"

Music critics are primarily journalists.  If there are faults in the
profession of music criticism (I'd say there are quite a few-- and so
we agree for once, Matt), I'd say they have more to do with the field
of journalism itself, which is prone to be highly superficial and not
very critical at all.  Adorno doesn't come from such a background.  He
was a philosopher--one who also studied music, though contrary to your
assumption, this doesn't necessarily provide one with any special
privileges or advantages.  If you have deft ears, you can be a music
"critic," and anyone who listens to music seriously basically is
whether they get paid for it or not.  Outsiders to musical production
can often be very perceptive.

> However, for
> anyone who owns a computer to take someone to task for a position they see
> as bourgeois is beyond rich, in my opinion.

Come on, Matt.  The sign of being bourgeois is not the ownership of a
personal computer in late capitalist consumer society.  That's just a
tad bit simple.  The sign of being bourgeois is being able to have an
opinion about something before taking the time to think it through and
do your homework, don't you think?  Kim was talking about misreadings
and implying facile reductions.  There was a time, not that long ago,
when people would be embarrassed to post their uninformed opinions
publicly.  But in these times of faith-based politics, ignorance is
triumphant--and rewarded--that's what we call "bourgeois."
 
>  Even the 'best' critics with whom I often agree and
> to whom I look for opinions regarding recordings I haven't yet heard will make a
> statement or two occasionally that reveals shocking ignorance towards the most
> basic building blocks of the music they're reviewing.  The literary
> community probably wouldn't take too kindly to critics who didn't understand
> basic sentence structure, just as I'm sure art critics are probably expected to
> know how to recognize the color blue.

The same holds true about critics of philosophers, I'd say.

> 
> One last thing:  I didn't know that calling people (or statements
> made by people, whatever) 'unbelievably dumb' recently became acceptable
> discourse on this list.  I guessed I missed that memo.

Try to read a bit more subtly, Matt.  I talked about what "would" be
dumb readings of Adorno.  If that offends, just think of how offensive
the readings are to people like Kim, Peter, and me.  Prideful displays
of ignorance--followed by the inevitable resentment when called on it.
 Here's what I wrote, as a reminder:  "Adorno was far too subtle to
simply look for a justification for his own tastes.  that would be an
unbelievably dumb reading of Adorno."


On Wed, 19 Jan 2005 08:51:34 -0800, Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:

>And while some
> people dismiss Adorno as a old school Marxist cultural curmudgeon (who
> couldn't dance) I see most current (mis)readings of his work as simply
> privileged and bourgeois. I think Adorno is very much needed in these
> times.

I couldn't agree more.  Adorno was written for times like these.


-- 
"Artists tear percepts out of their perceptions, in the same way that
Impressionist painters twist our perception of light by showing us
their impression of it with colour instead of line, creating a percept
called Impressionism.  Deleuze states that this creates a completely
new habit of thought, one that twists our nerves and creates "a crack
in the skull" (Parnet  1996). "

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On Wed, 19 Jan 2005 09:08:58 -0800 (PST), jeff gburek
<xxxxxxxxxx@xxxxx.xxx> wrote:

> i wonder, bill, if this is the problem with those who
> read their adorno and write with it in mind, rather
> than write/work against it as much as they write/work
> against the dominating culture (can we speak of
> counter-culture heroism, a kind of follow the leader
> dynamic even if attentions are best yet not idiotic
> enough?---the tendency to conflate all dominant
> culture with the nazist, when the conditions we live
> in are quite different.

yeah, sure, Jeff.  One must always caution against such forms of
heroism.  But Adorno wasn't attempting to conflate all forms of
dominant culture with Nazism.  he was trying to critique the mode of
thought that Nazism triumphed and even if our conditions are much more
different than Nazism today, the mode of thought which was Adorno's
target certainly hasn't gone away.

My reason for chiming in here wasn't that Adorno's work lacked
problems.  it's that there's no texture in any discussion about him on
a music list.  Everyone cites all the cliches, the facile reductions,
the cheap shots.  it gets annoying to read such garbage when a person
like Adorno is far more worthy of a serious undertaking than anyone
posting on this board, myself included.  If a single person on an
email list could accomplish in an entire lifetime what Adorno managed
to do in a single year, it would be remarkable, especially today.
Sometimes you have to earn your spurs to criticize.  On some of these
posts people wear their lack of homework with pathetic pride.  Adorno
and Horkheimer close the Dialectic of Enlightenment with a brief essay
on the genesis of stupidity, which is probably apropos in this
context:  "Stupidity is a scar.  It can stem from one of many
activities--physical or mental--or from all.  Every partial stupidity
of a man denotes a spot where the play of stirring muscles was
thwarted instead of encouraged."


--
"Artists tear percepts out of their perceptions, in the same way that
Impressionist painters twist our perception of light by showing us
their impression of it with colour instead of line, creating a percept
called Impressionism.  Deleuze states that this creates a completely
new habit of thought, one that twists our nerves and creates "a crack
in the skull" (Parnet  1996). "

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Subject: Re: [microsound] ACF/LA Recording Workshop with Ronan Chris Murphy
 Jan. 29
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At 7:14 PM -0500 1/19/05, precursor wrote:
>sounds like an interesting place to be...wish we had something like this in
>NYC :(

Check out Harvestworks/Studio PASS:

http://www.harvestworks.org/

They have a lot of great classes:

http://www.harvestworks.org/education/menu.php?area=registration

Artist residencies too:

http://www.harvestworks.org/artistopp/artisttemplate_AIR.php?submitid=1
-- 

______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
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http://salamandersongs.com
http://ill-wind.com
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sounds like an interesting place to be...wish we had something like this in
NYC :(


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From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] CONTENTS ONDA SONORA 19/01/05
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ONDA SONORA, Madrid (ES)

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

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

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

_________________________________

CONTENTS ONDA SONORA 19/01/05

01. STEINBRÜCHEL 

Track: 1 

Album: Skizzen

Label: Bine

Comenzamos con el suizo Ralph Steinbrüchel y su nuevo trabajo para el sello alemán Bine Records, una obra minimalista y contemplativa titulada "Skizzen", un mosaico de texturas sonoras entre la frialdad de Richard Chartier y los bocetos policromáticos de Taylor Deupree, un arranque cargado de intenciones para el programa de hoy, que pretende rozar lo subliminal

Today we begin with Ralph Steinbrüchel (Switzerland) and his new work for the German imprint Bine Records, a minimalist and contemplative work entitled "Skizzen", a mosaic of sound textures between Richard Chartier's coldness and Taylor Deupree's multi-coloured sketches

02. SHUTTLE 358 

Track: Ask 

Album: Chessa

Label: 12K 

El californiano Dan Abrams, Shuttle 358, con su nuevo trabajo, "Chessa", el cuarto de su carrera y el tercero en el sello 12K, que dirige precisamente desde Nueva York Taylor Deupree. Continuamos con ambientes confeccionados a base de microsonidos, esta vez en un tono algo más humano y menos distante

The Californian Dan Abrams, Shuttle 358, with his new work "Chessa", the fourth in his career and the third in the 12K imprint that is directed from New York by Taylor Deupree. We continue with atmospheres made up with microsounds, this time with a more human and less more distant approach

03. DRONAEMENT 

Track: Dronæment

Album: Ezoterick Soundzcapes CDR

Label: Mystery Sea

Los sonidos de Dronaement, proyecto en solitario iniciado a finales de los 90 por el alemán Marcus Obst, un explorador del underground que ha colaborado en los últimos tiempos con Jim de Jong y Sebastien Roux, y que presenta un nuevo trabajo en solitario, "Ezoteric Soundzcapes", editado desde Bélgica por Mystery Sea

The sounds of Dronaement, solo project began in the late 90s by the German Marcus Obst, a explorer of the underground scene that has collaborated in the last times with Jim de Jong and Sebastien Roux. Now he presents a new solo work, "Ezoteric Soundzcapes", released in Mystery Sea, from Belgium

04. ELUVIUM

Track: Calm Of The Cast-Light Cloud Crocodile) 

Album: Talk Amongst The Trees 

Label: Temporary Residence

Suenan los sonidos tratados de guitarra y piano, que dan un toque minimalista y emotivo al mismo tiempo a este "Talk Amongst The Trees", tercer disco en la compañía Temporary Residence del joven Matthew Cooper, Eluvium, desde la costa oeste de los Estados Unidos

The treated guitar and piano sounds give a minimalist and emotive touch at the same time to this "Talk Amongst The Trees", third record in the Temporary Residence company for the young Matthew Cooper, Eluvium, residing in the U.S. Western Coast 

05. ATELEIA 

Track: Tested By Habit, Strata And Brine

Album: Swimming Against The Moments

Label: Antiopic 

Aterrizamos en Nueva York para escuchar a James Elliott, más conocido por su sobrenombre Ateleia, quien incorpora en su debut sonidos de múltiples fuentes que procesa según patrones y estructuras conscientemente cercanos al pop, al ambient y a la electrónica, aunque manteniendo toques austeros, desencajados e hipnóticos: este es el corte final de "Swimming Against The Moments"

We land in New York to listen to James Elliott, better known for his Ateleia moniker, who incorporates in his debut sounds from multiple sources that are processed according to patterns and structures consciously near to pop music, ambient and electronica, although maintaining an austere, disjointed and hypnotic touch: this it is the final track of "Swimming Against The Moments"

06. WILLIAM BASINSKI 

Artist: William Basinski 

Title: Silent Night 

Label: 2062 

Último trabajo publicado por William Basinski en su propio sello 2062, uno de los muchos proyectos de este neoyorkino de adopción en el campo audiovisual, aunque sobre todo destaca como investigador de la escucha subconsciente, a través de largas obras que se valen de loops de cinta, emisiones de radio y, como en este caso, sintetizadores electrónicos. "Silent Night" dura una hora de la que vas a poder escuchar una extensa muestra de 20 minutos

The last work released by William Basinski in his own 2062 label, one of the many projects of this adopted-newyorker in the audiovisual field, although he is mainly known as an investigator of subconscious listening, through long works that use tape loops, radio emissions and, like in this case, electronic synthesizers

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Subject: [microsound] Melb: Uber Lineups for the next two weeks
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UBER LINGUA at ST JEROMES THURSDAYS residents: bP, Saigon Sausage and
Raceless (Curse ov Dialect)

alongside these fabulous guests
_____________________
20th of Jan: 

Mashy P (Syd)
Jools (Sth Africa)
Bacon 
_____________________
27th of Jan 

Ollie Olsen (Psy Harmonics/ Max Q)
Hunch (PBXO)
_____________________
goto http://www.uberlingua.com/melb for bios on da guest DJs...

Uber Lingua
WHEN: Thursdays from 7pm
LOCATION: St Jeromes, 7 Caledonian Lane, Melbourne CBD
(between little bourke and lonsdale, directly behind the lounge)... 
COST TO GET IN: Nothing 

Demos can be sent to Uber_Lingua PO box 2613 Fitzroy 3065 Australia


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From ???@??? Wed Jan 19 21:38:52 2005
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Date: Wed, 19 Jan 2005 16:47:01 -0500
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Subject: Re: [microsound] Adorno redux
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I guess I should have made clear in my 
'unbelievably dumb' reading of that Adorno quote that I was really responding to 
that quote in particular and have not much of an opinion yet regarding Adorno on 
the whole, having read only bits and pieces scattered over the years.  What 
it set off in me was a general revulsion for music criticism that deals little 
with the actual music and instead speaks in sweeping generalities.  While 
social implications are interesting, they are secondary to me, as the artist has 
little control over them once the art is created.  The Adorno snippet on 
jazz (that I unfortunately don't have anymore) struck me as beyond 
presumptuous in the way he dismissed jazz without dealing with virtually 
any aspect of the actual music itself; it mostly struck me as a guy who 
simply didn't like jazz trying to construct an edifice to support his 
dislike.  Undoubtedly it suffered a bit out of context; did he name names 
elsewhere?

 

The impression I get is a position such as this, where the music itself is 
paramount and social considerations are of secondary importance, is what passes 
for 'privileged and bourgeois.'  I undoubtedly feel privileged to be a 
musician, to be able to think about such things, and to live in the country in 
which I live, the recent political situation notwithstanding.  However, for 
anyone who owns a computer to take someone to task for a position they see 
as bourgeois is beyond rich, in my opinion.

 

At any rate, my real, only semi-related complaint that always stews in my 
brain is that 98% of music critics seem to actually know nothing about 
music.  (Adorno is obviously an exception, having studied with Berg - I'm 
kind of moving on a tangent here.)  For some reason, this has been OK for 
years and years now.  Even the 'best' critics with whom I often agree and 
to whom I look for opinions regarding recordings I haven't yet heard will make a 
statement or two occasionally that reveals shocking ignorance towards the most 
basic building blocks of the music they're reviewing.  The literary 
community probably wouldn't take too kindly to critics who didn't understand 
basic sentence structure, just as I'm sure art critics are probably expected to 
know how to recognize the color blue.

 

One last thing:  I didn't know that calling people (or statements 
made by people, whatever) 'unbelievably dumb' recently became acceptable 
discourse on this list.  I guessed I missed that memo.  

 

-mm

 

www.mattmitchell.us 

Download and listen to free music, sign the guestbook, read the blog!
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Subject: [microsound] ACF/LA Recording Workshop with Ronan Chris Murphy Jan. 29
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American Composers Forum of Los Angeles presents:

==================================    
acf/LA TECHNOLOGY WORKSHOP 04
==================================  

================================================
HIGH-END CREATIVE RECORDING ON ANY BUDGET
================================================

Presented by Ronan Chris Murphy

Coordinated by Richard Zvonar  

DATE:        Saturday, January 29, 2005
        10:00 AM - 5:00 PM

PLACE:        TuttoMedia
        312 Fifth Avenue (at Rose), Venice, CA 90291
        http://www.tuttomedia.com

RSVP:        xxxxxxx@xxxxxxxxx.xx
        (818) 788-2202

LIMITED ENROLLMENT!

FEES (PAYMENT IN ADVANCE PREFERRED!):

$20        ACF members and students
$35        Others

Payment can be made via http://www.PayPal.com to:

xxxxxxx@xxxxxxxxx.xx

or by check to:

American Composers Forum of Los Angeles
PO Box 970
Whittier, CA 90608-0970


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

Producer/mixer/engineer Ronan Chris Murphy has been the man behind 
the boards for some of the most innovative artists in music today. 
He has worked with the likes of rock pioneers King Crimson and Terry 
Bozzio to electro-acoustic artists such as Kaija Saariaho and Le Trio 
Collectif.  This special one-day workshop focuses on creative, 
high-end approaches to recording that artists can use for recordings 
of any scale or budget.

This workshop will shed light on the secrets of recording and give 
participants a handle on the art and craft of recording. From rock 
and chamber music to Jazz and electro-acoustic music, Ronan will 
share some of his secrets to getting great sounds, as well as 
teaching what you need to know to unlock your own sonic creativity. 
The material covers recording techniques, as well as things to 
consider when purchasing gear, to get the highest quality recordings 
from your budget

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

Ronan Chris Murphy's credits list reads like a who's who of some of 
the greatest and most adventurous musicians in music today.  A small 
sampling includes the likes of King Crimson, Steve Morse, Chucho 
Valdes, Terry Bozzio, Tony Levin, Ulver and many others.  He was a 
producer in residence at the Banff Centre for the Arts, an audio 
director for the Microsoft Network, and he works internationally with 
his company Veneto West as a producer and mixer.  He also founded 
Home Recording Boot Camp, an artist-centric company that hosts 
courses around the world teaching the art and craft of recording. 
Ronan has performed as an artist and composer for over 20 years and 
currently leads Lives of the Saints, a collaborative electro-acoustic 
project.

http://www.venetowest.com/
http://www.homerecordingbootcamp.com/

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

American Composers Forum of Los Angeles (acf/LA) is a membership 
organization dedicated to supporting the artistic and professional 
growth of composers and to expand the markets for new music through 
audience building, advocacy, community educational programs, 
visibility, workshops, composers residencies, and grants for new 
music projects.

Our technology workshops (tekWorX), technology salons (teXalons), and 
related projects are an ongoing series of public events furthering 
the dissemination of information about music and media technologies 
through presentations by leading practitioners in interactive 
computer music, recording and live sound, digital video performance, 
and other aspects of media art.

http://www.composers.la
http://www.composers.la/la_programs.asp#anchor4



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Kim Cascone wrote on 1/19/05:

>while I don't necessarily agree with Adorno's stance on Jazz 

What Adorno was listening to in Germany we'd hardly recognize as Jazz.
Hyper-inflation in post-war Germany had generally kept America bands and
recordings out of the country, except for a quick appearance by Sam
Wooding's Orchestra as part of the "Chocolate Kiddies'" review.  Wooding
was cut from the James Reese Europe school of "jazz" music, which had
more to do with Vernon and Irene Castle than King Oliver.

If you give a listen to Dajos Bela, or the Erik Wenskat-Ochester, you'll
find the music to be largely the gypsy influenced pop music of the day
with the lead violin traded in for a saxophone...

Best,

Tad


<xxxxxxxx@xxxxxxxxx.xxx>

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>
>Lastly, not only is electronic music dead but maybe post-modernism 
>needs a funeral too?

Po-Mo was still-born in 1985...

jh

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been sprinkling sand over it when i pass by...
--- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:

> > Its nice to see some kind of defense of poor old
> Adorno on this list.
> 
> I second this and feel that Adorno's crit of the
> culture industry is 
> spot on - even more so today...while I don't
> necessarily agree with 
> Adorno's stance on Jazz (yet I came to appreciate
> dodecaphonic music in 
> a new way thru his writings) I do see some validity
> in what he is 
> trying to express on that subject...and I also agree
> with Bill's 
> comment(s): "Adorno was rather looking at culture
> after industrial 
> capitalism to interrogate its most degrading
> aspects." And while some 
> people dismiss Adorno as a old school Marxist
> cultural curmudgeon (who 
> couldn't dance) I see most current (mis)readings of
> his work as simply 
> privileged and bourgeois. I think Adorno is very
> much needed in these 
> times.
> Also, reading the Situationists work a little closer
> might reveal some 
> irony a filter-feeding first reading at Uni might
> miss.
> Lastly, not only is electronic music dead but maybe
> post-modernism 
> needs a funeral too?
> 
> 
>
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> 


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From ???@??? Wed Jan 19 17:20:36 2005
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Subject: Re: [microsound] [ot] 1983 pix of Bill Gates in Teen Beat magazine
 [Now with link!]
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hi

( 05.01.18 22:29 -0800 ) Phil Thomson:
> http://www.neowin.net/forum/index.php?showtopic=272750&st=0&#entry585309992

my 11 year old daughter gets some magazines like this and i recently saw
bill grace their pages once again. in the photo, he's looking directly
at the tits of some starlet who's walking in front of him. and he has
this huge grin on his face ...

-- 
\js    *'-?([<}+           }}&$|          ">[=$http://or8.net/~john
iraq body count: 15,365 [min] 17,582 [max] 

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From ???@??? Wed Jan 19 17:11:09 2005
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If anything, Adorno was overly sensitive
> to the degrading
> cultural conditions that produced the Nazis, which
> is why he was wrong
> about jazz.

i wonder, bill, if this is the problem with those who
read their adorno and write with it in mind, rather
than write/work against it as much as they write/work
against the dominating culture (can we speak of
counter-culture heroism, a kind of follow the leader
dynamic even if attentions are best yet not idiotic
enough?---the tendency to conflate all dominant
culture with the nazist, when the conditions we live
in are quite different. the shadow of newer evils is
falling over us. if the corruption of mind control is
written in at the level of the syllable and the
sentence, at the determination/delimitation of an
object...i do not say it is impossible to criticize,
but that the critique must be supsicious of its own
exertions...all writing is always written in a
different context than when it is read...


--- Bill Ashline <xxxxxxx@xxxxx.xxx> wrote:

> On Sat, 15 Jan 2005 14:38:55 -0500, Matthew Mitchell
> <xxxxx@xxxxxxxxx.xxx> wrote:
> > 
> > In those Adorno quotes, there's certainly a
> persistence of attempts to
> > present as fact something that is essentially a
> matter of personal taste, which
> > is ultimately what makes music criticism so
> suspect.
> 
> No.  There's an attempt to read music according to
> its unquestioned
> ideological alignments.  Adorno was far too subtle
> to simply look for
> a justification for his own tastes.  that would be
> an unbelievably
> dumb reading of Adorno.  Adorno was rather looking
> at culture after
> industrial capitalism to interrogate its most
> degrading aspects. 
> We're not talking Stanley Crouch here--we're talking
> a stellar social
> thinker forced into exile during the period of Nazi
> control of
> Germany.  If anything, Adorno was overly sensitive
> to the degrading
> cultural conditions that produced the Nazis, which
> is why he was wrong
> about jazz.  But he wasn't necessarily wrong about
> certain aspects of
> popular culture.  It's easy to forget that jazz was
> a popular form,
> perhaps the preeminent one, when Adorno and
> Horkheimer wrote the
> Dialectic of Enlightenment.
> 
>
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> 



                
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From ???@??? Wed Jan 19 17:18:39 2005
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> Its nice to see some kind of defense of poor old Adorno on this list.

I second this and feel that Adorno's crit of the culture industry is 
spot on - even more so today...while I don't necessarily agree with 
Adorno's stance on Jazz (yet I came to appreciate dodecaphonic music in 
a new way thru his writings) I do see some validity in what he is 
trying to express on that subject...and I also agree with Bill's 
comment(s): "Adorno was rather looking at culture after industrial 
capitalism to interrogate its most degrading aspects." And while some 
people dismiss Adorno as a old school Marxist cultural curmudgeon (who 
couldn't dance) I see most current (mis)readings of his work as simply 
privileged and bourgeois. I think Adorno is very much needed in these 
times.
Also, reading the Situationists work a little closer might reveal some 
irony a filter-feeding first reading at Uni might miss.
Lastly, not only is electronic music dead but maybe post-modernism 
needs a funeral too?


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From ???@??? Wed Jan 19 17:21:46 2005
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From: Sergio Luque <xxxx@xxxxxxxxxxx.xxx>
Subject: Re: [microsound] pitchbend envelopes
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> I used to really enjoy the ability to draw pitchbend envelopes on
> sound files of any length in Soundedit on the mac. Does anyone know
> of a tool that has this functionality that runs on mac osx?


SoundHack
http://www.soundhack.com/freeware.php


In the menu bar, go to: Hack > Phase Vocoder

Click on: Pitch Scale, Scaling Function & Edit Function


--
Sergio
http://www.sergioluque.com


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Date: Wed, 19 Jan 2005 08:17:58 -0800
From: Galen Elfert <xxxxxxxx@xxx.xx>
Subject: [microsound] Re: iTunes visualizer...
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It looks to me like the video equivalent of a filtered, fedback delay 
line. The previous frame is blurred, warped and dimmed and added to the 
current one. A great technique with sound too. 

Galen

> 
> >anybody know any hard facts as to how this actually works=3F i mean, the
> >waveform part is pretty obvious, but the damn thing never ceases to
> >amaze me in terms of its interpretation of audio... i almost just want
> >to put a video camera on the screen and shoot the whole thing live as a
> >music video...
> >
> >g.

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i'd like to rephrase for my own purposes: it's nice to
see somebody willing to attack dominant poop-culture
calcifications and under-lid stys to permit/inspire
more freedom of thought and actions.
the adorno paradigm is a bit predominant in academia
(a tribute to its viral stamina) but the relative
flexibility of sphincters is a question of
input/output dynamics, is it not? muscle as metaphor.
joyce showed the mind to be an intestine. a useless
organ if you eat only sugar. nietzchean ruminance. is
that anachronistic? from a century when there was time
to think? adorno needs to be in the high schools where
the image/information structuring most thoughtlessly
begins. but for the rest of life a thinking less
dreary would be more enabling, i have humbly found,
after years of critiquing into my empty echoing head


--- Peter Price <xxxxxx@xxxxxxxxx.xxx> wrote:

> Its nice to see some kind of defense of poor old
> Adorno on this list.
> 
> I for one would like to see a better critique of
> Adorno than "he 
> probably couldn't dance."
> 
> I suspect something like
> 
> http://www2.rz.hu-berlin.de/fpm/texte/adorno.htm
> 
> is more relevant now in the age of global
> entertainment than at the 
> time it was written.
> 
> Does anyone one have a better critique than that he
> had a tight 
> sphincter?
> ?
> 
> 
> On Tuesday, January 18, 2005, at 09:56 PM, Bill
> Ashline wrote:
> 
> > From: Bill Ashline <xxxxxxx@xxxxx.xxx>
> > Date: Tue Jan 18, 2005  9:56:27 PM US/Eastern
> > To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > Subject: Re: [microsound] essay on TWiki site
> > Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> > Reply-To: Bill Ashline <xxxxxxx@xxxxx.xxx>
> >
> > On Sat, 15 Jan 2005 14:38:55 -0500, Matthew
> Mitchell
> > <xxxxx@xxxxxxxxx.xxx> wrote:
> >>
> >> In those Adorno quotes, there's certainly a
> persistence of attempts to
> >> present as fact something that is essentially a
> matter of personal 
> >> taste, which
> >> is ultimately what makes music criticism so
> suspect.
> >
> > No.  There's an attempt to read music according to
> its unquestioned
> > ideological alignments.  Adorno was far too subtle
> to simply look for
> > a justification for his own tastes.  that would be
> an unbelievably
> > dumb reading of Adorno.  Adorno was rather looking
> at culture after
> > industrial capitalism to interrogate its most
> degrading aspects.
> > We're not talking Stanley Crouch here--we're
> talking a stellar social
> > thinker forced into exile during the period of
> Nazi control of
> > Germany.  If anything, Adorno was overly sensitive
> to the degrading
> > cultural conditions that produced the Nazis, which
> is why he was wrong
> > about jazz.  But he wasn't necessarily wrong about
> certain aspects of
> > popular culture.  It's easy to forget that jazz
> was a popular form,
> > perhaps the preeminent one, when Adorno and
> Horkheimer wrote the
> > Dialectic of Enlightenment.
> >
> >
>
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> >
> >
> 
> 
>
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From ???@??? Wed Jan 19 15:36:04 2005
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From: monotonaut <xxxxxxxxxx@xxxxx.xx>
Subject: [microsound] Re: Broken Sleep -German tour dates
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confirmed: wednesday february 2 in ulm @hansen

added: sunday february 6 in frankfurt @tanshaus west

promoter & venue info:
http://experimentalelektronik.de


--- monotonaut <xxxxxxxxxx@xxxxx.xx> wrote:

> wednesday january 26 
> ravensburg @spa
> w/ phantastic pubbah and assymetric bandit
> 
> friday january 28 
> hamburg @hoer bar
> 
> wednesday february 2 
> ulm @hansen (tbc)
> 
> friday february 4 
> rostock on the stubnitz 
> (illbient floor w/ trouble clef, tzii, gamaboy,
> v.dma,
> no name project; drill, noise, breakcore, noisecore
> floor: deadman, fuel in sekt, alesh trash, surbont,
> tambour major)
> 
> saturday february 5 
> dresden @az conni
> mp3 links- http://freewebs.com/brokensleep
> 
> Broken Sleep is the dark, abstract dronescape
....


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


        
                
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From ???@??? Wed Jan 19 13:57:35 2005
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From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] Death of electronic music (disco reflections)
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>Hmm, so would you say New Order is "Intelligent Dance Music"? :)

bingo!

what other dance music has lyrics that ponder staying in rather than 
going out, consider one's true nature versus the image everyone else 
sees, or are so arrestingly vague you're left wondering about them 
long after the song's stopped playing?

and unlike most of what is called IDM, you can actually dance to it.

>  > Subject: Re: [microsound] Death of electronic music (disco reflections)
>>  Message-Id: <p05210600be11ce450eea@[64.63.223.128]>
>>
>>  >One thing about the electronic music in discos and other clubs: They
>>  >are not meant to reflect our time >and future. Or help us understand
>>  >something deeper about those issues. It is pure entertainment.
>>
>>  there are exceptions of course.  the main one coming to mind being new
>>  order.
>>
>  > d.

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From ???@??? Wed Jan 19 11:20:33 2005
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you could also do this with cecilia i guess: https://sourceforge.net/projects/cecilia/
this has different moduls - from pitch-shift/time stretch to granular and fft.
certain parameters like overall length, volume, etc. are set with sliders, the rest is done by drawing graphs along an xy matrix...
the data is then send to csound to be calculated. great soundqual imho, and the "non-realtime, graph approach is really great to work out detailed morphs/modulation, etc.
windoze version here: http://music.ucdavis.edu/re4m/cecilia/
lunix: is available at above sourceforge link

(no, i am not getting paid, but i love this prog....:)

shitchpifting agogo.,
th_ost


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

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

>> we gonna fight for your right to apathy... <<
°°°°°
--Boundary_(ID_MRaW/kvTQGGT96fhe3HnQg)--

From ???@??? Wed Jan 19 10:21:52 2005
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hi list

i have a fascination with abstract micro-sounds, ambience and near silence

i would like to extend an invitation to visit my new web-site

you will find 8 mp3 tracks free to download and some relevant information/links

would value feedback + happy to engage in discussions

_/| www.autistici.com |\_
_/| abstract ambience :: broken space |\_
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From ???@??? Wed Jan 19 06:29:54 2005
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Date: Tue, 18 Jan 2005 22:29:24 -0800
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Subject: Re: [microsound] [ot] 1983 pix of Bill Gates in Teen Beat magazine
 [Now with link!]
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Duh.

http://www.neowin.net/forum/index.php?showtopic=272750&st=0&#entry585309992


On Tue, 18 Jan 2005 21:36:49 -0800 (PST), Brian Klein wrote:
> you forgot to paste the link here.
> 
> 
> --- Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx> wrote:
> 
> > Warning: These images may be intensely disturbing to
> > users of Linux or
> > other non-Windows operating systems. Viewer
> > discretion is advised.
> >
> > Phil
> >
> >
> > --
> > Phil Thomson
> > xxxxxxxxxxxxxxxxx@xxxxx.xxx
> >
> > { home: http://www.sfu.ca/~pthomson/
> > { blog: http://www.bloglines.com/blog/PhilThomson
> > { label: http://centibel.org/
> >
> >
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-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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>I used to really enjoy the ability to draw pitchbend envelopes on 
>sound files of any length in Soundedit on the mac. Does anyone know 
>of a tool that has this functionality that runs on mac osx?  Thanks


SoundHack can do something along these lines with its Varispeed 
function and it is free:

http://www.soundhack.com/freeware.php

S.

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From: Peter Price <xxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] essay on TWiki site
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Its nice to see some kind of defense of poor old Adorno on this list.

I for one would like to see a better critique of Adorno than "he 
probably couldn't dance."

I suspect something like

http://www2.rz.hu-berlin.de/fpm/texte/adorno.htm

is more relevant now in the age of global entertainment than at the 
time it was written.

Does anyone one have a better critique than that he had a tight 
sphincter?
?


On Tuesday, January 18, 2005, at 09:56 PM, Bill Ashline wrote:

> From: Bill Ashline <xxxxxxx@xxxxx.xxx>
> Date: Tue Jan 18, 2005  9:56:27 PM US/Eastern
> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Subject: Re: [microsound] essay on TWiki site
> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> Reply-To: Bill Ashline <xxxxxxx@xxxxx.xxx>
>
> On Sat, 15 Jan 2005 14:38:55 -0500, Matthew Mitchell
> <xxxxx@xxxxxxxxx.xxx> wrote:
>>
>> In those Adorno quotes, there's certainly a persistence of attempts to
>> present as fact something that is essentially a matter of personal 
>> taste, which
>> is ultimately what makes music criticism so suspect.
>
> No.  There's an attempt to read music according to its unquestioned
> ideological alignments.  Adorno was far too subtle to simply look for
> a justification for his own tastes.  that would be an unbelievably
> dumb reading of Adorno.  Adorno was rather looking at culture after
> industrial capitalism to interrogate its most degrading aspects.
> We're not talking Stanley Crouch here--we're talking a stellar social
> thinker forced into exile during the period of Nazi control of
> Germany.  If anything, Adorno was overly sensitive to the degrading
> cultural conditions that produced the Nazis, which is why he was wrong
> about jazz.  But he wasn't necessarily wrong about certain aspects of
> popular culture.  It's easy to forget that jazz was a popular form,
> perhaps the preeminent one, when Adorno and Horkheimer wrote the
> Dialectic of Enlightenment.
>
> ---------------------------------------------------------------------
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>
>


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From ???@??? Wed Jan 19 02:56:36 2005
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On Sat, 15 Jan 2005 14:38:55 -0500, Matthew Mitchell
<xxxxx@xxxxxxxxx.xxx> wrote:
> 
> In those Adorno quotes, there's certainly a persistence of attempts to
> present as fact something that is essentially a matter of personal taste, which
> is ultimately what makes music criticism so suspect.

No.  There's an attempt to read music according to its unquestioned
ideological alignments.  Adorno was far too subtle to simply look for
a justification for his own tastes.  that would be an unbelievably
dumb reading of Adorno.  Adorno was rather looking at culture after
industrial capitalism to interrogate its most degrading aspects. 
We're not talking Stanley Crouch here--we're talking a stellar social
thinker forced into exile during the period of Nazi control of
Germany.  If anything, Adorno was overly sensitive to the degrading
cultural conditions that produced the Nazis, which is why he was wrong
about jazz.  But he wasn't necessarily wrong about certain aspects of
popular culture.  It's easy to forget that jazz was a popular form,
perhaps the preeminent one, when Adorno and Horkheimer wrote the
Dialectic of Enlightenment.

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From ???@??? Wed Jan 19 02:52:19 2005
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Date: Tue, 18 Jan 2005 18:52:09 -0800
From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] [ot] 1983 pix of Bill Gates in Teen Beat magazine
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Warning: These images may be intensely disturbing to users of Linux or
other non-Windows operating systems. Viewer discretion is advised.

Phil


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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From ???@??? Wed Jan 19 00:06:36 2005
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Date: Wed, 19 Jan 2005 01:05:50 +0100
From: ale*** <xxxx@xxxxxxxxxxxxxx.xxx>
Subject: [microsound] [PROMO] for the Italian microsounders... free night Jan
 28th 2005
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Con preghiera di diffusione dato il carattere dell'evento:
djsets + live di esponenti di iXem e di Oscillator707

/// AUDI/O experimental night - 28 gennaio 2005

Lo sviluppo delle reti informatiche ha contribuito a modificare
rapidamente i canali di accesso e fruizione della musica, non più
legata al supporto fisico ma finalmente libera di viaggiare alla
velocità dei moderni network. Per i musicisti elettronici il web si è
rivelato una risorsa inaspettata, capace di rendere possibili
progetti comuni, scambi di idee, collaborazioni tra persone lontane
migliaia di chilometri tra di loro.
Per esplorare questo panorama ancora in gran parte sconosciuto il Big
in collaborazione con Laverna e Oscillator707 presenta una serata
imperdibile con due proposte differenziate tra ascolto e dancefloor,
un percorso per sondare il sottobosco dell'elettronica "Made in Italy"
e non solo.

/// SALA A dj sets tech house e d'n'b by D.D.D. Crew (Polin + Fosforo) e
S25 (AdN + Enjoy) >>> www.laverna.net - Visuals by Cutup e Brainsaver

/// SALA B sperimentazioni audio&video e live set by Purusha, ENT, Punck,
Luca Confusione, Talk Show Host, Guignol Dangereux, !((Ork241 + Paolo
Veneziani >>> www.oscillator707.net

/// FREE ENTRY until 23:30! @ Big Club Via Armistizio 68 Padova >>>
www.big-club.com


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From ???@??? Tue Jan 18 20:57:26 2005
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Date: Tue, 18 Jan 2005 15:58:23 -0500
From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist  for January 5, 2005
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>
> Dear Artist and Label
>
> Welcome to the radio program Whynot Jazz on Toronto's CKLN FM 88.1. 
> Heard Every Wednesday Morning from 7am-11am est, 1pm thru most of 
> Europe and noon in the UK. Available around the world at:
>
> www.ckln.fm
>
> Here is the playlist from the last Whynot Jazz Program. Please note 
> that radio program, hosted by Mike Hansen, takes an outside 
> examination of new improvised and jazz musics. Whynotjazz is one of 
> the very few voices for progessive new music heard in Toronto or 
> around the world.
>
> This week's show featured the Top 10 of the year, Honourable mentions 
> and new titles to look out for.
>
> Why Not?
> 2005/01/05
>
>
> Artist
> Song Title
> Album Title
> Label
>
>
> Axel Dorner/Tony Buck
> Durch and Durch
> Durch and Durch
> Vitamin Records
>
>
>
> Beins/Marwedel/Vorfeld
> Pump
> Misiiki
> Rossbin Productions
>
>
>
> John Tilbury/Eddie Prevost
> S
> Discrete Moments
> Matchless Recordings
>
>
>
> Brodie West/Han Bennink
> Berlin Bob
> Brodie and Han
> independent
>
>
>
> Koch/Schutz/Studer
> The Whispering and Hammer Ritual
> Life Tied
> Intakt Records
>
>
>
> Iks
> Desert Flowers
> Abstr cncr
> Ora
> Records
>
>
>
> Birgit Ulher/Ernst Thoma
> Orangered
> Slants
> Unit Records
>
>
>
> Wolfgang Mitterer
> Radio Fractal Part 1
> Radio Fractal/Beat Music
> Hathut Records
>
>
>
> Nilsson Sandell duo
> Strings and Densities
> Strings and Objects
> LJ Records
>
>
>
> Smash and Teeny
> Kite storm Warning
> Gathering
> Spool Records
>
>
>
> Nilan Perera
> Specious Post Literate
> Harmless Love
> independent
>
>
>
> Pau Torres
> Lot Old Radio
> My Wrong Mood
> Testing Ground Records
>
>
>
> Cremaster
> 6
> Flysch
> G3G Records
>
>
>
> Lee Renaldo/Dave Dyment
> Fire 2
> New Life After Fire
> Art Metropole
>
>
>
> Stars Like Fleas
> I've Pumped Your Stomach and Broken Through Your Skin
> Sun Lights Down on the Fence
> Praemedia
>
>
>
> Mimeo
> cd 1 part 1
> Lifting Concrete Lightly
> Serpentine Gallery
>
>
>
> M. Bradlmayr/W.Dafeldecker/M.Siewert/S.Nemeth
> Part 4
> Die Instabilitat Der Symmetrie
> Grob/Doc
>
>
>
> Mats
> Gustafsson/Sonic Youth
> Hidros Part 7
> Hidros 3
> Smalltown Supersound
>
>
>
> Alvin Curran/Domenico Scianjno
> Someone To Watch Over What
> Our Ur
> Rossbin Productions
>
>
>
> Christian Fennesz
> City Of Light
> Venice
> Touch
>
>
>
> Parkade
> track 1
> demo
> independent
>
>
>
> Barnyard Drama
> Invited Ghosts, Just in for the Evening & Afro Blue
> Memories and A List of Things to Do
> Barnyard Records
>
>
>
> Michael Keith
> Purse
> Non-Adhesive Electric Guitar Solos
> www.alexiteric.com
>
>
>
> Khoury/Michalowski/Weaver/Ilgenfritz
> Tauton
> Babardah
> Abzu Records
>
>
>
> 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 ???@??? Tue Jan 18 19:18:29 2005
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From: Kassen <xxxxxx@xxxxxx.xxxx.xx>
Subject: Re: [microsound] pitchbend envelopes
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> I used to really enjoy the ability to draw pitchbend envelopes on sound
> files of any length in Soundedit on the mac. Does anyone know of a tool
> that has this functionality that runs on mac osx?  Thanks

Ableton Live can do that. The good bit is that the time streching is
granular there and you get to modulate the settings of the algorithem with
envelopes over the whole file too. Sadly the free demo can´t save (I think)
or render to disk (sure about that one) but you could just record the
output. Try it


Kas



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From ???@??? Tue Jan 18 19:11:53 2005
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Subject: Re: [microsound] pitchbend envelopes
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At 1:53 PM -0500 1/18/05, Peter Price wrote:
>I used to really enjoy the ability to draw pitchbend envelopes on 
>sound files of any length in Soundedit on the mac. Does anyone know 
>of a tool that has this functionality that runs on mac osx?  Thanks

Speed from SoundToys (RTAS only).
-- 

______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://salamandersongs.com
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I used to really enjoy the ability to draw pitchbend envelopes on sound 
files of any length in Soundedit on the mac. Does anyone know of a tool 
that has this functionality that runs on mac osx?  Thanks


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From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Hit Song Science
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Keywords: AI, hit song selection, automation of taste

http://slashdot.org/article.pl?sid=05/01/18/1329238


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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From ???@??? Tue Jan 18 15:51:05 2005
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Date: Tue, 18 Jan 2005 15:50:46 +0000
From: David William Newman <xxxxxxxx@xxxxx.xx.xx>
Subject: [microsound] Re: Death of electronic music (disco reflections)
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I don't believe its useful to generalize or categorise the meaning or depth 
of any piece of music based on genre alone.... 

Any track has the potential to move people, to offer insight or 
reflection.... all released music connects deeply with some-people 
somewhere.... Sitting in isolation and saying this track is art or 
meaningful and this track is not appears like misplaced omnipotence to 
me.... 

I believe it is all relative and all subjective.... Electronic dance music 
has the potential to tap into people's desires to be social, to move, to 
flirt and fall in love to share an experience.... There is often social 
commentary in there too.... even hedonistic desires and a celebration of 
material or bling culture are a valid reflection of parts of the human 
experience. 

Intelligent Dance Music = music for the head more than the feet. It provides 
a format that works for those who are not in the disco and require a less 
repetitive stimuli to focus their experience on the audio. 

Dance music is never going to die.... its too tied in with primitive basic 
human desires (the beat of the heart (120-160 bpm), the need to socialise, 
the need to find a sexual partner). 

People have always danced :) 


xxxxxxx@xxxxxxxx.xx writes: 

> Hmm, so would you say New Order is "Intelligent Dance Music"? :) 
> 
>> Date: Mon, 17 Jan 2005 15:20:17 -0500
>> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
>> Subject: Re: [microsound] Death of electronic music (disco reflections)
>> Message-Id: <p05210600be11ce450eea@[64.63.223.128]> 
>> 
>> >One thing about the electronic music in discos and other clubs: They 
>> >are not meant to reflect our time >and future. Or help us understand 
>> >something deeper about those issues. It is pure entertainment. 
>> 
>> there are exceptions of course.  the main one coming to mind being new
>> order. 
>> 
>> d. 
>> 
> 
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Hmm, so would you say New Order is "Intelligent Dance Music"? :)

> Date: Mon, 17 Jan 2005 15:20:17 -0500
> To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
> Subject: Re: [microsound] Death of electronic music (disco reflections)
> Message-Id: <p05210600be11ce450eea@[64.63.223.128]>
> 
> >One thing about the electronic music in discos and other clubs: They 
> >are not meant to reflect our time >and future. Or help us understand 
> >something deeper about those issues. It is pure entertainment.
> 
> there are exceptions of course.  the main one coming to mind being new
> order.
> 
> d.
> 

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sorry again list, i intended that last as an off-list
inquiry. have to coffee up before emails i guess... jg

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Dear Sofus,

on this note, of sense from no sense, i'd like to
 introduce myself to you. my name given me is jeff
gburek. i am new to microsound list but very inspired
by the ideas and processes in play and i am soon to be
in denmark. i come with my project with a dancer see,
www.djalma.com 
if you would like to hear some music samples, try this
site for mp3:
http://artists.iuma.com/IUMA/Bands/Jeff_Gburek/
it's a strange, ready-made kind of site, but it's free
for use. make sure to take most recent sounds...some
are quite old and i will be taking those down. i use
e.gitarre through signal processing + musique
conccrete... 
We have a teaching gig and a performance in Copenhagen
and we are trying to find other ways to extend the
stay in the DEnmark. Do you have any performance
venues in Aarhus we might approach? Maybe we can
collaborate on a show? WE are open to explorinbg
possibilities. We are coming to stay either in Berlin
or Amsterdam or Paris, depends on what happens in the
organizing. I hope to hear from you!  best, Jeff
Gburek






erg <xxxxx@xxxxx.xx> wrote:

> when in doubt - make no sense
> 
> > -help
> > 
> > 
> >
>
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> > 
> > 
> 
> 
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hi all,
here in Livorno (near Pisa and Firenze, Tuscany, Italy) saturday 22 and 
sunday 23 at the "Fuoricentro" venue (center for artistic experimentation) 
we will organize a collection pro UNICEF. From 7.00pm to 2.00am there will 
be theatre, music, various live performances, etc...
I would really love to set up a space dedicated to microsound music.
Who wants her/his music to be played please contact me offlist with:
- links to mp3 (as many as you want)
- your name/nick, your song/piece name
- a short description of your music (it will be displayed while your music 
played)
optional:
- curriculum vitae + a general (it must not be short) description of your 
compositional process (max 1 page, for a small self-made publication)

We (me and Valerio Ianitto, Fuoricentro's booker) hope to receive a lot of 
answers as we would like to let our city know this movement.

best regards,
d 


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From ???@??? Tue Jan 18 09:32:38 2005
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Subject: Re: [microsound] japanese music magazines?
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Hello,

I like these magazines.

http://www.bekkoame.ne.jp/ha/p-market/
http://afterhours.img8.com/

And This is the most recommendable one.
Vol.3 and 4 are written in English and Japanese.

http://www.slidelab.com/okfred.html

best.
> Might be worth checking The Illustrated Ape Japan Cult issue from
> December - features Ryuichi Sakamoto amongst other stuff.
>
>>>
>>>
>>>> does anyone know of any good japanese music magazines that feature
>>>> electronic artists?
>>>
>>



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From ???@??? Tue Jan 18 09:15:00 2005
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Hello,

I like these magazines.

http://www.bekkoame.ne.jp/ha/p-market/
http://afterhours.img8.com/

And This is the most recommendable one.
Vol.3 and 4 are written in English and Japanese.

http://www.slidelab.com/okfred.html

best.
> Might be worth checking The Illustrated Ape Japan Cult issue from
> December - features Ryuichi Sakamoto amongst other stuff.
>
>>>
>>>
>>>> does anyone know of any good japanese music magazines that feature
>>>> electronic artists?
>>>
>>



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--Boundary_(ID_Zs0CGecSt9iWkSfwhKiGCw)
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Hello Microsounders,

John Gore here from Cohort Records. I"ve tried comps but can't seem to get 
enough tracks for one bloody CDR release. Or maybe it's the fact that it's a 
CDR. (If it is I'd appreciate the feedback on this issue since it's a major 
frigging time waster to go through this process every 6 months and have it fail). I 
don't know, but I'm going to try something else, a series of split CDRs, 
thirty minutes allocated for each artist, with two per release. Anyway, if you're 
interested in this project get in touch off list. But please, no mp3 files. I 
know it's a bit old fashioned but I want wave files.

John
http://cohortrecords.0catch.com
--Boundary_(ID_Zs0CGecSt9iWkSfwhKiGCw)--

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On Jan 17, 2005, at 8:29 PM, John Nowak wrote:

>
> On Jan 17, 2005, at 7:23 PM, graham miller wrote:
>
>>  as soon as music is recorded it becomes electronic music. anything 
>> music
>> produced by a speaker is electronic music.
>
> Oh now now, let's not get anal about it...
http://www.headheritage.co.uk/anal/
> - JN
>
>


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From ???@??? Tue Jan 18 06:25:01 2005
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Date: Mon, 17 Jan 2005 22:24:43 -0800 (PST)
From: jake elliott <xxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] ot new york city
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hey new yorkers;

i'll be in nyc this weekend (thu 1/20 to mon 1/24) -
can anyone recommend any shows?  i'm totally lost!

thanks!
jake

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From ???@??? Tue Jan 18 06:13:19 2005
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> does anyone know of any good japanese music magazines that feature 
> electronic artists?


I think the audience for the subject gravitated online.

As for print magazines my take is there are more sorts of 
art/design/style magazines that sort of touch the subject as a theme or 
something happening to cover.
The other trend is a lot of these publications are very infrequent... 
the good example is the already mentioned is the bilingual ex-pat 
magazine OKFred. They'll do different theme issues and cover foreigners 
who are into Japanese pop culture.

I don't know magazine history but I suspect Studio Voice was a 
cornerstone for that magazine genre. They focus on different theme 
issues with music as potential but not constant subject matter. Overall 
they would fall into the style magazine genre.

Barfout is a well known music as style magazine

Of more on-topic interest  is the record buff oriented Marquee.

I used to see Ele-king magazine filled with a lot of electronic music, 
but I've not seen one in a long time so I suspect it's no longer 
published. Remix Magazine (Japan) seems to just do standard club stuff.

Studio and Recording Magazine seems to have long been the best music 
technology mag. A number of music technology magazines are out there. 
(Keyboard Japan for instance)

That brings up something vaguely interesting. I'd think the DTM genre 
-Desktop Music - is sort of the antithesis of Microsound (or is it 
merely a hobby rather than a genre? though I'm sure to some that would 
be a put down). It's people using softsynths and MIDI modules to do 
tight programmed arrangements of commercial music. The obvious 
commercial outlet was game music and still is ringtone programming.

While on the Japanese magazine subject, I'm always happy to hear about 
online sites that go deeper than reprinting press material and ad hoc 
reviews.


nicholas d. kent

http://www.technopop.info/


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From ???@??? Tue Jan 18 04:31:58 2005
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Subject: Re: [microsound] Death of electronic music
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Or better yet, fuck talk, let's art? Not quite as catchy I suppose...

But bloody hell, 99% of all music from any "genre" is crap. That's just 
how it goes. Go make something that isn't crap. That will help.

*has a headache and can't waste any more time talking nonsense*

- John

On Jan 17, 2005, at 1:23 PM, Peter Price wrote:

> well as Tobias said "Fuck Art, Let's Dance"
>
>
> On Monday, January 17, 2005, at 11:48 AM, _dino lupelli_ wrote:
>
>> Crying for it:
>> a lot of crap called electronic music (in discos of course) is 
>> killing the
>> idea of something helpful to understand our times or future.
>>
>> Maybe is me bored by those things, maybe someone else agree.
>>
>> Dl


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On Jan 17, 2005, at 7:23 PM, graham miller wrote:

>  as soon as music is recorded it becomes electronic music. anything 
> music
> produced by a speaker is electronic music.

Oh now now, let's not get anal about it...

- JN


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80's detroit techno is lame
i guess maybe that reflects the time



> On 1/17/05 3:20 PM, "chthonic streams" <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
wrote:
>
> >> One thing about the electronic music in discos and other clubs: They
> >> are not meant to reflect our time >and future. Or help us understand
> >> something deeper about those issues. It is pure entertainment.
>
> Not so sure that's necessarily always the case...What about 80's detroit
> techno ?
>
>


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Hello forever-dying and regenerating electronic musicians 
and other .micronauts,  ;-)

After being away from this list for a while, I'm not sure if
anyone posted notice of the 2004 favorite lists page which 
has been up at the and/OAR site since the beginning of the year.
I started doing this last year and it generated a lot of interest, 
so I thought I would try to do it every year.

As indicated on the page, it will be updated as more
lists arrive and I plan to keep the page up until around the
end of February.

If someone on a Mac with Internet Explorer can't access the 
text link on the main page, there's mention of the page
with an image link at the a/O News page.

I also wanted to mention that new additions have been coming
into the a/O Diffusion page like:

STEINBRÜCHEL: Skizzen (Bine Music)
CIVYIU KKLIU: 111111 (Banned Productions)
CHRISTOPHER DELAURENTI: Sand Point Sound Gazetteer (SPACE/VERGE)
HACO: Stereo Bugscope 00 (Improvised Music Of Japan)
ERNIE ALTHOFF: Heliosonics (NMA)
YUKO NEXUS6: Translation Of Sightseeing (Onomato)

....with more on the way, so if you have time, please check it out.

And I wanted to extend the news of the sad demise of S'agita Recordings
(from Italy) that happened this month. http://www.logoplasm.org/sagita/ 

Over the years, they issued fine releases by artists such as
Frans De Waard, Michael Northam, Entrelacs (Northam &Yannick Dauby), 
Mathieu Ruhlmann, Fhievel, Phil Thomsen, Alessandro Fogar,
Murmer, their own logoplasm project, and several other Italian artists. 
They also kindly issued a release of mine back in 2003.

For whatever reason they had to stop, I wish Paolo and Laura
the best in all things in the road ahead!

And best wishes to all this coming year.

Dale

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

NEW: Turba / Lateral Minor (Stasisfield.com) 
NEW: Volatile And Fixed Principles (leerraum)
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From ???@??? Tue Jan 18 01:20:13 2005
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Subject: Re(2): [microsound] Death of electronic music
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mandag 17. januar 2005, kl. 21:27 +0100 , skrev chthonic streams:

>la musique électronique est mort, vive la musique électronique!
Mais oui, DACAPO!!!!!!!!: "elektronisk musik er død, elektronisk musik
leve!" (undskyld mit dårlige dansk). Lad os feste, danse, kneppe og
ud'art'e os......... tout le monde!!!!!!!, just for the ..*..*....*......
of it! 

(but puhleaze, no more Police.....)

:-

jDK




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From ???@??? Tue Jan 18 01:18:31 2005
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Subject: Re: [microsound] iTunes visualizer...
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I guess this is not official but it seems to me that the iTunes
visualizer is no more than a licence of 'g-force'. maybe this isn't
really 'news'. But anyhow, you can check it out here: <http://
www.soundspectrum.com/g-force/index.html>. You can even custumize 'g-
force' with your own scripts <http://www.soundspectrum.com/g-force/
Documentation/customizing.html>.

.-)
jDK 


søndag 16. januar 2005, kl. 3:50 +0100 , skrev graham miller:

>anybody know any hard facts as to how this actually works? i mean, the
>waveform part is pretty obvious, but the damn thing never ceases to
>amaze me in terms of its interpretation of audio... i almost just want
>to put a video camera on the screen and shoot the whole thing live as a
>music video...
>
>g.
>
>
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From ???@??? Tue Jan 18 00:48:03 2005
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Hi all,

Thanks to those who posted info on web-hosting services on the Twiki.
Those who have already, and those who are soon to post, please don't
forget to include info on rates and bandwidth and so on. These are
important factors in many people's decision to use one over another.
Including mine.

Phil


On Sun, 16 Jan 2005 02:46:19 -0800, Phil Thomson
<xxxxxxxxxxxxxxxxx@xxxxx.xxx> wrote:
> Hi all,
> 
> I am nearing the end of my MFA, and will soon no longer have access to
> my SFU webspace and SSH account. I am in the market for a new place to
> host my stuff, as well as just to be able to have access to a
> filespace I can get to no matter where I am. Rather than post yet
> another request for info on hosting services to the list, I have added
> a page to the Twiki server with info on hosting services that would be
> useful for microsound-ish purposes.
> 
> Please add links to this page. I have already added some info and
> links on a couple of free services (archive.org and scene.org), but
> for my purposes, I will probably need a pay service, so I hope myself
> and others can get useful info from this page once some links have
> been added.
> 
> Link to main page: http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
> 
> Link to new WebHosts page:
> http://microsound.nexthop.net/bin/view.cgi/Main/WebHosts
> 
> Phil
> 
> 
> --
> Phil Thomson
> xxxxxxxxxxxxxxxxx@xxxxx.xxx
> 
> { home: http://www.sfu.ca/~pthomson/
> { blog: http://www.bloglines.com/blog/PhilThomson
> { label: http://centibel.org/
> 


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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Date: Mon, 17 Jan 2005 19:23:59 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] Death of electronic music
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 as soon as music is recorded it becomes electronic music. anything music
produced by a speaker is electronic music.

Jonathan Hughes wrote:

> > Crying for it:
> > a lot of crap called electronic music (in discos of course) is killing the
> > idea of something helpful to understand our times or future.
>
> I don't think the stuff they're playing in discos is "electronic music" --
> it's disco (or, more likely, house or trance). I suppose it is mainly
> electronic in origin, but so is a lot of rock and even country music these
> days. If you're worried that people are using the term "electronic music"
> as an umbrella term for house, techno, trance, glitch, microsound,
> ambient, etc., there's probably not a whole lot that can be done about it.
> The general public often uses terms that are either 1. not accepted by
> those within the the communities they are describing, or 2. are very
> subjective.
>
> To me, Johnny Cash is definitely country music and Shania Twain is
> definitely absolutely not, but the country music industry seems to think
> otherwise.
>
> Jonathan
>
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Subject: Re: [microsound] Death of electronic music (disco reflections)
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> Not so sure that's necessarily always the case...What about 80's 
> detroit
> techno ?

That's right. There will always be exceptions. Same goes for clubs that 
have a theme, like goth-clubs, for example. But I was refering to what 
I thought of an ordinary club with dance-music. But here as well, there 
will always be exceptions. It's not the "artist" that decides the 
outcome of his or hers work..


/.kspr

..monobond
http://monobond.pale-dawn.dk

..kspr Patches
http://kspr.pale-dawn.dk


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on 1/17/05 2:53 PM, _dino lupelli_ at xxxxxxxxxxx@xxxxxx.xx wrote:

> If art doesn't exist why do people love it?
> The death of electronic music is just the beginning of a new era, I guess!
> 
> So let's talk about what's going on now!
> 
> dl
> 
>> 


The false is forever the lead in everything, continually dragging along the
fools: the truth brings up the rear, is late, and limps along upon the arm
of time.





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Subject: Re: [microsound] Death of electronic music (disco reflections)
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On 1/17/05 3:20 PM, "chthonic streams" <xxxxxxxx@xxxxxxxxxxxxxxx.xxx> wrote:

>> One thing about the electronic music in discos and other clubs: They
>> are not meant to reflect our time >and future. Or help us understand
>> something deeper about those issues. It is pure entertainment.

Not so sure that's necessarily always the case...What about 80's detroit
techno ?


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Subject: [microsound] [playlist] framework - 14.01.05
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framework broadcasts live every friday (except the first one of each month) on resonance104.4fm  in london (uk) or worldwide on http://www.resonancefm.com between 8:30 and 9:30pm gmt, and is repeated the following wednesday between 11:00am and 12:00 noon gmt

next live broadcast: 21.01.05
~ time zone converter: http://www.thesaturnv.com/converter.html


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

 

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


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

a fine mix this edition based around peter cusack's recent release, baikal ice, as a skeleton - these frozen, crackling recordings mixed well with dallas simpson's delicate natural soundscape and john hudak's abstracted suspended ringing.  our initial softness was brought to bay by joe colley's malfunctioning equipment in two tracks from one of my favorite releases from last year, desperate attempts at beauty (this is the second set of tracks we've featured from this disc), and a rare compositional outing for toshiya tsunoda (from the split lp whose opposite face - justin bennett's cacerolada - was featured before it's release last year, and then again in one of our end of 2004 wrap-up shows).

as the new year shapes up i can announce that framework:focus will be continuing for the foreseeable future as a regular feature.  my goal will be to produce one focus edition per month (starting with february), which will generally air on the 3rd friday - thus this year's first should be on 18.02.05.  i hope you enjoy the focus format - i, for one, have been enjoying their evolution over the past few months!

one more time: i start each (regular) edition of framework with an introduction recorded by a listener/contributor, and have had many fine, fine examples over the past few years.  but lately my stock has been running low - perhaps the novelty of the request has worn off, but please, if ever you would consider submitting a framework introduction for airplay, whether you are an experienced phonographer or have never held a tape recorder, i would be honored to receive your contribution!  every intro submission sent in to date has been used, so it's a sure-fire way to get some airplay!  see the guidelines below the playlist...

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



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


14.01.05

this edition will be rebroadcast this wednesday, 19.01.05, at 11:00am gmt 

(artist  /  title  /  album  /  label)

keith de mendonca  /  framework intro
one last intro from this prolific contributor - this one a recording of geese in st james park, london
http://www.dismbody.demon.co.uk/home.html

peter cusack  /  floating icicles rocked by waves  /  baikal ice (spring 2003)  /  rer megacorp
underwater recording of shards of broken ice sheets floating on the surface of the lake
xxxxxxx@xxxxxxxxxx.xxx, http://www.rermegacorp.com

dallas simpson  /  on discovering some more notes of willow in spring  /  the adoration of willow - stoke bardolph  /  -
the latest in a series of works dedicated to the discovery of sonic essences of willow trees
http://www.waterpump.f9.co.uk

john hudak  /  -  /  room with sky  /  spekk
unidentifiable sources ring with abstract references to a bedroom and it's view of the outside world
http://www.johnhudak.net, http://www.spekk.net

peter cusack  /  ferry mores at jetty  /  baikal ice (spring 2003)  /  rer megacorp 
underwater recording of a small ferry that crosses the mouth of angara river
xxxxxxx@xxxxxxxxxx.xxx, http://www.rermegacorp.com

joe colley  /  burn memory (test for headphone rattle)  /  desperate attempts at beauty  /  auscultare/groundfault
tense rumbling composition of electronic buzzes and hums
http://www.groundfault.net

toshiya tsunoda  /  dertiende mixer  /  cleavage of acoustics  /  stichting mixer
acoustic captures of vibrations and electronic sounds passed through various gates and composed with stereo separation
http://www.stichtingmixer.nl

peter cusack  /  guardians  /  baikal ice (spring 2003)  /  rer megacorp 
echoing capture of the guard dogs of the village of lystvanka
xxxxxxx@xxxxxxxxxx.xxx, http://www.rermegacorp.com

joe colley  /  headache (diagnostic testpulse for blown pa)  /  desperate attempts at beauty  /  auscultare/groundfault 
rhythmic pulses and cracks, more composition for malfunctioning electronic equipment?
http://www.groundfault.net

john kannenberg  /  for agnes martin  /  four painters  /  stasisfield
digital manipulations of wind-rustled leaves create sonic interpretations of this painter's work
http://www.stasisfield.com 

peter cusack  /  baikal ice flow split 2  /  baikal ice (spring 2003)  /  rer megacorp 
underwater recordings of two flows of compacted icicles splitting apart
xxxxxxx@xxxxxxxxxx.xxx, http://www.rermegacorp.com


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


framework intro submissions:

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

welcome to framework.

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

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

thanks!



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



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

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


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

rob grant & melanie clifford  /  framework intro
thomas dimuzio  /  unearth & lift and spear  /  sonicism  /  rrrecords
chris watson  /  river mara at night   /  stepping into the dark  /  touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre  /  -  /  kdi dctb 116  /  absurd
murmer  /  liquid solid  /  definition  /  absurd
jgrzinich & seth nehil  /  the distant edge  /  confluence  /  intransitive
seth nehil & jgrzinich  /  the mirrored corner  /  stria  /  erewhon
annette lissauer  /  framework intro
toby paddock  /  air, surface and magnetic vibrations  /  -  /  -
steve roden  /  -  /  resonant cities  /  trente oiseaux
francisco lopez  /  untitled #101  /  untitled (2000)  /  ignis projekt
mnortham  /  ancient sewer pipe, valletta, malta  /  phonography.org 5  /  phonography.org
the quiet american  /  donkey trains leaving marpha, nepal  /  phonography.org 4  /  phonography.org
steve barsotti  /  trainyard presence  /  phonography.org 5  /  phonography.org
k. m. krebs  /  jericho sailing center (nautical gamelan)  /  phonography.org 4  /  phonography.org
david daniell  /  highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm  /  sem  /  antiopic
joyce hinterding  /  -  /  spectral  /  antiopic/sigma editions
david daniell  /  dixon lake road, july 31, 1999, 5:45 am  /  sem  /  antiopic
tacet ncv  /  live on framework
jean-luc guionnet & bertrand denzler  /  live on framework
dallas simpson  /  framework intro
--Boundary_(ID_sl7HOHyo8gUdP3E27m6KKA)--

From ???@??? Mon Jan 17 20:35:37 2005
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From: Peter Price <xxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] Death of electronic music (disco reflections)
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In the “real world” however I think it seems pretty clear that there is 
an entertainment/art line somewhere. After all, some of us seem to be 
building our career on disputing where exactly this line lies. To 
pretend the line simply does not exist is usually pretty disingenuous.

Our understanding of this line is culturally determined…a group like 
this will have a somewhat broad agreement about where to place Britney 
Spears on the entertainment/art continuum, and likely a less broad 
agreement about Autechre (or fill in the blank yourself).

As Tobias demonstrated in his two essays he provided links for, these 
questions are not without consequence because how they are answered 
determines the possibilities for expressing ourselves in our desired 
way (by being funded, curated, booked, invested in, etc.)

Furthermore I have never understood what exactly we gain by saying art 
doesn’t exist? Would it be equally valid to say that entertainment 
doesn’t exist? If not, what does this inequality say about our culture? 
Everyone agrees that entertainment is an existing sphere of activity, 
but the sphere of Art is hotly contended. Is this because art defines 
itself against entertainment, making entertainment primary? Is this 
just another way of saying that the desire to be entertained is 
universal but the desire to be (what? Arted?) is felt by a smaller 
group of people (mutant perhaps?)

On Monday, January 17, 2005, at 03:20 PM, chthonic streams wrote:

>> One thing about the electronic music in discos and other clubs: They 
>> are not meant to reflect our time >and future. Or help us understand 
>> something deeper about those issues. It is pure entertainment.
>
> there are exceptions of course.  the main one coming to mind being new 
> order.
>
> d.
>
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From ???@??? Mon Jan 17 20:11:47 2005
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From: chthonic streams <xxxxxxxx@xxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] Death of electronic music
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>If art doesn't exist why do people love it?
>The death of electronic music is just the beginning of a new era, I guess!
>So let's talk about what's going on now!

la musique électronique est mort, vive la musique électronique!

d.

(apologies for my rusty french)

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if you download the max/msp/jitter package, there even is patch in the
examples called 'maxtunes'

recreates its pretty good (alltho a little more simply) and explains
how it works in the process :)




On Sun, 16 Jan 2005 21:50:18 -0500, graham miller
<xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> anybody know any hard facts as to how this actually works? i mean, the
> waveform part is pretty obvious, but the damn thing never ceases to
> amaze me in terms of its interpretation of audio... i almost just want
> to put a video camera on the screen and shoot the whole thing live as a
> music video...
> 
> g.
> 
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> 


-- 
john mcCaig | www.johnmccaig.com
xxxxxxxx@xxxxx.xxx

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>One thing about the electronic music in discos and other clubs: They 
>are not meant to reflect our time >and future. Or help us understand 
>something deeper about those issues. It is pure entertainment.

there are exceptions of course.  the main one coming to mind being new order.

d.

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From ???@??? Mon Jan 17 19:44:57 2005
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If art doesn't exist why do people love it?
The death of electronic music is just the beginning of a new era, I guess!

So let's talk about what's going on now!

dl

> 
> "Fuck Dance, Let's Art"
> 
> i prefer:  "let's fuck, dance and art!"
> 
> with the notion accepted that none of the above exists, but we do it anyway...
> 
> 
> ...th_ost
> °°°
> th_ost: tomoroh hidari_oliver stummer
> acronymic symbiosis of alter & ego
> 
> http://www.tomoroh.com/
> http://www.stiege44.com/
> xxxxxx@xxx.xxx
> ay, sigue:56825202
> 
>>> we gonna fight for your right to apathy... <<
> °°°°°
> 


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From ???@??? Mon Jan 17 19:47:44 2005
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One thing about the electronic music in discos and other clubs: They 
are not meant to reflect our time and future. Or help us understand 
something deeper about those issues. It is pure entertainment. But 
maybe the music played in discos and clubs really do reflect our time 
and future and actually helps us understand it: that kind of music have 
only one function, and that is to entertain. Considering our present 
time I find it highly relevant. People are used to, these days, to get 
entertained, to consume, to throw away. The music played in discos is 
just as much part of the play, as any other quiz show on television. 
And another thing, take Britney Spears or her alike, is it not art that 
she can sell millions of albums? Is it not art that Andy Warhol could 
charge 500 USD for opening the window in The Factory for 15 minuts to 
let the noise from New York embrace the people there?
I don't think that everything, including music and other "art" stuff, 
should have that speciel label "art". Art is just a function, a way of 
communication. And some music have another function that you don't have 
to make you reflect upon a lot of deep stuff. It just sounds good. I am 
truly happy about the existence of that kind of music in my record 
collection. I would be fed up with it if I had to do that every time I 
listened to music. Another fucntion could be to entertain or to make 
people dance.

-best
/.kspr

..monobond
http://monobond.pale-dawn.dk

..kspr Patches
http://kspr.pale-dawn.dk

On Jan 17, 2005, at 20:29, Peter Price wrote:

> I agree that there is no such "thing" as art in the same way I don't 
> think there is any such "thing" as consciousness. I suspect that "Art" 
> like "consciousness" is an emergent property of a certain kind of 
> organization...a non linear irruption out of pattern, a 
> deterritorialization from the actual towards the virtual...non 
> localizable but entirely immanent.
>
>
> On Monday, January 17, 2005, at 02:14 PM, Cory wrote:
>
>> is it not obvious to everyone else that this is a solid waste of time 
>> and effort?!
>>
>> there is not such thing as 'art' (gasp!)
>>
>> art is only a communication, the integrity and honesty of which the 
>> only defining value
>>
>> dance is only one manifestation of the communication of joy
>>
>> -------------------------------------
>> audio @ http://www.myspace.com/myo
>
>
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"Fuck Dance, Let's Art"

i prefer:  "let's fuck, dance and art!"

with the notion accepted that none of the above exists, but we do it anyway...


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

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

>> we gonna fight for your right to apathy... <<
°°°°°
--Boundary_(ID_L8/NctCPcJZ275PyBteyXw)--

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I agree that there is no such "thing" as art in the same way I don't 
think there is any such "thing" as consciousness. I suspect that "Art" 
like "consciousness" is an emergent property of a certain kind of 
organization...a non linear irruption out of pattern, a 
deterritorialization from the actual towards the virtual...non 
localizable but entirely immanent.


On Monday, January 17, 2005, at 02:14 PM, Cory wrote:

> is it not obvious to everyone else that this is a solid waste of time 
> and effort?!
>
> there is not such thing as 'art' (gasp!)
>
> art is only a communication, the integrity and honesty of which the 
> only defining value
>
> dance is only one manifestation of the communication of joy
>
> -------------------------------------
> audio @ http://www.myspace.com/myo


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is it not obvious to everyone else that this is a solid waste of time 
and effort?!

there is not such thing as 'art' (gasp!)

art is only a communication, the integrity and honesty of which the 
only defining value

dance is only one manifestation of the communication of joy

-------------------------------------
audio @ http://www.myspace.com/myo
--Boundary_(ID_XaIKYp27syJnPBWGLA1luQ)--

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The record label Charhizma's website has a variation I prefer:  

 

"Fuck Dance, Let's Art"

 

-mm






well as Tobias said "Fuck Art, Let's Dance"

 

 

On Monday, January 17, 2005, at 11:48 AM, _dino lupelli_ wrote:

 

  Crying for it:

  a lot of crap called electronic music (in discos of course) is killing 


  the

  idea of something helpful to understand our times or future.

 

  Maybe is me bored by those things, maybe someone else agree.

 

www.mattmitchell.us 

Download and listen to free music, sign the guestbook, read the blog!
--Boundary_(ID_UhWd2dD7tWoMF3u1XzzEYA)--

From ???@??? Mon Jan 17 18:45:40 2005
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> Crying for it:
> a lot of crap called electronic music (in discos of course) is killing the
> idea of something helpful to understand our times or future.


I don't think the stuff they're playing in discos is "electronic music" --
it's disco (or, more likely, house or trance). I suppose it is mainly
electronic in origin, but so is a lot of rock and even country music these
days. If you're worried that people are using the term "electronic music"
as an umbrella term for house, techno, trance, glitch, microsound,
ambient, etc., there's probably not a whole lot that can be done about it.
The general public often uses terms that are either 1. not accepted by
those within the the communities they are describing, or 2. are very
subjective.

To me, Johnny Cash is definitely country music and Shania Twain is
definitely absolutely not, but the country music industry seems to think
otherwise.


Jonathan

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From ???@??? Mon Jan 17 18:23:49 2005
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well as Tobias said "Fuck Art, Let's Dance"


On Monday, January 17, 2005, at 11:48 AM, _dino lupelli_ wrote:

> Crying for it:
> a lot of crap called electronic music (in discos of course) is killing 
> the
> idea of something helpful to understand our times or future.
>
> Maybe is me bored by those things, maybe someone else agree.
>
> Dl
>
>
>
>
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> website: http://www.microsound.org
>
>


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Crying for it:
a lot of crap called electronic music (in discos of course) is killing the
idea of something helpful to understand our times or future.

Maybe is me bored by those things, maybe someone else agree.

Dl




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From ???@??? Mon Jan 17 16:09:26 2005
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Subject: [microsound] Jan. Update. Other labels added to 'shop'
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(1.8)sec.records Jan. Update.

Hello Everyone,
Just wanted to let everyone know that new labels have been added to
the 'shop' page.
Many Trente Oiseaux CDs
With CDs from 12k/Line/Happy, List, And/oar on the way.
Shipping discounts on multiple orders.

The (1.8)sec.archive project has an ongoing call for submissions. 
Info available under 'projects'.

Watch for some exciting upcoming CDs in the next few months.

best,
chris
-- 
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
(1.8)sec.records
www.1pt8.tk
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

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From ???@??? Mon Jan 17 15:02:49 2005
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Date: Mon, 17 Jan 2005 16:02:37 +0100
From: cvia <xxxxxxx@xxxx.xxx>
Subject: [microsound] Tiramizu _ new cds !  Dailleau-Toeplitz ///PacJap
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[sorry for cross posting]


cdr 007
"a cd, two artists, one on left and the other one on right
magic stereo, your head is just in the middle of the music"

cdr 008
"PacJap is gathering 8 french and japanese artists with a machine,
the D-system. One can be a japanese guy and sings loudly La
Marseillaise."

/////////////////////////////////////////////////////////////////////// 
////////////////////////////////////////////////////
:::::::::::::::::::::::::::::::::::::::::::::::TIRAMIZ  
NEWS::::::::::::::::::::::::::::::::::::::::::::
/////////////////////////////////////////////////////////////////////// 
////////////////////////////////////////////////////

OUT NOW !!!!!

------------------------------------------------------------------------ 
--------------------
L.DAILLEAU / K.T TOEPLITZ
Topographie des terror
audio cdr
tiracdr-007

------------------------------------------------------------------------ 
--------------------
PACJAP
D-system V.1.0
audio cdr
tiracdr-008

more infos :::: http://www.tiramizu.net
/////////////////////////////////////////////////////////////////////// 
////////////////////////////////////////////////////
/////////////////////////////////////////////////////////////////////// 
////////////////////////////////////////////////////


L.DAILLEAU / K.T TOEPLITZ
Laurent Dailleau is the sole French Theremin virtuoso player,  
hyperactive
musician on the different international scenes of electroacoustic and
improvised music featuring into festivals like Musique Action , and with
cd releases on Sonoris , 33revpermi, 23five .
K.T. Toeplitz is the sole French  BassComputer virtuoso player,   
hyperactive
musician on the different international scenes of electroacoustic and
composed music featuring into  festivals like März Musik , and with cd
releases on Sonoris,  RecordingsOfSleazeArt, 23five, Vice Schalplatten.
------------------------------------------------------------------------
--------------------
PACJAP -- D-SYSTEM
Functions of the machine:
to disable the common activities as playing an instrument or speaking
or also making sound activities. Maybe we can use it to transform a
keyboarded text to a kind of musical sounds.
The real project is to take a reality or an activity and to give
another reality, so the user must learn or use his environment in a
different manner than normally.

tiramizu
-----------------------------------
xxxxxxx@xxxxxxxx.xxx  ---> [christian vialard]

http://www.tiramizu.net
-----------------------------------


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nope, unfortunately...

Nicole catalano wrote:

> >anyone have his e-mail?
> >
> >the xxxx@xxxxxxx records e-mail is full, apparently...
> >


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From ???@??? Mon Jan 17 09:47:26 2005
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>anyone have his e-mail?
>
>the xxxx@xxxxxxx records e-mail is full, apparently...
>
>g.
>
>p.s. if you don't know who this is, check him out. sublime cheeky
>minimal analogue instrumental synth pop.  808s in full effect.
>

try this: xxxxxxx@xxxxxxxx.xxx



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

{ { 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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From: steinbr=?ISO-8859-1?B?/A==?=chel <xxxxxxxxxxxx@xxxxxxxx.xx>
Subject: Re: [microsound] japanese music magazines?
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here:

http://www.faderbyheadz.com

best, ralph.


Am 16.1.2005 22:30 Uhr schrieb "andrew jones" unter <xxxxxxxxx@xxx.xxx>:

> you can try OK Fred and
> Fader by Headz.
> no idea on a contact for Fader but let me know
> if you find one.
> 
> thanks,
> a
> 
> On Jan 16, 2005, at 2:31 PM, Jorge Bachmann wrote:
> 
>> try this URL, there are a few experimental artists.
>> 
>> http://www.japanimprov.com/
>> 
>> paz
>> J21
>> 
>> On Jan 14, 2005, at 11:07 AM, jfrede wrote:
>> 
>>> does anyone know of any good japanese music magazines that feature
>>> electronic artists?
>> 
>> 
>> 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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>> 
> Andrew Jones
> 912 Euclid Ave.
> Birmingham, AL, 35213
> 407-927-7607
> blog: dignifieddevil.blogspot.com  ----  aim: liminal18
> 
> 
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> 
> 

--

..:.: http://www.synchron.ch :.:.


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From ???@??? Mon Jan 17 03:35:28 2005
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anyone have his e-mail?

the xxxx@xxxxxxx records e-mail is full, apparently...

g.

p.s. if you don't know who this is, check him out. sublime cheeky
minimal analogue instrumental synth pop.  808s in full effect.


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From ???@??? Mon Jan 17 02:46:31 2005
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anybody know any hard facts as to how this actually works? i mean, the
waveform part is pretty obvious, but the damn thing never ceases to
amaze me in terms of its interpretation of audio... i almost just want
to put a video camera on the screen and shoot the whole thing live as a
music video...

g.


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when in doubt - make no sense

> -help
> 
> 
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Arie van Schutterhoef wrote on 1/15/05:

>BTW: I feel in this respect that the intellectual tension
>     felt by Stockhausen originates from the cultural devastation,
>     that occured after WW2 in Europe. Which was felt througout
>     generations after that and until recently this seems
>     to have been mastered in some kind of way.

From an earlier post:

"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


<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Sun Jan 16 23:38:21 2005
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Subject: Re: [microsound] books about synthesis
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 FILETIME=[727F63F0:01C4FC24]

>i would that "the computer music turorial" by curtis roads is 
very good
>reading. not just on synthesis.

CMT, is great, I am reading it right now, covers alot of ground, but really 
only skims the surface of alot of subjects, CMT opens up with a basic 
explanation of basic elements then builds upon that. There are a few places 
where it deals with formuals, but CMT has really helped me understand the 
many different possiblities of digital thinking, atleast in terms of a basic 
introduction. Its a huge book and also covers other things like mixers, 
sound art possiblities, realtime software, digital studio set-ups, and notes 
to more info for a deeper read on the subjects.



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?
Bill




  direct strategy # 943: talk interesting nonsense until someone forces 
you to stop.
On Jan 16, 2005, at 1:50 PM, Sabastian Boaz wrote:

> -help
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[english and french mixed]


cdr 007
"Un disque, deux artistes, un par canal donc de la stéréo,
c'est magique, la musique est pile entre vos deux oreilles"
"a cd, two artists, one on left and the other one on right
magic stereo, your head is just in the middle of the music"

cdr 008
Pacjap est la réunion de 8 artistes français et japonais plus
une machine, le D-system. On peut être japonais et chanter la
Marseillaise à tue tête.
"PacJap is gathering 8 french and japanese artists with a machine,
the D-system. One can be a japanese guy and sings loudly La
Marseillaise."

///////////////////////////////////////////////////////////////////////
////////////////////////////////////////////////////
:::::::::::::::::::::::::::::::::::::::::::::::TIRAMIZU
NEWS::::::::::::::::::::::::::::::::::::::::::::
///////////////////////////////////////////////////////////////////////
////////////////////////////////////////////////////

OUT NOW !!!!!

------------------------------------------------------------------------
--------------------
L.DAILLEAU / K.T TOEPLITZ
Topographie des terror
audio cdr
tiracdr-007

------------------------------------------------------------------------
--------------------
PACJAP
D-system V.1.0
audio cdr
tiracdr-008

more infos :::: http://www.tiramizu.net
///////////////////////////////////////////////////////////////////////
////////////////////////////////////////////////////
///////////////////////////////////////////////////////////////////////
////////////////////////////////////////////////////


L.DAILLEAU / K.T TOEPLITZ
Laurent Dailleau is the sole French Theremin virtuoso player, hyperactive
musician on the different international scenes of electroacoustic and
improvised music featuring into festivals like Musique Action , and with
cd releases on Sonoris , 33revpermi, 23five .
K.T. Toeplitz is the sole French  BassComputer virtuoso player,  hyperactive
musician on the different international scenes of electroacoustic and
composed music featuring into  festivals like März Musik , and with cd
releases on Sonoris,  RecordingsOfSleazeArt, 23five, Vice Schalplatten.
------------------------------------------------------------------------
--------------------
PACJAP -- D-SYSTEM
Functions of the machine:
to disable the common activities as playing an instrument or speaking
or also making sound activities. Maybe we can use it to transform a
keyboarded text to a kind of musical sounds.
The real project is to take a reality or an activity and to give
another reality, so the user must learn or use his environment in a
different manner than normally.




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From: Risonanza Magnetica - S <x@xxxxxxxxx-xxxxxxxxx.xxx>
Subject: [microsound] FFWD_MAG#2 TOUR
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For those who pass through ItalyŠ



..........................
Wednesday, 19th january
Spazio Lima, Milano

FFWD_MAG#2'S INTRODUCTION features:

"Landscape07 - Houses study B" [video installation]
 +
"Landscape05 - there's no place like home" .::invernomuto::. [live media]
DDD [live set]

Download the press sheet [IT]:
http://www.ffwdmag.org/download/ffwd_SpazioLima190105.pdf


Following other FFWD_MAG#2 tour dates:

- 4th february | Fondazione Adriano Olivetti, Roma
- 4th february (night) | Metaverso, Roma
- 5th february | Spazio Kappa, Prato
- 8th february | RAUM, Bologna
- 16th february | AB+, Torino
- 19th february | Rebecca Container Gallery, Genova
- 19th february (night) | Barfly, Genova
- 27th february | various places [neanche], Faenza

Download ffwd_mag#2 tour flyer:
http://www.ffwdmag.org/download/ffwd2_flyer_02.zip



..........................
ffwd_mag#2 is still available!!!
You can reach it at the following fine shops:
http://www.ffwdmag.org/where.html

or buy on line at Risonanza Magnetica
http://www.risonanza-magnetica.com/articolo.php?id_sup=52&id_eti=010&id_prod
=343 
..........................
ffwd_mag#2 [magazine + audio CD compilation]

[magazine]

Release Date: 05/11/2004
N° of pages: 64
Size: 15x15 cm
Print: 4 colours
Cover: 380gr paper, opaque plasticized + circular cut on the back

authors:
BombTheDot (Ger)
Kinkaleri (Ita)
Marzia Migliora (Ita)
Marc Richter and 2Bunnies (Ger)
Royal Art Lodge (Can)
Michael Segal (USA)
Claudio Sinatti (Ita)
Nico Vascellari (Ita)

[audio CD compilation]

N° of tracks: 10 + 1 bonus
Total running time: 55:06:658

authors:
Twine (USA - Ghostly International)
Un Caddie Renverse Dans L'Herbe (Spa - Dekorder, Oozebap)
Books On Tape (USA - No Type)
The Buddy System (USA - Notenuf, U-cover)
Son Of Clay (Ger - Komplott)
DDD (Ita)
O. Lamm (Fra - Active Suspension)
Mou, Lips! (Ita - List)
( r ) (Ita - Deathtripper)
.::invernomuto::. (Ita)
bonus track:
Maledetto Vascellari (Ita)



..........................
Thanks for your attention,
simone ffwd_mag / RM



....
ffwd - .::invernomuto::.
c/o P.zza Caduti, 2
29014 Castell'Arquato (PC)
Italy

http://www.ffwdmag.org
http://www.risonanza-magnetica.com
xxxx@xxxxxxx.xxx
tel/fax://+39 0523 806040
mobile://328 8619930 // 328 0295195

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 FILETIME=[BD83D470:01C4FC16]

THURS JAN 20
@the Silver Lake Lounge
Los Angeles

Books On Tape    www.beatpunk.com
Bookmobile          www.woodsonlateral.com
Tehn                      www.nnnnnnnn.org
The Matic

A promising night of experimental electronic music.


Tehn - A MUST SEE  for those interested in midi /dsp external devices.

"commercial products offer an opportunity to embrace a methodology. so we 
adapt ourselves.

perhaps we should adapt technology, not our intentions. yet defying 
conformity will not itself spawn genius. properly conceived, a combination 
of interface and functionality will only facilitate more sincere process. we 
may become more ourselves."

_________________________________________________________________
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 ???@??? Sun Jan 16 21:57:46 2005
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Might be worth checking The Illustrated Ape Japan Cult issue from 
December - features Ryuichi Sakamoto amongst other stuff.


>>
>>
>>> does anyone know of any good japanese music magazines that feature 
>>> electronic artists?
>>
>

Peter Coyte
http://www.petercoyte.co.uk


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-help


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Subject: [microsound] composer vs. dj
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a follow up to m y last "vs" question...

what distinguishes a "composer" from a "DJ?" Is "composer" a viable 
category at all? What role does institutional legitimation play in 
defining these categories? What about "sound art?"

If there is no way to draw a art/not-art line what meaning does art 
have after sound?

Is there similar confusion in other art forms? If not is that because 
of some special condition of music or its modes of 
production/representation/consumption?


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From ???@??? Sun Jan 16 21:29:55 2005
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From: andrew jones <xxxxxxxxx@xxx.xxx>
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you can try OK Fred and
Fader by Headz.
no idea on a contact for Fader but let me know
if you find one.

thanks,
a

On Jan 16, 2005, at 2:31 PM, Jorge Bachmann wrote:

> try this URL, there are a few experimental artists.
>
> http://www.japanimprov.com/
>
> paz
> J21
>
> On Jan 14, 2005, at 11:07 AM, jfrede wrote:
>
>> does anyone know of any good japanese music magazines that feature 
>> electronic artists?
>
>
> 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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>
>
Andrew Jones
912 Euclid Ave.
Birmingham, AL, 35213
407-927-7607
blog: dignifieddevil.blogspot.com  ----  aim: liminal18


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 FILETIME=[0EF5A410:01C4FC02]

personally i think the majority of mainstream remixing (and what's 
considered "underground") mostly comes from a possessive desire... one 
thinks oh man i love this track, i need to make it more my own.  and also 
more of creating connections between artists and scenes... most remixing i 
don't think really makes for very good music.  i don't listen to very many 
remixes.  the word remix is really cliche and overused, so remixing is a 
lost art in my opinion.  consider the differences between remixing and 
sampling...

righto


>From: Christos Carras <xxx@xxxxxx.xx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] microsound vs. DJ culture
>Date: Sun, 16 Jan 2005 19:56:44 +0200
>
>john saylor wrote:
>
>>
>>but that is how they establish an individual and open releationship to
>>the world of sound- by re-using the material. instead of thinking of the
>>available world as 'sounds you can make with a piano' or 'sounds you can
>>make with a couple of guitars, drums, and a ton of amplification'; this
>>is 'sounds you can make with electronic audio processing'.
>>
>>musicians always try to copy what they like. how many bands try to sound
>>like kraftwerk once in a while? re-using [re-contextualizing] sounds
>>made by others is just a more direct way of acknowledging the influence.
>>
>>so while there are plenty of problems in the world today- i see re-mix
>>culture as a positive thing, an example of how the creative impulse
>>refuses to die.
>>
>>
>>
>music has a strange capacity to coalesce into something that feels 
>coherent, unlike language or even visual imagery which more easily brings 
>out the contradictions that some "re-contextualisations" can generate.  of 
>course there are extreme strategies of montage that don't function this 
>way, but overall i don't see that re-mixing often gets further than 
>confirming the interesting age-old observation that "we never bathe in the 
>same river twice". but again, maybe i don't have enough exposure to re-mix 
>pieces and shall certainly try to get hold of some that were mentioned.
>
>cc
>
>
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From ???@??? Sun Jan 16 19:33:06 2005
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Date: Sun, 16 Jan 2005 11:31:28 -0800
From: Jorge Bachmann <xxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] japanese music magazines?
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try this URL, there are a few experimental artists.

http://www.japanimprov.com/

paz
J21

On Jan 14, 2005, at 11:07 AM, jfrede wrote:

> does anyone know of any good japanese music magazines that feature 
> electronic artists?


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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http://www.cityofsound.com/blog/2005/01/the_rise_and_ri.html


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From ???@??? Sun Jan 16 17:54:31 2005
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john saylor wrote:

>
>but that is how they establish an individual and open releationship to
>the world of sound- by re-using the material. instead of thinking of the
>available world as 'sounds you can make with a piano' or 'sounds you can
>make with a couple of guitars, drums, and a ton of amplification'; this
>is 'sounds you can make with electronic audio processing'.
>
>musicians always try to copy what they like. how many bands try to sound
>like kraftwerk once in a while? re-using [re-contextualizing] sounds
>made by others is just a more direct way of acknowledging the influence.
>
>so while there are plenty of problems in the world today- i see re-mix
>culture as a positive thing, an example of how the creative impulse
>refuses to die.
>
>  
>
music has a strange capacity to coalesce into something that feels 
coherent, unlike language or even visual imagery which more easily 
brings out the contradictions that some "re-contextualisations" can 
generate.  of course there are extreme strategies of montage that don't 
function this way, but overall i don't see that re-mixing often gets 
further than confirming the interesting age-old observation that "we 
never bathe in the same river twice". but again, maybe i don't have 
enough exposure to re-mix pieces and shall certainly try to get hold of 
some that were mentioned.

cc


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From ???@??? Sun Jan 16 17:44:57 2005
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Date: Sun, 16 Jan 2005 12:44:53 -0500
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Yes, the entire quote notes this paradox:

"After all, it is more Marx than Marx: property in remix culture,
theoretically at least, is a shared kind of "resource" (although the
reality, as I've recently written elsewhere, is far more along the lines of
wanting to have one's cake and eat it too -- owning a remix, etc. -- there
is much work to be done, I feel, in seeing where this is leading us...)."

However, as Bas notes, there is also something of collectivity here.

- tV

> 
> ? what writings of marx are you referring to?
> 
> wouldnt it be more correct to say that 'remix culture' is more
> capitalist than capitalism?
> 
> the remixer using (without permission and/or payment) the labors of
> other workers to further his own capital ('name'/trademark is future
> capital).
> 
> 
> 2005-01-16 kl. 07.05 skrev tobias c. van Veen:
> 
>> direction? After all, it is more Marx than Marx: property in remix
>> culture,
>> theoretically at least, is a shared kind of "resource" (although the
> 
> 
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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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From ???@??? Sun Jan 16 17:39:54 2005
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a more "for dummies" style (though that's perhaps a bit unfair) is 
Eduardo Reck Miranda, Computer Sound Synthesis for the Electronic 
Musician. focal press, 1998


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From ???@??? Sun Jan 16 17:41:06 2005
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Date: Sun, 16 Jan 2005 12:40:59 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] Re: microsound Digest 16 Jan 2005 00:39:36 -0000
        Issue 1331
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Sometime this year, a rather substantive piece on Spooky and _Rhythm
Science_ will (hopefully) be available on
http://www.electronicbookreview.com in the Music Sound Noise thread.

cheers, tobias

> Try also DJ Spooky -Rhythm Science (the book, not the album)
> 
> 
> At 12:39 am +0000 16/1/05, xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx wrote:
>> Date: Sat, 15 Jan 2005 17:50:05 -0500
>> To: Microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
>> Subject: The Turntable - Charles Mudede
>> Message-ID: <BE0F084D.1A2CC%xxxxxx@xxxxxx.xx>
>> 
>> The Turntable
>> Charles Mudede
>> 
>>    
>>     http://www.ctheory.net/text_file.asp?pick=382
>> 
>> "Scratch 1
>> 
>> The line between electronic and live music is unbroken. The forms may appear
>> impressively distinct but they are organized around the same act: playing a
>> musical instrument (a keyboard, drum pads, so on). In electronic music --
>> which finds its most popular moment in the '70s, German band Kraftwerk -- a
>> musician plays a musical instrument and is concerned about, for instance,
>> the key he/she is playing in. This is not the case with hiphop. Hiphop is
>> organized around the act of replaying music; and it is this act, replaying,
>> that marks the real rupture in the mode or method of production."
>> 
>> [...]
>> 
>> tobias c. van Veen -----------++++
>> http://www.quadrantcrossing.org --
>> http://www.thisistheonlyart.com --
>> McGill Communication + Philosophy
>> ICQ: 18766209 | AIM: thesaibot +++
> 



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


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Date: Sun, 16 Jan 2005 09:15:24 -0800
From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Tim Hecker email
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Hi all,

Looking to contact Tim Hecker for the sonus gallery. If someone knows
how to reach him, could you email me *offlist*?

Phil


-- 
Phil Thomson
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From ???@??? Sun Jan 16 16:54:46 2005
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hello all in st. louis...tonight at the lemp neighborhood arts center 
(lemp-arts.org) a show of experimental and noise music:

performing will be:

n-tron: from ohio. amazing realtime casette manipulation
leslie keffer: also from ohio. droney hybrid of tapes, circuit bent 
instruments, and processors.

locals:
eric hall
mark sarich
ghost ice


more info is at lemp-arts.org


thanks! - j
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From ???@??? Sun Jan 16 16:30:30 2005
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in the "History of Music" there is a significant tradition of 
reinterpretation or integration or quoting or re-arrangement of 
previous original works.

it is not so common in the "History of Contemporary Music" b/c of 
images of the individualist associated with rock/roll.

i feel one of the problems w/ "remix culture" is that it has a tendency 
to be lazy/thoughtless.

which musically comes off more as a listing of current fads in DIY 
production than as a statement or poetic abstraction.

(see relative sustainability of "movements" in remix culture.

in general, i see music currently being permeated more by small 
micro-movemnts,

so maybe i shouldn't generalize TOO much)

i understand as a weird consumer-style tendency -

to consume and expel as much as possible.

(for a fine indictment of sampling, see eddie prevost's new book p.21 - 
'ascendancy of sound over sense')

it is hard for me to draw lines like "smart sampling" or "dumb remixing"

but i'm feeling the pressure of those qualifiers -

and i DO have a fondness for a great sampling or ecstatic remix

(a couple of regular dj mixes do populate my itunes)

hm.

b.


> hi
>
> ( 05.01.15 23:48 +0200 ) Christos Carras:
>> it seems to me that the re-use of tracks is dangerously close to
>> manifesting a cultural problem, viz the inability of the contemporary
>> subject (consumer and artist) to break through the mirror and
>> establish an individual and / or open relation to the world of sound.
>
> but that is how they establish an individual and open releationship to
> the world of sound- by re-using the material. instead of thinking of 
> the
> available world as 'sounds you can make with a piano' or 'sounds you 
> can
> make with a couple of guitars, drums, and a ton of amplification'; this
> is 'sounds you can make with electronic audio processing'.
>
> musicians always try to copy what they like. how many bands try to 
> sound
> like kraftwerk once in a while? re-using [re-contextualizing] sounds
> made by others is just a more direct way of acknowledging the 
> influence.
>
> so while there are plenty of problems in the world today- i see re-mix
> culture as a positive thing, an example of how the creative impulse
> refuses to die.
>
> -- 
> \js    >/*http://or8.net/~johns :      ]%-/.$<`]       [='.^
> iraq body count: 15,365 [min] 17,582 [max]
>
> ---------------------------------------------------------------------
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>


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From ???@??? Sun Jan 16 15:25:59 2005
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hi

( 05.01.15 23:48 +0200 ) Christos Carras:
> it seems to me that the re-use of tracks is dangerously close to
> manifesting a cultural problem, viz the inability of the contemporary
> subject (consumer and artist) to break through the mirror and
> establish an individual and / or open relation to the world of sound.

but that is how they establish an individual and open releationship to
the world of sound- by re-using the material. instead of thinking of the
available world as 'sounds you can make with a piano' or 'sounds you can
make with a couple of guitars, drums, and a ton of amplification'; this
is 'sounds you can make with electronic audio processing'.

musicians always try to copy what they like. how many bands try to sound
like kraftwerk once in a while? re-using [re-contextualizing] sounds
made by others is just a more direct way of acknowledging the influence.

so while there are plenty of problems in the world today- i see re-mix
culture as a positive thing, an example of how the creative impulse
refuses to die.

-- 
\js    >/*http://or8.net/~johns :      ]%-/.$<`]       [='.^       
iraq body count: 15,365 [min] 17,582 [max] 

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From ???@??? Sun Jan 16 15:42:13 2005
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Subject: Re: [microsound] books about synthesis
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At 12:08 PM +0100 1/16/05, lorenzo_brutti\@libero\.it wrote:

>i'd like to read some "for dummies" books about synthesis

Synthesis is NOT for dummies!

However, there are many books for intelligent neophytes. A couple of 
classics from the analog era, if you can find them, are:

Allen Strange. Electronic Music: Systems, Techniques, and Controls

Thomas Wells & Eric Vogel. The Technique of Electronic Music


A very good history is:

Joel Chadabe. Electric Sound: The Past and Promise of Electronic Music
-- 

______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://salamandersongs.com
http://ill-wind.com
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> wouldnt it be more correct to say that 'remix culture' is more 
> capitalist than capitalism?
> 
> the remixer using (without permission and/or payment) the labors of 
> other workers to further his own capital ('name'/trademark is future 
> capital).

to a certain extent, a probable yes. But such an argument ignores the
affective (and embodied) aspect of making and sharing music i.e. why dealing
with and listening to sound is so much fun. Reducing this to these kind of
static structures brings the death to all creative 'enterprises'.

As I come to think of it, maybe it might be useful to think through the
consequences of these critiques that see "sharing resources" i.e. dealing
with / contemplating on products of others as merely an expression of
capitalism. Couldn't it be that this represents a particularly stubborn case
of individualist Eurocentric logic (to refer to some of the earlier
discussions in this thread)?
In any case, black i.e. subaltern i.e. whatever-as-long-as-it-is-not-white
voices surely have had less problems with accepting and embracing a
collective (or at the very least relational) identity as a strategy of
resistance.

bas van heur
editor / cut.up.magazine / www.cut-up.com




-- 
+++ GMX - die erste Adresse für Mail, Message, More +++
1 GB Mailbox bereits in GMX FreeMail http://www.gmx.net/de/go/mail

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From ???@??? Sun Jan 16 13:29:00 2005
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Subject: [microsound] Re: microsound Digest 16 Jan 2005 00:39:36 -0000 Issue
 1331
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Try also DJ Spooky -Rhythm Science (the book, not the album)


At 12:39 am +0000 16/1/05, xxxxxxxxxx-xxxxxx-xxxx@xxxxxxxxx.xxx wrote:
>Date: Sat, 15 Jan 2005 17:50:05 -0500
>To: Microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
>Subject: The Turntable - Charles Mudede
>Message-ID: <BE0F084D.1A2CC%xxxxxx@xxxxxx.xx>
>
>The Turntable
>Charles Mudede
>
>    
>     http://www.ctheory.net/text_file.asp?pick=382
>
>"Scratch 1
>
>The line between electronic and live music is unbroken. The forms may appear
>impressively distinct but they are organized around the same act: playing a
>musical instrument (a keyboard, drum pads, so on). In electronic music --
>which finds its most popular moment in the '70s, German band Kraftwerk -- a
>musician plays a musical instrument and is concerned about, for instance,
>the key he/she is playing in. This is not the case with hiphop. Hiphop is
>organized around the act of replaying music; and it is this act, replaying,
>that marks the real rupture in the mode or method of production."
>
>[...]
>
>tobias c. van Veen -----------++++
>http://www.quadrantcrossing.org --
>http://www.thisistheonlyart.com --
>McGill Communication + Philosophy
>ICQ: 18766209 | AIM: thesaibot +++


-- 
joseph_young
"composing with sound"
http://www.josephyoung.co.uk

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From ???@??? Sun Jan 16 12:24:56 2005
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From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] R:[microsound] japanese music magazines?
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Ciao,

check:
http://www.realtokyo.co.jp/english/
and afterhours xxxxxxxxxx@xxx.xx-xx.xx.xx


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


> 
> does anyone know of any good japanese music magazines that feature electronic
> artists? 
> 
> j.frede
> current location: los angeles, ca
> www.jfrede.com
> 
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hi

i would that "the computer music turorial" by curtis roads is very good
reading. not just on synthesis.

sofus

> hello dudes,
> i'd like to read some "for dummies" books about synthesis: techniques, history
> and so on...
> can you suggest me some titles?
> 
> byethanks
> lorenzo
> 
> -.-
> np. the mothers of invention.freak out!
> 
> 
> 
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Computer Music by Dodge and Jerse is a good standard
and starting point.  Regarding the history aspect of
your question, I have a few more specific
recommendations: 

Historical CD of Computer Synthesis, WERGO, WE152-3. 
Contains several of the first computer synthesized
pieces (and psychoacoustic experiments) realized at
Bell Telephone Laboratories.  Also contains an
excellent booklet with explanations and Risset's
introductory catalog of sounds.  

James Tenney, Selected Works 1961-69, New World
Records. Good liner notes in booklet insert describing
several of the works contained in the CD, many of
which were also realized at bell. 

Electro-Acoustic Music, Barry Schrader (No longer in
print, contains overview of several techniques and
interviews with several composers.)  

First issue of Die Reihe, covering electronic music in
the WDR studio, edited by Stockhausen and Eimert,
includes Stockhausen's article on Study No. 2. An
English edition of all 8 volumes was printed by
presser, possibly available to you via an academic
library.  

Not sure about your specific interests but these are
good starting points. 

Later,

Jason 



--- "xxxxxxx_xxxxxx@xxxxxx.xx"
<xxxxxxx_xxxxxx@xxxxxx.xx> wrote:

> hello dudes,
> i'd like to read some "for dummies" books about
> synthesis: techniques, history
> and so on...
> can you suggest me some titles?
> 
> byethanks
> lorenzo
> 
> -.-
> np. the mothers of invention.freak out!
> 
> 
> 
>
____________________________________________________________
> Libero ADSL: 3 mesi gratis e navighi a 1.2 Mega. E
> poi hai l'Adsl senza limiti a meno di 1 euro al
> giorno. 
> Abbonati subito senza costi di attivazione su
> http://www.libero.it
> 
> 
> 
> 
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> 


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

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From ???@??? Sun Jan 16 11:08:20 2005
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hello dudes,
i'd like to read some "for dummies" books about synthesis: techniques, history
and so on...
can you suggest me some titles?

byethanks
lorenzo

-.-
np. the mothers of invention.freak out!



____________________________________________________________
Libero ADSL: 3 mesi gratis e navighi a 1.2 Mega. E poi hai l'Adsl senza limiti a meno di 1 euro al giorno. 
Abbonati subito senza costi di attivazione su http://www.libero.it




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From ???@??? Sun Jan 16 10:46:55 2005
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From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] WebHosts page on the Twiki
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Hi all,

I am nearing the end of my MFA, and will soon no longer have access to
my SFU webspace and SSH account. I am in the market for a new place to
host my stuff, as well as just to be able to have access to a
filespace I can get to no matter where I am. Rather than post yet
another request for info on hosting services to the list, I have added
a page to the Twiki server with info on hosting services that would be
useful for microsound-ish purposes.

Please add links to this page. I have already added some info and
links on a couple of free services (archive.org and scene.org), but
for my purposes, I will probably need a pay service, so I hope myself
and others can get useful info from this page once some links have
been added.

Link to main page: http://microsound.nexthop.net/bin/view.cgi/Main/WebHome

Link to new WebHosts page:
http://microsound.nexthop.net/bin/view.cgi/Main/WebHosts

Phil


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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? what writings of marx are you referring to?

wouldnt it be more correct to say that 'remix culture' is more 
capitalist than capitalism?

the remixer using (without permission and/or payment) the labors of 
other workers to further his own capital ('name'/trademark is future 
capital).


2005-01-16 kl. 07.05 skrev tobias c. van Veen:

> direction? After all, it is more Marx than Marx: property in remix 
> culture,
> theoretically at least, is a shared kind of "resource" (although the


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From ???@??? Sun Jan 16 06:05:44 2005
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From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] microsound vs. DJ culture
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hi Christo,

Thanks for these excellent thoughts.

I guess what I am boiling down to is the persistence of "criticism" or the
"critic." I'd rather entertain the idea of investigating systems of
complexity which counterpoint to studies on affect, relays, forces. There
are different ways of saying this. And that what often irks me are theories
of "aesthetic" "critique" that imply certain ethical and epistemological
universals.

To knock on a couple of things you mention below ..

I don't think it's ever necessary to feel one is "real" to hip-hop. I think
this is missing the point -- too many cultural studies academics wring their
hands without ever stopping to think that perhaps the issue is "critique" in
the first place, or the fact that no one is born to hip-hop, or anything
else: you've just gotta be down with it, i.e., show some interest in
learning more about it .. if there's a territorial "keep-out" attitude to
hip-hop which claims that you've got to be "keepin' it real" to get it, a
little research will also show, within hip-hop, those who disagree with that
kind of exclusivity. So join the party.

I.e., what matters is that one grants one's object of study the latitude
from which to develop a relation with its environment, further, an
articulation of that surrounding (a re-definition feedback loop). You
suggested something quite similar at the end of your first email; we should
simply extend that idea one step further to accept that this very criterion
might be subject to reconstruction and displacement via the process itself.

This makes things more difficult than most people want to -- I think most of
us would much rather take shortcuts. Unfortunately this leaves us with
perhaps well-meaning essays that look ridiculous with the passing of time,
because they don't take the time to reflect on the variable alterations of
that which is under discussion.

The question as to where this leaves one as a "critical listener" perhaps
might lead one to remix whether "critical" is the point of entry of
"listening" .. to rethink the context in which "critical" became the
criterion itself of analysis.

As for Adorno..  I see no reason why the reappropriation of counter-culture
invalidates its affect and effects, nor reduces its force, historical
agency, its struggles, ruptures and archives... to say otherwise would be to
_grant the cultures and structures of reappropriation--what is usually
called "consumer capitalism," i.e. but also the right--its power without
question_. Adorno's analysis often has the uncanny effect of rendering
capital's control much stronger, perhaps, than it is. There is a degree of
negative fatalism at work in an analysis that so strongly dismisses that
which makes us happy. Making weird music wouldn't have magically solved the
issue of reappropriation of counterculture. True, Captain Beefheart hasn't
been resold (yet) as Volkswagon ads, but neither did he start a revolution.
Nor do you hear him all that often these days ..

The cycle of reappropriation perhaps has to be distinctly thought from that
of capitalism and the culture industries. Recycling is the basis of remix
culture, which sees the sharing of art and music as positive rather than
negative. Could Adorno have dug an understanding of property in this
direction? After all, it is more Marx than Marx: property in remix culture,
theoretically at least, is a shared kind of "resource" (although the
reality, as I've recently written elsewhere, is far more along the lines of
wanting to have one's cake and eat it too -- owning a remix, etc. -- there
is much work to be done, I feel, in seeing where this is leading us...).

Adorno should have read more Hunter S. Thompson.

Thanks again Christos -- enough from me for a bit ..

best,

    tobias

> Hi Tobias
> 
> that was interesting.
> 
>> Q-- 
>> 
>> Although I am wondering why are you comparing "'mainstream' dj practice"
>> with Stockhausen et al?
>> 
>> Wouldn't a better example be Janek Schaefer with Stockhausen?
>> Or, Algorithm with Berio?
>> How about Q-Bert with Mahler?
>>  
>> 
> My comparison was a reaction to another post where i think i saw a
> "genealogy" being drawn from Stockhausen and Varese to DJ culture. but
> you're right that one should compare mainstream to mainstream...
> 
>> For certainly Stockhausen is not a "mainstream composer" -- perhaps the
>> equivalent to "mainstream dj practice" would be Vivaldi..
>> 
>> Stockhausen's Telemusic with John Oswald's Plunderphonics?
>> 
>> There has to be a fair and accurate example from each genre.. each of which
>> is not a genre at all, per se, but a conceptual differentiation in the
>> approach to sound.
>> 
>> The tension you speak of in new music may not exist in dj culture for the
>> reason that this tension holds less meaning in a music originating from
>> recorded music. Although even then this tension certainly also exists, say,
>> in remix culture and where this meets dj culture (say Negativland, John
>> Oswald, also Kid Koala, DJ Danger Mouse, etc). But this tension is not the
>> primary affect nor effect of a dj set orientated at ritual gathering, for
>> example, in which the tension is not over the conceptual understanding of
>> icon and property, but rather in the purely sonic event (which is more
>> "musical" than Stockhausen, in a sense).
>>  
>> 
> and this in turn raises the question of how much does one include in
> criticism. to take another Adorno example: he once wrote something to
> the effect that he could never consider a song writtten with traditional
> harmonic structures, cadences etc to be a real vehicle for criticism of
> the Vietnam war. this approach evacuates the dimension of reception and
> the social identification that a song provides, perhaps a vital part of
> any anti-war movement (or any movement for that matter). with the
> benefit of hindsight, when we see how easily "counter culture" was
> recuperated by (sorry) the culture industry, maybe there is a point here.
> 
>> One a tradition _from_ recorded sound (dj culture); the other, with history
>> and aesthetic categories developed _before_ recorded sound. Of course both
>> are intraweaved extensively. But to continue with a categorical separation,
>> dj culture cannot exist sans recordable media. Thus its aesthetic is
>> developed from recordable media as its conditions of possibility. New music,
>> while incorporating recorded media, works with an aesthetic inherited from a
>> history of music grounded in performance by players of specific
>> bodily-involved instruments. This is only one aspect of difference in
>> respect to media and technology; there are also socio-political, cultural
>> differences in the context in which music is made and produced. Dj culture
>> very much, I think, engages a culture of carnival, which has its own
>> histories in both European and other cultures. We could also speak of sonic
>> territory in the birth of djing in Jamaica, the hip-hop ensemble in NYC, the
>> shamanistic role of the dj in what Maffesoli and Graham St John call
>> "neo-tribal" cultures, etc.
>>  
>> 
> indeed, there are "socio-political, cultural differences in the context
> in which music is made and produced". but then do we need to understand
> them in depth to be able to formulate a criticism of the music? in all
> honesty, i don't think i'll ever be in a position to intimately
> understand the specificity of  NYC hip-hop ensembles (and i would hazard
> a guess that for most of the people who listen to hip-hop, the social
> specificity is more an object of "safe" phantasm than real
> identification), so where does that leave me as a critical listener?
> assuming many musics do establish a sonic territory and even that this
> territory may be the scene of a politicaly charged struggle do they
> automatically get the benefit, as music, of whatever support one might
> want to give that particular struggle?
> 
>> And each example also loses its status as such: we would have to do so from
>> the acquisition of two approaches to two histories of sound (two
>> singularities that are also differential in theme). Just as we recognise
>> Stockhausen's individuality (by the criteria you propose), we would have to
>> recognise Q-Bert's, for example; although perhaps should we not consider
>> Q-Bert from an aesthetic pertaining to that particular themeatic approach?
>> Ie, to analyse Q-Bert through the complex narratology he engages in hip-hop
>> (the same could be done with Dj Shadow, which at one point I likened, to
>> much chagrin from critics, to Proust), but also to the development of unique
>> skill (his crab-scratch) and forms of scratch-notation. Likewise, Janek
>> Schaefer has redesigned the turntable instrument while Martin Tetreault has
>> deconstructed the turntable as apparatus.
>> 
>> 
>>  
>> 
> maybe a fundamental question is whether there really are many parallel
> value systems for any particular critic. not to confuse what i might
> enjoy with what i can build a critical discourse around.
> but i take note and shall go and listen!
> 
> tara
> 
> cc
> 



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


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>I also saw a helicopter drop a swimming pool in a lake 'true
-Thus: case proven.
 If any...

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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Arie van Schutterhoef wrote:
>>most loverly microsounder
>>rotor plus
> 
> -Condoms & Helicopters required...
>  (Just being a nuissance, so ignore when needed...)
> 

    I learned yesterday that a lavender oil is a prophylactic !

    :and that a prophylactic is anything that block disease

    I also saw a helicopter drop a swimming pool in a lake 'true

    .simon

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>most loverly microsounder
>rotor plus
-Condoms & Helicopters required...
 (Just being a nuissance, so ignore when needed...)

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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    new release from arguably New Zealand's most loverly microsounder

     rotor plus

     MAP KEY WINDOW

    http://www.rtcnz.com/

    rotor plus ' is generationaly one of our oldest electronic artist
    know under many guise and soundforms with rotor plus being the
    quietest and possibly the most fitting form

    the latest release consists of three simply titled tracks

    beginning
    middle
    end

    (with video viewable on the website)

    escape into the eternal understanding of memories ' like quite
    walks in the garden or sushi lunches with friends . waking up
    at dance parties or bicycles, kites & summer, nighttime alone

    rotor plus is a unique connection to the land the people and
    the stories that are New Zealand '

    it is careful illustration of talent and time, composed with a
    cherish and love that makes the special qualities of rotor plus
    glisten like electric dew drops '

    full of hope, musings, laughter and a few upsets . some innocence
    questions and ancient understandings ' urban brashness dissipates
    into the clear distortion of the pacific sky

    as we like to say down here .

    'good on ya mate'

    .simon

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From ???@??? Sun Jan 16 01:36:54 2005
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Lots of good Huygens sound information can be found at

http://www.planetary.org/sounds/huygens_sounds.html

and

http://www.esa.int/esaCP/SEM85Q71Y3E_index_0.html

The ESA  page features a recording generated by the radar returns 
(rather than of an acoustical nature) that is really quite nice.

Needless to say, I'm working on some pieces based on these sources.  
Anyone else?

Jeremy

PS - Gino - John Sharp sends his regards!


Jeremy Dickens / Logickal
Offnominal Audio
Discrepancy Recordings
PO Box 290692, Nashville, TN 37229-0692
http://www.offnominal.com
xxxxxxxxxx@xxxxxxxxxx.xxx


On Jan 14, 2005, at 5:27 PM, Robair, Gino wrote:

> Folks,
> I don't remember seeing this on the list (apologies if it's already 
> been posted, but it might be worth another listen):
>
> http://www.nasa.gov/mission_pages/cassini/multimedia/pia06410.html
>
> <<This movie shows the Cassini spacecraft as it flew in and out of 
> Saturn's ring plane, with accompanying sounds recorded by Cassini's 
> radio and plasma wave science instrument. On June 30, 2004, the 
> spacecraft crossed the ring plane, where its high-gain antenna was 
> bombarded with dust particles that produced this cacophony of sound 
> reminiscent of a hailstorm. Exciting the rings produces similar sights 
> and sounds, which are seen at the end of the movie.
> The graph at the bottom of the movie corresponds to the sound waves, 
> highlighting changes in intensity. >>
> http://www.nasa.gov/mov/61980main_PIA06410-Sounds-movie.mov
>
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Previously unreleased EP from The Third Second...
beats noise ambient soundscape glitch electronic electroacoustic download free:

Side A (14:42): http://the3rd2nd.com/fb/01_A.mp3
Side B (15:02): http://the3rd2nd.com/fb/02_B.mp3

Info:
http://the3rd2nd.com/the3rd2nd/archives/000019.html#000019

More mp3s at:
http://the3rd2nd.com/the3rd2nd/archives/cat_releases.html

Enjoy!

=====
Renick Bell
http://www.the3rd2nd.com


                
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Meet the all-new My Yahoo! - Try it today! 
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if you run CSound on Windows you should try the Maldonado version of CSound:
CsoundAV
it is focused on realtime.
http://www.csounds.com/csoundav/
an example of what can be dome with it is this excellend granular sw:
DensityShell downloadable at http://www.alessandro-petrolati.com/

dm

> -----Messaggio originale-----
> Da: jeff gburek [mailto:xxxxxxxxxx@xxxxx.xxx]
> Inviato: sabato 15 gennaio 2005 17.42
> A: microsound
> Oggetto: [microsound] ? for Csounders
>
>
>
> microsounders, can anyone tell me about Csound's
> audioin opcode? i'd like to add live input capacity to
> the Cecilia program I am running and Cecilia runs atop
> Csound..any leads appreciated... jg
>
>
>
> __________________________________
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"And in phenomenal existence there is nothing that is independent of 
everything else. Given that there is Continuity, everything is a degree or 
aspect of whatever everything else is. Consequently there is no way of 
defining anything, except in terms of itself. Try any alleged definition. 
What is an island? An island is a body of land completely surrounded by 
water. And what is a body of land that is completely surrounded by water? "

                                                                                          
   Charles Hoy Fort. "Lo!", 1931

_________________________________________________________________
T1msn Search. Todo lo que buscas ahora más rapido  
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> graham miller wrote:
>
>> the titan shots are far out right now...  this is so exciting.
>>
>> alien oceans of methane...
>>
>> is huygens recording any actual sound on titan?
>>
>>

http://www.esrin.esa.it/export/esaCP/SEM85Q71Y3E_index_0.html

Sk


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>The tension you speak of in new music
-Isn't that also an intellectual tension?
 I'm not sure DJ Culture has that...

AvS

BTW: I feel in this respect that the intellectual tension
     felt by Stockhausen originates from the cultural devastation,
     that occured after WW2 in Europe. Which was felt througout
     generations after that and until recently this seems
     to have been mastered in some kind of way.




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

  `    |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, 15 Jan 2005 17:50:05 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] The Turntable - Charles Mudede
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The Turntable
Charles Mudede

    
    http://www.ctheory.net/text_file.asp?pick=382


"Scratch 1 

The line between electronic and live music is unbroken. The forms may appear
impressively distinct but they are organized around the same act: playing a
musical instrument (a keyboard, drum pads, so on). In electronic music --
which finds its most popular moment in the '70s, German band Kraftwerk -- a
musician plays a musical instrument and is concerned about, for instance,
the key he/she is playing in. This is not the case with hiphop. Hiphop is
organized around the act of replaying music; and it is this act, replaying,
that marks the real rupture in the mode or method of production."

[...]



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


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>(as charlemagne palestine has pointed out, a good interval or amount of
>cognac)
-I think I would agree with charlemagne palestine,
 but not with his choice of cognag (Martell VS),
 Although I think he uses it as a kind of daily grease.

He's a very kind man, I don't think he would mind  me saying this,
on the cognac we would probably (dis)agree...

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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dear c,

These are excellent observations and well spoken ..

Q-- 

Although I am wondering why are you comparing "'mainstream' dj practice"
with Stockhausen et al?

Wouldn't a better example be Janek Schaefer with Stockhausen?
Or, Algorithm with Berio?
How about Q-Bert with Mahler?

For certainly Stockhausen is not a "mainstream composer" -- perhaps the
equivalent to "mainstream dj practice" would be Vivaldi..

Stockhausen's Telemusic with John Oswald's Plunderphonics?

There has to be a fair and accurate example from each genre.. each of which
is not a genre at all, per se, but a conceptual differentiation in the
approach to sound.

The tension you speak of in new music may not exist in dj culture for the
reason that this tension holds less meaning in a music originating from
recorded music. Although even then this tension certainly also exists, say,
in remix culture and where this meets dj culture (say Negativland, John
Oswald, also Kid Koala, DJ Danger Mouse, etc). But this tension is not the
primary affect nor effect of a dj set orientated at ritual gathering, for
example, in which the tension is not over the conceptual understanding of
icon and property, but rather in the purely sonic event (which is more
"musical" than Stockhausen, in a sense).

One a tradition _from_ recorded sound (dj culture); the other, with history
and aesthetic categories developed _before_ recorded sound. Of course both
are intraweaved extensively. But to continue with a categorical separation,
dj culture cannot exist sans recordable media. Thus its aesthetic is
developed from recordable media as its conditions of possibility. New music,
while incorporating recorded media, works with an aesthetic inherited from a
history of music grounded in performance by players of specific
bodily-involved instruments. This is only one aspect of difference in
respect to media and technology; there are also socio-political, cultural
differences in the context in which music is made and produced. Dj culture
very much, I think, engages a culture of carnival, which has its own
histories in both European and other cultures. We could also speak of sonic
territory in the birth of djing in Jamaica, the hip-hop ensemble in NYC, the
shamanistic role of the dj in what Maffesoli and Graham St John call
"neo-tribal" cultures, etc.

And each example also loses its status as such: we would have to do so from
the acquisition of two approaches to two histories of sound (two
singularities that are also differential in theme). Just as we recognise
Stockhausen's individuality (by the criteria you propose), we would have to
recognise Q-Bert's, for example; although perhaps should we not consider
Q-Bert from an aesthetic pertaining to that particular themeatic approach?
Ie, to analyse Q-Bert through the complex narratology he engages in hip-hop
(the same could be done with Dj Shadow, which at one point I likened, to
much chagrin from critics, to Proust), but also to the development of unique
skill (his crab-scratch) and forms of scratch-notation. Likewise, Janek
Schaefer has redesigned the turntable instrument while Martin Tetreault has
deconstructed the turntable as apparatus.

This differentiation thus has to approach the criteria you propose at the
end, namely, 

> viz the inability
> of the contemporary subject (consumer and artist) to break through the
> mirror and establish an individual and / or open relation to the world
> of sound.

--> This criterion, however, must be subject to question from the vantage of
dj culture, insofar as the latter proposes _its own_ aesthetic criteria (and
debates, contradictions, paradoxes, etc., "within" its constitutive
boundaries).

best,

    tobias


> b) dj culture: what does the practice of 'recombining' existing musics
> tell us about our culture, especially when we elevate it to the level
> that dj-ing purports to achieve. using other musics in compositions is
> certainly nothing new. a european approach can be found in Mahler and
> later Berio of course (to mention just them) and an american approach is
> Ives. but the way that composers use "found sounds" including "found
> music" has a tension, either through montage that explicitly reveals the
> facticity of the process or through the shock value (for example
> Stockhausen's Telemusic or Hymnen) because of the way it corodes
> established sound-icons. from the [very] little i know about
> "mainstream" dj practice, it seems to me that the re-use of tracks is
> dangerously close to manifesting a cultural problem, viz the inability
> of the contemporary subject (consumer and artist) to break through the
> mirror and establish an individual and / or open relation to the world
> of sound.


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I fourth that...-mm






  the re-use of tracks is

 dangerously close to manifesting a cultural problem, viz the 
inability

 of the contemporary subject (consumer and artist) to break through 
the

 mirror and establish an individual and / or open relation to the 
world

 of sound.

-I think the supportive exclimation in some cultures would be

formulated in the word:

bingo!

 

In all modesty I would like to express there might be some truth

in your observation...

 

AvS

www.mattmitchell.us 

Download and listen to free music, sign the guestbook, read the blog!
--Boundary_(ID_a8EC0L++NDVozN/QSwJrAA)--

From ???@??? Sat Jan 15 22:28:56 2005
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I believe you use the in (ins for stereo, inq or quad) opcode. You've got to specify where Csound should get the sound by using the -i flag I believe, ala

csound -i stdin -o ... -s ...

(http://www.lakewoodsound.com/csound/hypertext/sigio/in.htm for more details)

There might be slightly different ways of doing this depending on your version of Csound, but I think the in opcode is always the one to use. In my experience, csounds realtime performance can be pretty poor. However, I know that there are people out there doing realtime csound work, so it might be that I simply didn't have things set things up correctly. Good luck.

- Scott Carver

On Sat, 15 Jan 2005, jeff gburek wrote:

>
> microsounders, can anyone tell me about Csound's
> audioin opcode? i'd like to add live input capacity to
> the Cecilia program I am running and Cecilia runs atop
> Csound..any leads appreciated... jg
>
>
>
> __________________________________
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ah...i'll fifth



(as charlemagne palestine has pointed out, a good interval or amount of 
cognac)



well-said.


(though i'll have it be known that i am "for" sampling in it's most 
enjoyable and/or thoughtful manifestations....)

On Jan 15, 2005, at 5:33 PM, Matthew Mitchell wrote:

>
> I fourth that...-mm
>
>
>
>
>
>
>   the re-use of tracks is
>
>  dangerously close to manifesting a cultural problem, viz the
> inability
>
>  of the contemporary subject (consumer and artist) to break through
> the
>
>  mirror and establish an individual and / or open relation to the
> world
>
>  of sound.
>
> -I think the supportive exclimation in some cultures would be
>
> formulated in the word:
>
> bingo!
>
>
>
> In all modesty I would like to express there might be some truth
>
> in your observation...
>
>
>
> AvS
>
> www.mattmitchell.us
>
> Download and listen to free music, sign the guestbook, read the blog!


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> the re-use of tracks is
>dangerously close to manifesting a cultural problem, viz the inability
>of the contemporary subject (consumer and artist) to break through the
>mirror and establish an individual and / or open relation to the world
>of sound.
-I think the supportive exclimation in some cultures would be
 formulated in the word:
 bingo!

In all modesty I would like to express there might be some truth
in your observation...

AvS

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

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

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

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

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



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From ???@??? Sat Jan 15 21:57:52 2005
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Date: Sun, 16 Jan 2005 00:00:06 +0200
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Subject: Re: [microsound] Sounds from Saturn's rings
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graham miller wrote:

>the titan shots are far out right now...  this is so exciting.
>
>alien oceans of methane...
>
>is huygens recording any actual sound on titan?
>  
>

from reuters: "Along with scientific instruments that measure the 
components of Titan's atmosphere, Huygens carried a sound recorder and 
lamp to look for signs of surface liquid."

cc

>"Robair, Gino" wrote:
>
>  
>
>>Folks,
>>I don't remember seeing this on the list (apologies if it's already been posted, but it might be worth another listen):
>>
>>http://www.nasa.gov/mission_pages/cassini/multimedia/pia06410.html
>>
>><<This movie shows the Cassini spacecraft as it flew in and out of Saturn's ring plane, with accompanying sounds recorded by Cassini's radio and plasma wave science instrument. On June 30, 2004, the spacecraft crossed the ring plane, where its high-gain antenna was bombarded with dust particles that produced this cacophony of sound reminiscent of a hailstorm. Exciting the rings produces similar sights and sounds, which are seen at the end of the movie.
>>The graph at the bottom of the movie corresponds to the sound waves, highlighting changes in intensity. >>
>>
>>http://www.nasa.gov/mov/61980main_PIA06410-Sounds-movie.mov
>>
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>>
>
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evening all!

a) Adorno the racist: there are certainly many examples of musics that 
Adorno did not listen to enough - jazz (post big band especially) and 
many forms of electronic music of the 50's and 60's especially. however 
his critique of jazz is related to colour only insofar as he felt that 
black musicians were perpetuating their own oppression by playing to 
white audiences in forms that reinforced their servitude. personally i 
think that for certain styles there is more than a grain of truth in 
that, though there are many many examples of jazz and later improvised 
music breaking absolutely from anything that resembles this model, that 
Adorno never took the time to deal with. generally he had a rough time 
with anything that stayed too close to traditional forms and i don't 
think he was much of a dancer either. to indulge in a hypothesis : 
Adorno probably wouldn't have been a klezmer fan either.

b) dj culture: what does the practice of 'recombining' existing musics 
tell us about our culture, especially when we elevate it to the level 
that dj-ing purports to achieve. using other musics in compositions is 
certainly nothing new. a european approach can be found in Mahler and 
later Berio of course (to mention just them) and an american approach is 
Ives. but the way that composers use "found sounds" including "found 
music" has a tension, either through montage that explicitly reveals the 
facticity of the process or through the shock value (for example 
Stockhausen's Telemusic or Hymnen) because of the way it corodes 
established sound-icons. from the [very] little i know about 
"mainstream" dj practice, it seems to me that the re-use of tracks is 
dangerously close to manifesting a cultural problem, viz the inability 
of the contemporary subject (consumer and artist) to break through the 
mirror and establish an individual and / or open relation to the world 
of sound.

christos

Peter Price wrote:

> What is the relationship between "microsound" and "DJ culture?" Is the 
> first a subset of the second...a stylistic genre? Are they completely 
> separate, culturally autonomous realms? Or somewhere in between?
>
> If DJ culture is about popular music, is microsound about unpopular 
> music?
>
> What role does race legitimately play in musical discourse. Is DJ 
> culture really related more to "people of color" than what? non-DJ 
> culture? Is microsound a music of people of non-color?
>
> Does the terminology "DJ Culture" itself prevent critique by 
> presenting itself as more than just music. In what way is this really 
> the case?
>
> I am trying to answer these questions for myself with little 
> definitive luck so far. Can anyone help me out?
>
>
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I second that.........


On Jan 15, 2005, at 3:00 PM, Filipe Galante wrote:

> Microsound is already part of the dj culture as well.
> Althoug it starts a more intelectualized music, dj culture quickly 
> reapropriated it and uses it.
> The same happens backwards microsound also appropriates technics and 
> ideas from dj culture.
> So I see no need for a definition or separation between the two of 
> them.
> Dj culture is infected by stckahausen, Varese, and this ideas also 
> move themselves in microsound.
> In this global media network this separation should not exist - it 
> bring us bat to the debate of high art vs popular culture that should 
> no longuer exist a long time ago.
-------------------------------------
audio @ http://www.myspace.com/myo
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graham miller wrote:

>reeks of adorno idiocy...
>  
>
oy! lay off Teddy!

>  
>
>>http://microsound.nexthop.net/bin/view.cgi/Main/IbanezEssay
>>I also created a link to it from the main page so you can find it there
>>as well:
>>http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
>>enjoy!
>>KIM
>>
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>>    
>>
>
>
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>  
>



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>next?
-toilet-paper,
 shoe-laces,
 door-knobs,
 unfoldable umbrella's
 and a parachute...


AvS

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

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

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

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

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



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From ???@??? Sat Jan 15 20:03:46 2005
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it is also a fantastic tension to deal with as an artist.

a "line" that is best dealt with when ignored entirely, no?

refuse to force yourself to either side and you end up as a glorious 
beginner - doing something NEW!

(i'm running a dj/vj course this spring and this divide is "the moment" 
of the course)

i think "claiming" either side definitely causes troubles for 
"legitimacy" or (gasp) "authenticity" but the artist should be 
cognizant of where he/she may fall when someone drops that line on 
them.

personally, i listen to the music first.

sometimes a "really high-operating artsy" release can contain in it the 
more "simple" pleasures of a more "popular" work....a very "popular" 
artist (oh, let's say DJ Spooky, to keep within the subject) may put 
out a large and praised body of work whose popularity I cannot 
understand.

next?

b.


On Jan 15, 2005, at 1:57 PM, tobias c. van Veen wrote:

> Sounds like the topic of an intensive paper -- if not book.
>
> Of note, I'm intrigued by the "vs." -- I've been a dj since the early 
> '90s,
> and a lover of all forms of experimental and other music since I began
> digging sound.
>
> I see no "vs.," I hear no "vs." ... well I guess I do it hear .. but 
> why?
>
> I bought Silent records and discovered electro-acoustoc at the same 
> time as
> industrial, acieed house, Detroit techno .. punk, grunge, jazz,
> psychedelia.. minimalism, repetition, happenings .. stockhausen, 
> boulez,
> technotronic ..
>
> What I do hear are a lot of people trying to draw lines in the sound --
>
> -- for reasons not of qualification [the marking of differentiation of
> application, performance, style, etc] but the aesthetic-ethical 
> demarcating
> of boundaries of legitimacy .. something else entirely ..
>
> Time to get out into that more brilliant sun,
>
>     tobias
>
> ps. Of note,
>
>     "The Black, the White, and the Mutek." Stylusmagazine.com, 
> 2003-02-10.
>     http://www.stylusmagazine.com/feature.php?ID=37
>
>> What is the relationship between "microsound" and "DJ culture?" Is the
>> first a subset of the second...a stylistic genre? Are they completely
>> separate, culturally autonomous realms? Or somewhere in between?
>>
>> If DJ culture is about popular music, is microsound about unpopular
>> music?
>>
>> What role does race legitimately play in musical discourse. Is DJ
>> culture really related more to "people of color" than what? non-DJ
>> culture? Is microsound a music of people of non-color?
>>
>> Does the terminology "DJ Culture" itself prevent critique by 
>> presenting
>> itself as more than just music. In what way is this really the case?
>>
>> I am trying to answer these questions for myself with little 
>> definitive
>> luck so far. Can anyone help me out?
>>
>>
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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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 FILETIME=[F8121280:01C4FB3C]

Microsound is already part of the dj culture as well.
Althoug it starts a more intelectualized music, dj culture quickly 
reapropriated it and uses it.
The same happens backwards microsound also apropriates technics and ideas 
from dj culture.
So I see no need for a defenition or saeparation bvetween the two of them.
Dj culture is infected by stckahausen, Varese, and this ideas also movbe 
thjemselves in microsound.
In this global media network this separation should not exist - it bring us 
bat to the debate of high art vs popular culture that should no longuer 
exist a long time ago.

>From: Peter Price <xxxxxx@xxxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: [microsound] microsound vs. DJ culture
>Date: Sat, 15 Jan 2005 13:13:51 -0500
>
>What is the relationship between "microsound" and "DJ culture?" Is the 
>first a subset of the second...a stylistic genre? Are they completely 
>separate, culturally autonomous realms? Or somewhere in between?
>
>If DJ culture is about popular music, is microsound about unpopular music?
>
>What role does race legitimately play in musical discourse. Is DJ culture 
>really related more to "people of color" than what? non-DJ culture? Is 
>microsound a music of people of non-color?
>
>Does the terminology "DJ Culture" itself prevent critique by presenting 
>itself as more than just music. In what way is this really the case?
>
>I am trying to answer these questions for myself with little definitive 
>luck so far. Can anyone help me out?
>
>
>---------------------------------------------------------------------
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>website: http://www.microsound.org
>



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--Boundary_(ID_q6QoSTtNomZh/SttECdRnw)
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 Is there a persistence of dominant Eurocentric logic kicking 
around?

In those Adorno quotes, there's certainly a persistence of attempts to 
present as fact something that is essentially a matter of personal taste, which 
is ultimately what makes music criticism so suspect.

 

Oh, almost forgot: IMHO!  Whew, that was close.

 

www.mattmitchell.us 

Download and listen to free music, sign the guestbook, read the blog!
--Boundary_(ID_q6QoSTtNomZh/SttECdRnw)--

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>Is there a persistence of dominant Eurocentric logic kicking around?
-I thought we got rid of that ages ago...
 Especially in the current world we should get rid of
 any dominant -----centric logic.
 However everyone is inclinded to a certain dominant -----centric logic.
 So nothing has changed much.
 Only adding more cynicism perhaps...

AvS

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

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

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

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

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



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From ???@??? Sat Jan 15 19:13:32 2005
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Subject: [microsound] Calling all Canadian microsounders
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Yesterday Kim posted a link to 'the space between' - a sound gallery
curated by Katharine Norman, which is at:

http://www.sonus.ca/curators/norman/

Thanks Kim for posting this. 

I am curating another gallery in this series which is oriented towards
"post-digital" musics by Canadian artists, as well as related
practices in video, text, image, etc. If you are interested in
participating, please contact me offlist. The galleries are going up
soon as I understand, but I would be glad to add material even after
their launch.

Mostly I've had a rather tepid response so far, which I'm putting up
to people being somewhat jaded about having stuff up on the net, which
is much less glamorous than it used to be. But I would very much like
to assemble as many Canadian artists working in "post-digital"
musics/practices (which for me, includes, but it is not strictly
limited to, glitch and microsound) in one place. I know such
nationalism has less of a place in our "quasi-post-geographical"
globality, but I also think Canadian artists deserve special
recognition for their contributions. So please contact me if you're an
interested Canadian artist/writer/theorist/bathtub designer, etc.

Thanks in advance.

Phil


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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Subject: Re: [microsound] microsound vs. DJ culture
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Sounds like the topic of an intensive paper -- if not book.

Of note, I'm intrigued by the "vs." -- I've been a dj since the early '90s,
and a lover of all forms of experimental and other music since I began
digging sound.

I see no "vs.," I hear no "vs." ... well I guess I do it hear .. but why?

I bought Silent records and discovered electro-acoustoc at the same time as
industrial, acieed house, Detroit techno .. punk, grunge, jazz,
psychedelia.. minimalism, repetition, happenings .. stockhausen, boulez,
technotronic .. 

What I do hear are a lot of people trying to draw lines in the sound --

-- for reasons not of qualification [the marking of differentiation of
application, performance, style, etc] but the aesthetic-ethical demarcating
of boundaries of legitimacy .. something else entirely ..

Time to get out into that more brilliant sun,

    tobias

ps. Of note,

    "The Black, the White, and the Mutek." Stylusmagazine.com, 2003-02-10.
    http://www.stylusmagazine.com/feature.php?ID=37

> What is the relationship between "microsound" and "DJ culture?" Is the
> first a subset of the second...a stylistic genre? Are they completely
> separate, culturally autonomous realms? Or somewhere in between?
> 
> If DJ culture is about popular music, is microsound about unpopular
> music?
> 
> What role does race legitimately play in musical discourse. Is DJ
> culture really related more to "people of color" than what? non-DJ
> culture? Is microsound a music of people of non-color?
> 
> Does the terminology "DJ Culture" itself prevent critique by presenting
> itself as more than just music. In what way is this really the case?
> 
> I am trying to answer these questions for myself with little definitive
> luck so far. Can anyone help me out?
> 
> 
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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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ola,


> Where does John Cage say "Jazz is the future." I had thought that John
> Cage had a rather dim view of Jazz as well, but I think I must have
> been misinformed.

"Percussion music is a contemporary transition from keyboard-influenced
music to the all-sound music of the future. Any sound is acceptable to the
composer of percussion music; he explores the academically forbidden
³non-musical² field of sound insofar as is manually possible.
Methods of writing percussion music have as their goal the rhythmic
structure of a composition. As soon as these methods are crystallized into
one or several widely accepted methods, the means will exist for group
improvisations of unwritten but culturally important music. This has already
taken place in Oriental cultures and in hot jazz."

³The Future of Music: Credo.² Silence: Lectures and Writings by John Cage.
Hanover: Weslayan UP, 1973. p. 5.

I talk a little about this -- for reasons of dissecting aesthetic categories
tied to arts funding in canada -- in:

"FUCK ART LET¹S DANCE." Fuse 26.3 (2003). pp. 12-19.

Online in PDF at:

    http://www.quadrantcrossing.org/papers/FuckArtLet'sDance-FUSE[72].pdf

> On what are you basing the idea that Adorno "did not dig  musics and
> styles of performance originating from cultures of colour"


"The aim of jazz is the mechanical reproduction of a regressive moment, a
castration symbolism. 'Give up your masculinity, let yourself be castrated,'
the eunuchlike sound of the jazz band both mocks and proclaims, 'and you
will be rewarded, accepted into a fraternity which shares the mystery of
impotence with you, a mystery revealed at the moment of the initiation
rite."

Theodor Adorno (1981). "Perennial Fashion - Jazz", Prisms, p.129, Trans.
Samuel Weber and Shierry Weber. Cambridge, Mass: MIT Press.

also:

"Jazz is the false liquidation of art - instead of utopia becoming reality
it disappears from the picture."


"Jazz is music which fuses the most rudimentary melodic, harmonic, metric
and formal structure with the ostensibly disruptive principle of
syncopation, yet without ever really distrubing the crude unity of the basic
rhythm, the identically sustained metre, the quarter-note . . . The wild
antics of the first jazz bands from the South, New Orleans above all, and
those from Chicago, have been toned down with the growth of
commercialization and of the audience, and continued scholarly efforts to
recover some of this original animation, whether called 'swing' or 'bebop',
inexorably succumb to commercial requirements and quickly lose their sting.
The syncopation principle, which at first had to call attention to itself by
exaggeration, has in the meantime become so self-evident that it no longer
needs to accentuate the weak beats as was formally required. Anyone still
using such accents today is derided as 'corny', as out-of-date as 1927
evening dress . . .  there is the tendency, especially among those devotees
who have adopted it as a  Weltanschauung, to regard it falsely as a
break-through of original, untrammelled nature, as a triumph over the musty
museum-culture . . . However little doubt there can be regarding the African
elements in jazz, it is no less certain that everything unruly in it was
from the very beginning integrated into a strict scheme, that its rebellious
gestures are accompanied by the tendency to blind obeisance, much like the
sado-masochistic type described by analytic psychology, the person who
charges against the father-figure while secretly admiring him, who seeks to
emulate him and in turn derives enjoyment from the subordination he overtly
detests. This propensity accelerates the standardization, commercialization
and rigidification of the medium."

"the perennial fashion-jazz." trans. by samuel and shierry weber. in _the
adorno reader_. ed. by brian o'connor. oxford uk and malden ma: 2000. 268-9.


--> As you can see, Adorno does target the commercialization of jazz, but
even then, he berates the "African elements" for their stylisms (mainly
aspects of repetition / control).

My guess is that Adorno was too tight to dance. He probably wouldn't have
got along well with Nietzsche or Rosa Luxembourg.


> Do you think this paints him as a racist, and was that your intention?

No.

Is there, however, an insertion of race as a constituent element, a
condition of possibility for the assertion of an aesthetic criterion in
critical theory?

That's a good question.

Is there a continual erasure of race as determining the "critical reception"
of styles of music, art, conceptual rearrangement in the "artworld"?

This is a question a "critical theory" might ask, but it could only be asked
by asking itself in which ways its criticality is defined by its tenuous
relation to (the exclusion of) race.

For example, in the next email you ask: "What role does race legitimately
play in musical discourse."

Already we've presupposed a criterion of (aesthetic) legitimacy, of
legitimacy in general -- which presupposes a logical if not ethical
category, at the least a category of authenticity (truth).

Is there a persistence of dominant Eurocentric logic kicking around?

Perhaps..



> Also, could you lead me to some info about Nam June Paik's interest in
> DJ culture. This also slipped past my radar.

He (thanks Kim for picking up my gender slip -- or slip of sex) did a few
interesting collage and sculptural works with records and record players. I
discovered this in an intensive and wonderful presentation by curator Carrie
Gates at the _Phantom Power_ festival in North Bay, Ontario, last winter.

Carrie is part of Vinyl Interventions:

http://www.vinylinterventions.com/

I'd encourage her to put this together into a history of the use of vinyl!

She's got a crazy powerpoint presentation of almost everything I've ever
seen of vinyl use in creative ways.

best,

    tobias




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Nice: a drink that can give you salmonella w/out the word egg or nog in 
it!
On Jan 15, 2005, at 1:10 PM, peter nyboer wrote:

> http://www.esa.int/esaCP/SEM85Q71Y3E_index_0.html
>
> |\/|\/|\/|\/|\/|\/|\/|\/|\/|\/|
> The Clover Club
>    1 1/2 oz gin
>    1/4 oz grenadine
>    3/4 oz lemon juice
>    1 white of egg
>  shake vigorously with ice
>  and strain into cocktail glass
> |\/|\/|\/|\/|\/|\/|\/|\/|\/|\/|
>
>
>
> ---------------------------------------------------------------------
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>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for 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!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at 
the 13th Floor in Baltimore highlighting live aspects of electronic 
music.



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What is the relationship between "microsound" and "DJ culture?" Is the 
first a subset of the second...a stylistic genre? Are they completely 
separate, culturally autonomous realms? Or somewhere in between?

If DJ culture is about popular music, is microsound about unpopular 
music?

What role does race legitimately play in musical discourse. Is DJ 
culture really related more to "people of color" than what? non-DJ 
culture? Is microsound a music of people of non-color?

Does the terminology "DJ Culture" itself prevent critique by presenting 
itself as more than just music. In what way is this really the case?

I am trying to answer these questions for myself with little definitive 
luck so far. Can anyone help me out?


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http://www.esa.int/esaCP/SEM85Q71Y3E_index_0.html

|\/|\/|\/|\/|\/|\/|\/|\/|\/|\/|
The Clover Club
   1 1/2 oz gin
   1/4 oz grenadine
   3/4 oz lemon juice
   1 white of egg
 shake vigorously with ice
 and strain into cocktail glass
|\/|\/|\/|\/|\/|\/|\/|\/|\/|\/|



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From ???@??? Sat Jan 15 17:48:36 2005
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 FILETIME=[7F78D500:01C4FB2A]

....as...

airs: every SUNDAY 00:00h 104.4FM [london, uk]
live streams: http://www.resonancefm.com
url: http://66.225.223.75/as/


contribute: ord1nal[at]shell.reverse.net

Submit a series of instructions - which I carry out [together with 
friends, the public, patches, etc.] to create the piece/program. Texts 
may/will be shifted, transformed, layered, etc as/if necessary. Dialogue 
will be initiated. Due credit(s) will given.
.........

No further updates will be posted by me to any mailing lists. If you 
wish receive news by email, register here: 
http://66.225.223.75/as/contact.php

.........
2005-01-16 00:00:00

Jonathan Coleclough

[as] is [a single transition]

score: Jonathan Coleclough [December 2004]
execution: Benjamin Green
Make two field recordings, each an hour long. Play both recordings 
simultaneously, but start with only one audible. Gradually change the 
relative volumes of the two recordings so that one fades from audible to 
inaudible while simultaneously the other rises from inaudible to 
audible. Try to change the volume slowly enough that the transition is 
imperceptible - so that you don't notice the volume of either recording 
changing. Try to change the two volumes by hand if possible, using 
manual controls such as faders. Stop when the transition is complete. If 
hour-long recordings aren't long enough, think about how to proceed.
.........
2005-01-23 00:00:00

Yoshida Tatsuya

as a...

...composer: [GROUP/title] RUINS/Komnigriss RUINS/Djubatchegromm 
KOREKYOJINN/Betwixt KOREKYOJINN/Freestone TOHKICHI/ RONRUINS/Vokshimra 
DAISANMYAKU-X/pirenee CICALA MVTA/Herakrion CICALA MVTA/Stara Planina 
ZUBI ZUVA/theme1 ZUBI ZUVA/Europe ZUBI ZUVA/Dara Cell TAIRIKUOTOKO VS 
SANMYAKUONNA/White Shadow AKATEN/Zipper,Camera,Wine,Petbottle,Carpentars 
YOSHIDA TATSUYA/Sempre Moll KOENJIHYAKKEI/Visqaguell 
KOENJIHYAKKEI/Arramidda Horrva
...improvisor: [NO SONG TITLES] SEKKUTSUJIINN (Yoshida Tatsuya dr/Sato 
Kenji bass) Daimonji (Hoppy Kamiyama:key/Nasuno Mitsuru:bass/Yoshdia:dr) 
RUINS RUINS Acid Mothers Temple SWR (Kawabata Makoto/Tsuyama 
Atsushi/Yoshida) the World Heritage (Katsui Yuji/Kido Natsuki/Nasuno 
Mitsuru/Yoshida) KNEAD (Haino Keiji/Sasaki Hisashi/Yoshida) Sun Head 
Ring (Haino Keiji/Nasuno Mitsuru/Yoshida) Haino & Yoshida Tohkichi 
(Fujii Satoko/Yoshida) RUINZHATPVA (Yamamoto Seiichi/Tsuyama 
Atsushi/Yoshida) UY (Uchihashi Kazuhisa/Yoshida)
.........
2005-01-30 00:00:00

Mark Trayle

one hour as 13 views of santa ana

13 audio snapshots of ex-urban LA taken at the top of the hour, subtly 
and sometimes not-so-subtly processed. i recorded this mid-december, 
whlie we were having one of our episodes of hot and dry winds from the 
northeast, known as the santa ana winds. they weren't particularly hot 
this time, but they were quite constant throughoutthe evening. the 
period 'audiographed' was from midnight to noon, inclusive. while making 
it i imagined that the audience would be lying on the floor with 
headphones on...
.........
2005-02-06 00:00:00

Achim Wollscheid

Gemini

score: Achim Wollscheid
execution: Benjamin Green
...there is one thing that came to my mind in regard to context... 
meaning about the place where the radio is - how about asking 10 
(avarage... maybe more or less, depends on the length of your broadcast) 
people around the radio (meaning outside, in the street) for a title 
they would like to hear in the context of the radioshow Gemini? They opt 
for a piece they would like to hear and you chose a piece to accompany 
this specific piece... the choice as to what makes the link (title, 
sound, chance...) is up to you. Meaning the broadcast would come up as a 
series of pairs or couples. The questioning would, of course, have to 
happen some time in advance to give you time to chose. Also it might be 
helpful to tell the interrogated (?) the whole story... (also date/time 
of the broadcast).
.........

thankyou,
b.

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

.........
friendly
.........
http://www.no2id.net/
http://www.sinewaves.it/toniutti.htm
http://www.furious.com/perfect/giancarlotoniutti.html
http://www.soundohm.com/toniutti.htm
http://www.selektion.com/
http://www.imaginary-soundscapes.net
http://www5e.biglobe.ne.jp/%7Eruins/
http://shoko.calarts.edu/~met/
http://www.hackneychess.org.uk/
http://www.beerintheevening.com/pubs/show.shtml/4411/Rochester_Castle/Stoke_Newington
http://mobile.fancyapint.com/pdathepubs/pdapub869.htm
http://www.irdial.com/blogger.html
http://www.earlabs.org/label/LC/LC011.htm
http://www.imbecil.net/
http://www.henryflynt.org/
http://www.cogs.indiana.edu/people/homepages/hofstadter.html
http://www.techbooksforfree.com/
http://www.helenscarsdale.com/
http://www.jarrodfowler.com/
http://www.ultrared.org/publicrecord/
.........


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From ???@??? Sat Jan 15 17:38:58 2005
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Hi Tobias,

I would like to try to respond to your comments, but first I want some 
more information about some of the things you mentioned:

  Where does John Cage say "Jazz is the future." I had thought that John 
Cage had a rather dim view of Jazz as well, but I think I must have 
been misinformed.

On what are you basing the idea that Adorno "did not dig  musics and 
styles of performance originating from cultures of colour"

Do you think this paints him as a racist, and was that your intention?

Also, could you lead me to some info about Nam June Paik's interest in 
DJ culture. This also slipped past my radar.

thanks,

peter


On Saturday, January 15, 2005, at 12:58 AM, tobias c. van Veen wrote:

> If this is at all considered to be representative of even a critique 
> of dj
> culture, the least I can say is that it is, as Graham hinted at,
> authoritarian and, perhaps worse, incredibly boring. In fact, it's even
> insulting to Adorno, who had much more interesting and even subtle 
> things to
> say of the culture industries, despite also indulging in this similar
> parallel to the article -- not digging various musics and styles of
> performance originating from cultures of colour (Jamaica, 
> African-Americans,
> etc -- Adorno's favourite demon in music was jazz. John Cage, on the 
> other
> hand, saw jazz as the future. And for that matter, Nam June Paik,
> grandmother of new media, dug vinyl and dj culture too .. just giving 
> some
> counter-balance on this tip .. do I sound like a broken record? Only 
> because
> issues of RACE seem so occluded in this context .. ).
>
> Kid Koala? Scratch Picklz? Jeff Mills?
>     Grandmaster Flash's Adventures on the Wheels of Steel?
> Dj Rolando? Underground Resistance? Dj T-1000?
>     Richie Hawtin? Phillip Sherburne?
>     Frankie Bones? Laurent Garnier?
> Dj CRAZE? Q-Bert? [they developed SCRATCH NOTATION .. ]
>     Mixmaster Mike?
>     Fishead?
>     Dan Doormouse?
>     Algorithm?
>
>     MARTIN TETREAULT?
>
>     PHILLIP JECK?
>
>     ESTHER BOURDAGES?
>
>     NAM JUNE PAIK?
>
>     JANEK SCHAEFER?
>
>
> .. all djs ..
>
> It's not even worth responding to: this kind of pseudo-aesthetic 
> garbage
> mainly consists of bad stereotypes masquerading authoritarian 
> aesthetics as
> "cultural critique."
>
> Poor Debord.
>
> - tV
>
>> reeks of adorno idiocy...
>>
>>>
>>> http://microsound.nexthop.net/bin/view.cgi/Main/IbanezEssay
>>> I also created a link to it from the main page so you can find it 
>>> there
>>> as well:
>>> http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
>>> enjoy!
>>> KIM
>>>
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>>
>>
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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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>
>


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From ???@??? Sat Jan 15 16:41:41 2005
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microsounders, can anyone tell me about Csound's
audioin opcode? i'd like to add live input capacity to
the Cecilia program I am running and Cecilia runs atop
Csound..any leads appreciated... jg


                
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From ???@??? Sat Jan 15 16:40:17 2005
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From: Chris Bryan <xxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] live streaming event tonight 8pm CST
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live streaming event tonight

Just letting everyone know that there is a live streaming 'deep
listening' event tonight.
8:00 pm to 9:30 pm CST
- performances by 3x3is9, Sandee Moore, Mink/Dim Coast collaboration.
info: http://www.cheapmeat.net/ArtsBirthday.html
stream: http://cheapmeat.net/ArtsBdayLive.html


-- 
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
(1.8)sec.records
www.1pt8.tk
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

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From ???@??? Sat Jan 15 16:08:24 2005
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Please don't take these away! I think CollaborativeAudio topic serves as a 
platform for different ongoing (?) projects and also makes the first page 
not to be overloaded with too many diff. projects.

I think RingTones project is a nice one - actually I have your 3n as 
signal - it is scaring myself and my neighbourhood every day. My 
"ringtone1.mp3" is a real file made for this project. The other there is 
just testfiles... I was there at the TWiki and made some notes and prolonged 
the project until 1 febr. (so come on, you who wants to download specially 
designed ringtones for your cell phones)

A question related...the deletion of files in an attachment rows - is it 
only possible for special authorized users on TWiki?

DerridaMemorial is another project that should be nice if it could take off 
imo.

Yours,
Björn


----- Original Message ----- 
From: "john saylor" <xx@xxxx.xxxxxxxx.xxx>
To: <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, January 15, 2005 3:42 AM
Subject: [microsound] 56k TWiki


> hi
>
> i have put up a minimal 56k project page:
> http://microsound.nexthop.net/bin/view.cgi/Main/FiftySixK
>
> it's up to you to make a submission [or add rules ...].
>
> also, i think i'm going to remove the ring tones and colloborative audio
> pages since they are unused. the only things posted there are test
> files. if you think this is a bad idea, please speak up within a week or
> those pages will be 'recycled'.
>
> -- 
> \js   [!:(?             http://or8.net/~johns  '         <([/*['  (
> iraq body count: 15,339 [min] 17,556 [max]
>
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From ???@??? Sat Jan 15 06:21:34 2005
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From: monotonaut <xxxxxxxxxx@xxxxx.xx>
Subject: [microsound] Broken Sleep -German tour dates
To: xxxxxxxxxx@xxxxxxxxx.xxx
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wednesday january 26 
ravensburg @spa
w/ phantastic pubbah and assymetric bandit

friday january 28 
hamburg @hoer bar

wednesday february 2 
ulm @hansen (tbc)

friday february 4 
rostock on the stubnitz 
(illbient floor w/ trouble clef, tzii, gamaboy, v.dma,
no name project; drill, noise, breakcore, noisecore
floor: deadman, fuel in sekt, alesh trash, surbont,
tambour major)

saturday february 5 
dresden @az conni
mp3 links- http://freewebs.com/brokensleep

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






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


                
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From ???@??? Sat Jan 15 05:58:16 2005
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Date: Sat, 15 Jan 2005 00:58:07 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: Re: [microsound] essay on TWiki site
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If this is at all considered to be representative of even a critique of dj
culture, the least I can say is that it is, as Graham hinted at,
authoritarian and, perhaps worse, incredibly boring. In fact, it's even
insulting to Adorno, who had much more interesting and even subtle things to
say of the culture industries, despite also indulging in this similar
parallel to the article -- not digging various musics and styles of
performance originating from cultures of colour (Jamaica, African-Americans,
etc -- Adorno's favourite demon in music was jazz. John Cage, on the other
hand, saw jazz as the future. And for that matter, Nam June Paik,
grandmother of new media, dug vinyl and dj culture too .. just giving some
counter-balance on this tip .. do I sound like a broken record? Only because
issues of RACE seem so occluded in this context .. ).

Kid Koala? Scratch Picklz? Jeff Mills?
    Grandmaster Flash's Adventures on the Wheels of Steel?
Dj Rolando? Underground Resistance? Dj T-1000?
    Richie Hawtin? Phillip Sherburne?
    Frankie Bones? Laurent Garnier?
Dj CRAZE? Q-Bert? [they developed SCRATCH NOTATION .. ]
    Mixmaster Mike?
    Fishead?
    Dan Doormouse?
    Algorithm?

    MARTIN TETREAULT?

    PHILLIP JECK?

    ESTHER BOURDAGES?

    NAM JUNE PAIK?

    JANEK SCHAEFER?


... all djs ..

It's not even worth responding to: this kind of pseudo-aesthetic garbage
mainly consists of bad stereotypes masquerading authoritarian aesthetics as
"cultural critique."

Poor Debord.

- tV

> reeks of adorno idiocy...
> 
>> 
>> http://microsound.nexthop.net/bin/view.cgi/Main/IbanezEssay
>> I also created a link to it from the main page so you can find it there
>> as well:
>> http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
>> enjoy!
>> KIM
>> 
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> 
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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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From ???@??? Sat Jan 15 04:46:24 2005
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Date: Fri, 14 Jan 2005 23:46:25 -0500
From: mandra <xxxxxx@xxxxxxxxxxxxxx.xxx> (chris)
Subject: Re: [microsound] [ot] the 56k challenge
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You also might find this compression chart interesting:
http://www.sericyb.com.au/sc/audio.html
mandra
On Jan 14, 2005, at 9:40 PM, Murat Güneş wrote:

> those interested in the aesthetics of low quality encoding might find 
> this interesting: a net label called "20kbps rec."  puts out releases 
> in 20kbps mp3 format only:
>
> http://20kbps.sofapause.ch/
>
> i'm sure there are others out there.
>
> on Fri, 14 Jan 2005 16:44:46 -0800, b.phenix <xx@xxxxxxxxx.xxx> wrote:
>
>>
>> itunes allows down to 16kbps stereo files but in AAC and mp3.  same 
>> goes for DSP-Quattro and i think Logic (don't have my key with me to 
>> open up and look).
>>
>> i like the idea of a two part project.  step on have everyone create 
>> the 56k files, part two have people remix the collection of materials 
>> (into normal file size or not).
>>
>> On Jan 14, 2005, at 3:49 PM, Björn Eriksson wrote:
>>
>> I like this project idea! Is there anyone out there who has some 
>> pointers to good (or bad) encoders that produces... let's say 8kbps 
>> mono mp3 or even more lo-fi? My ordinary tools won't let me make as 
>> bad files as this!...
>>
>> or am I thinking all wrong?...  (if we speak tracker files  [*.mod] I 
>> guess it is more easy to make small files, but the original post 
>> proposed mp3 or wav)
>>
>> Maybe it is possible to manipulate the the mp3 files like change data 
>> in the headers etcetera to make the files small, but that is all new 
>> to me and maybe unrealistic to solve easy.
>>
>> Anyway, here is a site with facts about the header info on mp3's
>> http://www.mp3-tech.org/programmer/frame_header.html
>>
>> /Björn
>>
>>
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>>
>
>
>
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>
mandra
c:410.258.5281
h:301 772 7376

realtime experimentalist / guitarist for 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!
happening the 3rd Sunday of EVERY month
@ the Royal - 1542 Light Street, Baltimore, MD
watch, listen, dance, relax and explore the "known unknowns"

AND check out "e+@13" - a new show the first Thursday of every month at 
the 13th Floor in Baltimore highlighting live aspects of electronic 
music.



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From ???@??? Sat Jan 15 04:09:35 2005
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Hi John-

I didn't have much time during the past school semester to update the
archives and have still been coming down from all the work.

I hope to get it up to date before Feb 1st, but if there's someone eager
to take over the library, I wouldn't want to stand in their way.

Let me know what your thoughts are...

Best,

Tad


john saylor wrote on 1/14/05:

>i notice the last stuff you have in the archive appears to be from
>july 2004. do you have any plans to include more recent posts in it?
>
>please don't misunderstand, the archive as it stands is a most useful
>resource. i am simply wondering if your current circumstances permit
>you to maintain it.
<xxx@xxxxxxxxxxxxxxx.xxx>


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Date: Fri, 14 Jan 2005 22:02:21 -0500
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hi

i notice the last stuff you have in the archive appears to be from july
2004. do you have any plans to include more recent posts in it?

please don't misunderstand, the archive as it stands is a most useful
resource. i am simply wondering if your current circumstances permit you
to maintain it.

-- 
\js   {         \$%}!`["&                  #http://or8.net/~johns  
iraq body count: 15,339 [min] 17,556 [max] 


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Date: Fri, 14 Jan 2005 18:56:47 -0800
From: Brook Hinton <xxxxx@xxxxxxxxxx.xxx>
Subject: Re: [microsound] Mac mini - the Cynthia!
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OK not exactly microsound - but the fact that this already exists is 
just great:

http://www.cyndustries.com/modules_minimac.cfm

Serge-esque modular synth and DAW combined, courtesy of the macmini.


-- Brook Hinton


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From ???@??? Sat Jan 15 02:29:56 2005
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Date: Fri, 14 Jan 2005 21:42:37 -0500
From: john saylor <xx@xxxx.xxxxxxxx.xxx>
Subject: [microsound] 56k TWiki
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hi

i have put up a minimal 56k project page:
http://microsound.nexthop.net/bin/view.cgi/Main/FiftySixK

it's up to you to make a submission [or add rules ...].

also, i think i'm going to remove the ring tones and colloborative audio
pages since they are unused. the only things posted there are test
files. if you think this is a bad idea, please speak up within a week or
those pages will be 'recycled'.

-- 
\js   [!:(?             http://or8.net/~johns  '         <([/*['  (
iraq body count: 15,339 [min] 17,556 [max] 

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From: =?iso-8859-9?B?TXVyYXQgR/xuZf4=?= <xxxxxx@xxx.xxx>
Subject: Re: [microsound] [ot] the 56k challenge
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those interested in the aesthetics of low quality encoding might find this  
interesting: a net label called "20kbps rec."  puts out releases in 20kbps  
mp3 format only:

http://20kbps.sofapause.ch/

i'm sure there are others out there.

on Fri, 14 Jan 2005 16:44:46 -0800, b.phenix <xx@xxxxxxxxx.xxx> wrote:

>
> itunes allows down to 16kbps stereo files but in AAC and mp3.  same goes  
> for DSP-Quattro and i think Logic (don't have my key with me to open up  
> and look).
>
> i like the idea of a two part project.  step on have everyone create the  
> 56k files, part two have people remix the collection of materials (into  
> normal file size or not).
>
> On Jan 14, 2005, at 3:49 PM, Björn Eriksson wrote:
>
> I like this project idea! Is there anyone out there who has some  
> pointers to good (or bad) encoders that produces... let's say 8kbps mono  
> mp3 or even more lo-fi? My ordinary tools won't let me make as bad files  
> as this!...
>
> or am I thinking all wrong?...  (if we speak tracker files  [*.mod] I  
> guess it is more easy to make small files, but the original post  
> proposed mp3 or wav)
>
> Maybe it is possible to manipulate the the mp3 files like change data in  
> the headers etcetera to make the files small, but that is all new to me  
> and maybe unrealistic to solve easy.
>
> Anyway, here is a site with facts about the header info on mp3's
> http://www.mp3-tech.org/programmer/frame_header.html
>
> /Björn
>
>
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From ???@??? Sat Jan 15 01:06:38 2005
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Subject: Re: [microsound] essay on TWiki site
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would you care to explain what you mean? please...

On Friday, January 14, 2005, at 01:13 PM, graham miller wrote:

> reeks of adorno idiocy...
>
>>
>> http://microsound.nexthop.net/bin/view.cgi/Main/IbanezEssay
>> I also created a link to it from the main page so you can find it 
>> there
>> as well:
>> http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
>> enjoy!
>> KIM
>>
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From ???@??? Sat Jan 15 00:57:34 2005
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Date: Fri, 14 Jan 2005 17:57:20 -0700
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Subject: Re: [microsound] [ot] the 56k challenge
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I just encoded a 1 minute, 4 second, 8 bit, 8Khz WAV file to mp3 using
lame (8 Khz setting).

It's 60Kbytes.

lame is at: http://lame.sourceforge.net

there's a mac version of lame here:

http://www.pyehouse.com/lynn/lamework.php

dan.

On Fri, 14 Jan 2005 16:44:46 -0800, b. phenix <xx@xxxxxxxxx.xxx> wrote:
> 
> itunes allows down to 16kbps stereo files but in AAC and mp3.  same
> goes for DSP-Quattro and i think Logic (don't have my key with me to
> open up and look).
> 
> i like the idea of a two part project.  step on have everyone create
> the 56k files, part two have people remix the collection of materials
> (into normal file size or not).
> 
> On Jan 14, 2005, at 3:49 PM, Björn Eriksson wrote:
> 
> I like this project idea! Is there anyone out there who has some
> pointers to good (or bad) encoders that produces... let's say 8kbps
> mono mp3 or even more lo-fi? My ordinary tools won't let me make as bad
> files as this!...
> 
> or am I thinking all wrong?...  (if we speak tracker files  [*.mod] I
> guess it is more easy to make small files, but the original post
> proposed mp3 or wav)
> 
> Maybe it is possible to manipulate the the mp3 files like change data
> in the headers etcetera to make the files small, but that is all new to
> me and maybe unrealistic to solve easy.
> 
> Anyway, here is a site with facts about the header info on mp3's
> http://www.mp3-tech.org/programmer/frame_header.html
> 
> /Björn
> 
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>

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itunes allows down to 16kbps stereo files but in AAC and mp3.  same 
goes for DSP-Quattro and i think Logic (don't have my key with me to 
open up and look).

i like the idea of a two part project.  step on have everyone create 
the 56k files, part two have people remix the collection of materials 
(into normal file size or not).

On Jan 14, 2005, at 3:49 PM, Björn Eriksson wrote:

I like this project idea! Is there anyone out there who has some 
pointers to good (or bad) encoders that produces... let's say 8kbps 
mono mp3 or even more lo-fi? My ordinary tools won't let me make as bad 
files as this!...

or am I thinking all wrong?...  (if we speak tracker files  [*.mod] I 
guess it is more easy to make small files, but the original post 
proposed mp3 or wav)

Maybe it is possible to manipulate the the mp3 files like change data 
in the headers etcetera to make the files small, but that is all new to 
me and maybe unrealistic to solve easy.

Anyway, here is a site with facts about the header info on mp3's
http://www.mp3-tech.org/programmer/frame_header.html

/Björn


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From ???@??? Sat Jan 15 00:54:44 2005
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Date: Fri, 14 Jan 2005 16:31:43 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] 'the space between' - a sound gallery curated by
 Katharine Norman
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http://www.sonus.ca/curators/norman/


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From ???@??? Sat Jan 15 00:07:17 2005
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Date: Fri, 14 Jan 2005 19:11:07 -0500
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Subject: Re: [microsound] Sounds from Saturn's rings
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the titan shots are far out right now...  this is so exciting.

alien oceans of methane...

is huygens recording any actual sound on titan?

"Robair, Gino" wrote:

> Folks,
> I don't remember seeing this on the list (apologies if it's already been posted, but it might be worth another listen):
>
> http://www.nasa.gov/mission_pages/cassini/multimedia/pia06410.html
>
> <<This movie shows the Cassini spacecraft as it flew in and out of Saturn's ring plane, with accompanying sounds recorded by Cassini's radio and plasma wave science instrument. On June 30, 2004, the spacecraft crossed the ring plane, where its high-gain antenna was bombarded with dust particles that produced this cacophony of sound reminiscent of a hailstorm. Exciting the rings produces similar sights and sounds, which are seen at the end of the movie.
> The graph at the bottom of the movie corresponds to the sound waves, highlighting changes in intensity. >>
>
> http://www.nasa.gov/mov/61980main_PIA06410-Sounds-movie.mov
>
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I like this project idea! Is there anyone out there who has some pointers to 
good (or bad) encoders that produces... let's say 8kbps mono mp3 or even 
more lo-fi? My ordinary tools won't let me make as bad files as this!...

or am I thinking all wrong?...  (if we speak tracker files  [*.mod] I guess 
it is more easy to make small files, but the original post proposed mp3 or 
wav)

Maybe it is possible to manipulate the the mp3 files like change data in the 
headers etcetera to make the files small, but that is all new to me and 
maybe unrealistic to solve easy.

Anyway, here is a site with facts about the header info on mp3's
http://www.mp3-tech.org/programmer/frame_header.html

/Björn


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From ???@??? Fri Jan 14 23:27:58 2005
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Subject: [microsound] Sounds from Saturn's rings
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 FILETIME=[A225FE10:01C4FA90]

Folks,
I don't remember seeing this on the list (apologies if it's already been posted, but it might be worth another listen):

http://www.nasa.gov/mission_pages/cassini/multimedia/pia06410.html

<<This movie shows the Cassini spacecraft as it flew in and out of Saturn's ring plane, with accompanying sounds recorded by Cassini's radio and plasma wave science instrument. On June 30, 2004, the spacecraft crossed the ring plane, where its high-gain antenna was bombarded with dust particles that produced this cacophony of sound reminiscent of a hailstorm. Exciting the rings produces similar sights and sounds, which are seen at the end of the movie. 
The graph at the bottom of the movie corresponds to the sound waves, highlighting changes in intensity. >>

http://www.nasa.gov/mov/61980main_PIA06410-Sounds-movie.mov



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From ???@??? Fri Jan 14 21:20:30 2005
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Subject: Re: [microsound] box 'O CD's/outboard
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sorry meant that last off-list
--- jeff gburek <xxxxxxxxxx@xxxxx.xxx> wrote:

> kim, 
> this is off your post tpic but your shortcut may
> help
> me. i want to input live audio to cecilia. what do i
> need? is it possible?  
> thanks for any help,  jeff gburek
> --- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
> 
> > sorry but the 1 box I had to send off has already
> > been claimed...I'm 
> > sure there will be a box #2 but I'm still trying
> to
> > clear out some 
> > stuff from my studio...
> > anyone need any outboard gear? these items are
> *NOT
> > FREE* but I have a 
> > dbx stereo enhancer, a peavey graphic stereo EQ
> and
> > a Niche fader box 
> > styled MIDI controller...email me off list if
> you're
> > interested...they 
> > are all going for cheap cheap cheap...
> > 
> > 
> >
>
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> > 
> 
> 
> 
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kim, 
this is off your post tpic but your shortcut may help
me. i want to input live audio to cecilia. what do i
need? is it possible?  
thanks for any help,  jeff gburek
--- Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:

> sorry but the 1 box I had to send off has already
> been claimed...I'm 
> sure there will be a box #2 but I'm still trying to
> clear out some 
> stuff from my studio...
> anyone need any outboard gear? these items are *NOT
> FREE* but I have a 
> dbx stereo enhancer, a peavey graphic stereo EQ and
> a Niche fader box 
> styled MIDI controller...email me off list if you're
> interested...they 
> are all going for cheap cheap cheap...
> 
> 
>
---------------------------------------------------------------------
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> xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail:
> xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 
> 



                
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--Boundary_(ID_PgQDTpgBt9fxfVamV/7qMg)
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hello all
--
[new website --> http://www.no-signal.net
++ catch a sound star
++ subscribe to the new mailing list under the Idoia.org server]
--
While we prepare for our upcoming Italian projects (25.01 > 29.01), 
another late reminder for tonight's show on ResonanceFM 104.4 | 
www.resonancefm.com. TUNE IN / LOG ON
--
[no.signal] | SMALL PIECES --> '[no.signal] in Italia' with
+ live guest our own e.g.ø (www.egzero.org)
+ first insight on UPCOMING [no.signal] _distribution (MOSZ and 
APESTAARTJE label).
--
[when]: friday 14.01 | 12-1am gmt

[what]: selected works from one of the projects presented in Italy this 
month:

[1]: TARANTATA: a new project by Leafcutter John, Kaffe Matthews and 
Janek Schaefer
--> www.no-signal.net/tarantata

[2]: [no.signal] @ NETMAGE: GRAIN_SCAPES (GREG.DAVIS/SEBASTIEN/ROUX) + 
PHILL NIBLOCK/THOMAS ANKERSMIT
-->  www.no-signal.net/netmage05

[3]: SPACE IS THE PLACE with Leafcutter John and [no.signal]'s own e.g.ø
--> www.no-signal.net/space

--
expect tracks by: Greg Davis, Sébastien Roux, Leafcutter John, Thomas 
Ankersmit, Kaffe Matthews, Phill Niblock, Minamo, Kapital Band 1 [++]
|||
more info to come soon...
good listening

--
[no.signal]
www.no-signal.net
infoATno-signal.net
--Boundary_(ID_PgQDTpgBt9fxfVamV/7qMg)--

From ???@??? Fri Jan 14 19:49:01 2005
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Date: Fri, 14 Jan 2005 20:48:52 +0100
From: Arie van Schutterhoef <xxxxxx@xxxxxx.xx>
Subject: [microsound]' S T A L A G M I E T E N  1 '
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   '  S T A L A G M I E T E N  1   '

      - Arie van Schutterhoef -


http://knorretje.hku.nl/~schreck/SmietMP3/Stalagmiet1.mp3


Realized in the home-studio of the composer.
Original sounds recorded with the BassBoxes
http://www.xs4all.nl/~schreck/html/bassbox.html
in the 'Veem'-Theatre, Amsterdam, during recording
sessions with Hans van Eck and Hans van Koolwijk.

Recorded different flutes on the BassBoxes, through
extreme close-miking to capture the varying spectra
and timbres, that were triggered by tightly structured
pulse-trains, according to the Fibonacci-series.

Sound treatment using different FFT-processes and
cross-convolution. Used programs were 'Ceres3','MetaSynth', '
SoundHack', 'SonicWorx Artist' and 'Csound'on running on
Silicon Graphics and Apple Computers.



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

  `    |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 Jan 14 19:20:53 2005
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From: ubeboet <xxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] japanese music magazines?
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hi  :-)

Ok Fred:
http://www.slidelab.com/okfred.html


On Fri, 14 Jan 2005 13:07:20 -0600, jfrede
<xxxxxx@xxxxxxx-xxxxxxxxxx.xxx> wrote:
> does anyone know of any good japanese music magazines that feature electronic artists?
> 
> j.frede
> current location: los angeles, ca
> www.jfrede.com
> 
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-- 
_________________________________

ubeboet - bleak ep
out now: www.monocromatica.com/netlabel

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From: jfrede <xxxxxx@xxxxxxx-xxxxxxxxxx.xxx>
Subject: [microsound] japanese music magazines?
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does anyone know of any good japanese music magazines that feature electronic artists? 

j.frede
current location: los angeles, ca
www.jfrede.com

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From ???@??? Fri Jan 14 18:46:07 2005
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on 1/14/05 1:13 PM, graham miller at xxxxxxxxxxxx@xxxxxxxxx.xx wrote:

> reeks of adorno idiocy...
> 
>> 
>> http://microsound.nexthop.net/bin/view.cgi/Main/IbanezEssay
>> I also created a link to it from the main page so you can find it there
>> as well:
>> http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
>> enjoy!
>> KIM
>> 
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> 
> 
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> 

yuk


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From ???@??? Fri Jan 14 18:09:45 2005
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reeks of adorno idiocy...

>
> http://microsound.nexthop.net/bin/view.cgi/Main/IbanezEssay
> I also created a link to it from the main page so you can find it there
> as well:
> http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
> enjoy!
> KIM
>
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From ???@??? Fri Jan 14 17:44:42 2005
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Kim: and the spanish version is available somewhere?
 
Mika.

Kim Cascone <xxx@xxxxxxxxxxxxx.xxx> wrote:
- a couple of years ago I was having dinner with friends in Barcelona. 
At one point in the conversation my friend Miguel (artist and 
journalist) mentioned something in passing about some DJ's having their 
flight cases of vinyl stolen by baggage handlers at the Barcelona 
Airport during a big dance music event. I conjured thoughts of a secret 
resistance movement to "DJ Culture" and was curious as to what their 
philosophy was. Not much is/was known about the people behind this 
'vinyl liberation front' but Miguel was nice enough to send me an essay 
he'd written for a local newspaper. My Spanish being at somewhere 
around kindergarten level I asked some friends to translate the essay 
from Spanish into English. So after some cleaning up and formatting for 
the TWiki site I've finally posted the essay...you can find it here:
http://microsound.nexthop.net/bin/view.cgi/Main/IbanezEssay
I also created a link to it from the main page so you can find it there 
as well:
http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
enjoy!
KIM


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



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From ???@??? Fri Jan 14 17:27:02 2005
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- a couple of years ago I was having dinner with friends in Barcelona. 
At one point in the conversation my friend Miguel (artist and 
journalist) mentioned something in passing about some DJ's having their 
flight cases of vinyl stolen by baggage handlers at the Barcelona 
Airport during a big dance music event. I conjured thoughts of a secret 
resistance movement to "DJ Culture" and was curious as to what their 
philosophy was. Not much is/was known about the people behind this 
'vinyl liberation front' but Miguel was nice enough to send me an essay 
he'd written for a local newspaper. My Spanish being at somewhere 
around kindergarten level I asked some friends to translate the essay 
from Spanish into English. So after some cleaning up and formatting for 
the TWiki site I've finally posted the essay...you can find it here:
http://microsound.nexthop.net/bin/view.cgi/Main/IbanezEssay
I also created a link to it from the main page so you can find it there 
as well:
http://microsound.nexthop.net/bin/view.cgi/Main/WebHome
enjoy!
KIM


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From ???@??? Fri Jan 14 14:29:39 2005
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Date: Fri, 14 Jan 2005 09:29:31 -0500
From: vze26m98 <xxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] [~OT] OMS Midi Manager Driver?
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Sorry for the tech-related posting:

I'm trying to locate a copy of the OMS MidiManager Driver to get a copy
of HMSL talking to Max/MSP on OS 9.  Perhaps I might also need the OMS
version
that supported the driver as I only have version 2.3.8.  I've had no
luck so far locating this stuff on the Internet.

If anyone has information (such as what version OMS had this driver) or
the driver, or the install package, I'd be greatly appreciative!

Best,

Tad

<xxxxxxxx@xxxxxxxxx.xxx>

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From ???@??? Fri Jan 14 14:01:11 2005
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Date: Fri, 14 Jan 2005 23:00:18 +0900
From: cherry music <xxxxxx_xxxxx_@xxxxxxx.xxx>
Subject: [microsound] new release of cherry music
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X-OriginalArrivalTime: 14 Jan 2005 14:01:07.0205 (UTC)
 FILETIME=[7E4D9B50:01C4FA41]

hello friends.

Information of new release of cherry music !!!
We did new release on January 10. 
The title is$B!!(B[ costarring from cherry farm02 ].
Field recordings and the band sound electricity are processed, pure 
electornic music, and a noise$B!!(Bsounds makes by 14 artists mutually did the 
collaboration and it made it up. 
Music who is excited very much and is new$B!!(B!!!!!
We encompass them in a handmade package. 
The package might be a thing to give you warm warmth by using the 
cloth......
If you request it, we will deliver this music all over the world. 
Please obtain information detailed with our web site. 

cherry music
http://cherrymusic.info/

costtaring from cherry farm 02 index

1.hiroyuki ura + asamo_______ " soonor " (5:02)
2.andre goncalves+shinjiro yamaguchi(iodo)_______"capermoon" (7:32)
3.inukai+cocoaskull_______"formog" (3:20)
4.inukai+cocoaskull_______ " umiutiwa"(4:06)
5.Darren McClure+Allan Hughes_______ " trk 5.3" (4:07)
6.Darren McClure+Allan Hughes_______ " festival (fagetta mix)" " (3:37)
7.corona+askococo_______ "don't busride"(12:56)
8.corona+askococo_______ " don't surfride" " (3:24)
9.rere+justino[ruidobello]_______ " TORRENTE" " (10:03)
10.minn+jacob ludvigsen_______"notitle" (6:34)

>>>please send your demo tapes

we are looking for fresh experimental sounds from all over the world.please 
send your demo tapes and cd to the below address. and please note that we 
can't return the materials nor place comments on them.

>>>Under collaboration collection

Let's make a work together with us. We expect that these trials will become 
pleasant.  >We ask for the following men. Designer . Graphic artist . 
Photographer . Editorial Designer . Painter . Musician . Builder . Engraver 
.. Dress and ornaments Designer . Dyeing artist etc$B!&!&!&!&!&(B  It asks for a 
creative person.
It is to xxxxxx_xxxxx_@xxxxxxx.xxx for details. Please let me know HP and 
career that your work can be seen. Let's enjoy ourselves together$B!*(B

>>>address:

1020 nagatoro higashine-shi yamagata 999-3771, japan
cherry music


thank you !!
have a great day.


cherrymusic

cherry WEB : http://cherrymusic.info
cherry mail : xxxxxx_xxxxx_@xxxxxxx.xxx

_________________________________________________________________
$BF|K\9qFb:GBg5i(B570$BK|%f!<%6!<$N(BMSN Hotmail 
https://registernet.passport.net/reg.srf?id=2&lc=1041 


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hey, by virtue of the way i write music i fall under the 'micromusic' 
category.  i write free-running programs for custom DSP audio hardware.  
the final executables are around 60k or so, and that includes the whole 
synthesis and sequencing engine too (about 30k for the engine and 5k per 
song).  there are examples of my music here:

http://www.dspmusic.org/music.html

i'd say that minivida and rivergods3 would most appeal to the 
microsounders.  the last link on the page is for my first live set, 
played all in realtime on a 33MHz 10 year old DSP evaluation board.


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Date: Fri, 14 Jan 2005 21:33:42 +0800
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Subject: [microsound] [ot] World Wide Ambient Vigil for Aceh
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 FILETIME=[B4EBD540:01C4FA3D]



Time. 22 Jan 9:30pm to 23 Jan 9am


World Wide Ambient Vigil for Aceh

My name is Pei, I am a visiting sound artist here in Berlin and currently 
organizing an event to rise an awareness of ongoing project "Nature force", 
combining with the Indonesian aiding event "Ambient Vigil for Aceh" which 
was originally announced by Jimmy Wang. He is a photojournalist based in 
Jakarta. His purpose of this event is to mediate with helps as well as to 
raise a fund for Aceh through donation. This event will be held on 22nd and 
23rd of Jan by several cities across the global including UK, US, AUS, 
TAIWAN, JAPAN, INDONESIA. I would like to progress this event here as part 
in Berlin. At the moment I am asking Indonesian youth association to 
participate. The possible location may be one of the studio room in 
universitat der kunst Berlin or screening venue.

Please send email to me regards to subject of "Nature Force" if you are :
+ sound artists/musicians play live, ambient music in varieties.
+ video artist with still, motion for reprojection.
+ one whom have concerns are related.
+ one could advice equipments and better location.

Plz forward this message to people that you know might be interested.
Warm appreciated.

Programer + Pei, Shiho Sato

+ World Wide Ambient Vigil for Aceh Bolg + http://blog.winggang.com
+ Jimmy Wang's personal WebSite + www.winggang.com
+ Pei's personal WebSite + www.post-concrete.com/pei

+ email to xxxxxxxx@xxxxx.xxx

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From ???@??? Fri Jan 14 11:58:05 2005
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Date: Fri, 14 Jan 2005 11:58:06 +0000
From: Christopher Murphy <xxxxx@xxxxx.xxx>
Subject: [microsound] Current email address for Josh Russell...?
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Dear All,

I'm looking for a current email address for Josh Russell (of
Bremsstrahlung). Can anyone oblige? The email addresses I have all seem to
be out-of-date and bouncing and www.lowecasesound.com is down...

If anyone has one could they please post me off list: xxxxx@xxxxx.xxx

Many thanks.

Best,

Christopher @ Fallt


| """..NOW PLAYING..00.01.2005---||||...
| 0000
| XXXX---- MR MONDAY | POWER/KNOWLEDGE EP --------------------- <>
| XXXX---- RUMBLEDUB | GOD IS IN THE HOUSE EP ----------- \\
| 0000 \\\\..\\\\


http://www.fallt.com  |  xxxx@xxxxx.xxx






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From ???@??? Fri Jan 14 11:44:10 2005
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Subject: Re: [microsound] hola
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hi bill
I am very glad you visit my website and the listen to my music.
The music that existed in the sample was made from the conference by
E-mail and the collaborative activity by air mail.
Jastino made it up by music of jastino and rere using only my fieldrecordings.
The music of darren and rere was made by exchanging pure music.
Do you make music?
I hope to hear them if you make music.

Thanks
all the bests.

rere/takahiro kawaguchi
http://www.eonet.ne.jp/~rere/


On Sun, 11 Jan 2004 14:30:02 -0800, Bill Jarboe
<xxxxxxxxxx@xxxxxxxxx.xxx> wrote:
> 
> hi,
> 
>     i really like the look of the blog. i'm not sure about the 'rere and
> jastino' sample , though it's a good kind of not sure.
> 
> 
> On Jan 11, 2005, at 1:35 AM, takahiro kawaguchi wrote:
> 
> > hallo friends.
> > I newly made the homepage. The sample of some sounds is set up there.
> > If you check it, I might be very happy. And, to be going to keep
> > taking contacting with you in the future, I made these....
> >
> > thanks
> > all the bests.
> >
> > check my web site
> > http://www.eonet.ne.jp/~rere/
> >
> > blog
> > http://port.jugem.cc/
> >
> > rere/takahiro kawaguchi
> >
> > e-mail
> > xxxxxxxx.xxxxxxxxx@xxxxx.xxx
> >
> >
> Bill
> 
>   direct strategy # 943: talk interesting nonsense until someone forces
> you to stop.
> 
> ---------------------------------------------------------------------
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> 
>

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From ???@??? Fri Jan 14 11:43:33 2005
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Subject: Re: [microsound] hola
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hi
I am very glad you visit my website and the listen to my music.
The music that existed in the sample was made from the conference by
E-mail and the collaborative activity by air mail.
Jastino made it up by music of jastino and rere using only my fieldrecordings.
The music of darren and rere was made by exchanging pure music.
Do you make music?
I hope to hear them if you make music.

Thanks
all the bests.

rere/takahiro kawaguchi
http://www.eonet.ne.jp/~rere/



On Wed, 12 Jan 2005 00:04:32 -0500, precursor <xxxxxxxxx@xxxxxxxxx.xxx> wrote:
> on 1/11/04 5:30 PM, Bill Jarboe at xxxxxxxxxx@xxxxxxxxx.xxx wrote:
> 
> >
> > hi,
> >
> > i really like the look of the blog. i'm not sure about the 'rere and
> > jastino' sample , though it's a good kind of not sure.
> >
> >
> >
> >
> >
> >
> >
> > On Jan 11, 2005, at 1:35 AM, takahiro kawaguchi wrote:
> >
> >> hallo friends.
> >> I newly made the homepage. The sample of some sounds is set up there.
> >> If you check it, I might be very happy. And, to be going to keep
> >> taking contacting with you in the future, I made these....
> >>
> >> thanks
> >> all the bests.
> >>
> >> check my web site
> >> http://www.eonet.ne.jp/~rere/
> >>
> >> blog
> >> http://port.jugem.cc/
> >>
> >> rere/takahiro kawaguchi
> >>
> >> e-mail
> >> xxxxxxxx.xxxxxxxxx@xxxxx.xxx
> >>
> >>
> > Bill
> >
> >
> >
> >
> > direct strategy # 943: talk interesting nonsense until someone forces
> > you to stop.
> >
> >
> > ---------------------------------------------------------------------
> > To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > website: http://www.microsound.org
> >
> 
> "though it's a good kind of not sure"
> 
> :)
> 
> 
> ---------------------------------------------------------------------
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> 
>

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From ???@??? Fri Jan 14 03:11:38 2005
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From: Ian Andrews <x.xxxxxxx@xxxxxxxxxxx.xxx.xx>
Subject: Re: [microsound] [ot] the 56k challenge
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Gavin Stevenswrote:

> I quite like this idea - it would give some extremely lo-fi sound, which
> has always appealed to me.
> 

Yes I have always liked using heavy file compression as an effect. The
problem is that if every track uses the same compression scheme (eg. mp3)
then they will all end up all sounding much the same. Perhaps using many
different types of compression would be the way to go, each track using a
different compression scheme. This would give the sound of the whole disk a
lot more variety in its production. This is how I work with my flash
produced audio tracks but with different compression levels and types with
each track. eg.  http://radioscopia.org/radiohack/
(smallest track is 6kB, largest is 26kB).

ian


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Subject: Re: [microsound] [ot] the 56k challenge
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 FILETIME=[AE366050:01C4F9E6]

oh, and http://www.floppyswop.co.uk/

once again... yeah... do your homework

greg


>From: "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx
>Subject: Re: [microsound] [ot] the 56k challenge
>Date: Fri, 14 Jan 2005 02:33:38 +0000
>
>you
>guys
>just
>don't
>get
>it
>
>34 minutes.  six (6) kb.  you cant put any bitrate mp3 on a floppy if it's 
>30 minutes.  you need tracker files
>
>
>>From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
>>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>>Subject: Re: [microsound] [ot] the 56k challenge
>>Date: Thu, 13 Jan 2005 15:06:33 -0800
>>
>>are we talking about the final master being under 56k or are we talking 
>>about composing pieces using under 56k of source material?
>>
>>k
>>
>>
>>On Jan 13, 2005, at 11:37 AM, Shanan wrote:
>>
>>>one thing I don't get after having a bit of a play
>>>around with mp3 compression - it seems easy enough to
>>>get a 56k mp3 from a 56 second track, but i couldn't
>>>find a way to get anything longer down to 56k. is it
>>>possible?
>>>
>>>xxxxxxx@xxx.xxx wrote:
>>>...
>>>is over one minute and is no more than 56k in size
>>>[wav or mp3]-t
>>>
>>>
>>>Find local movie times and trailers on Yahoo! Movies.
>>>http://au.movies.yahoo.com
>>>
>>>---------------------------------------------------------------------
>>>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>>website: http://www.microsound.org
>>>
>>
>>
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>>
>
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Subject: Re: [microsound] [ot] the 56k challenge
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 FILETIME=[829DE440:01C4F9E1]

you
guys
just
don't
get
it

34 minutes.  six (6) kb.  you cant put any bitrate mp3 on a floppy if it's 
30 minutes.  you need tracker files


>From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] [ot] the 56k challenge
>Date: Thu, 13 Jan 2005 15:06:33 -0800
>
>are we talking about the final master being under 56k or are we talking 
>about composing pieces using under 56k of source material?
>
>k
>
>
>On Jan 13, 2005, at 11:37 AM, Shanan wrote:
>
>>one thing I don't get after having a bit of a play
>>around with mp3 compression - it seems easy enough to
>>get a 56k mp3 from a 56 second track, but i couldn't
>>find a way to get anything longer down to 56k. is it
>>possible?
>>
>>xxxxxxx@xxx.xxx wrote:
>>...
>>is over one minute and is no more than 56k in size
>>[wav or mp3]-t
>>
>>
>>Find local movie times and trailers on Yahoo! Movies.
>>http://au.movies.yahoo.com
>>
>>---------------------------------------------------------------------
>>To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>website: http://www.microsound.org
>>
>
>
>---------------------------------------------------------------------
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>

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From ???@??? Fri Jan 14 00:34:01 2005
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Date: Fri, 14 Jan 2005 00:33:35 +0000
From: slow sound system <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] slow sound system : new audio online
To: Ambient <xxxxxxx@xxxxxxxxx.xxx>,
 Dorkbot London <xxxxxxxxxxxxx-xxxxxxxx@xxxxx.xxxxxxxx.xxx>,
 DorkbotLondon-Blabber <xxxxxxxxxxxxx-xxxxxxx@xxxxx.xxxxxxxx.xxx>,
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SLOW SOUND SYSTEM
LIE DOWN AND BE COUNTED

some things happening in the next few months ...

------

NEW AUDIO ONLINE
The next instalment of live sets is now online. Our audio archive at
www.slowsound.net now has fantastic material from .murmer, Fred K.U.,
Gagarin and Dual, alongside other sets by Sebastien Roux, Motion / Recon,
Duff Parka, Crucial Felix / Timeblind and Adam Butler / Vert. Thanks to our
friends at www.archive.net for hosting.

------

SLOW SOUND SYSTEM, 13 FEBRUARY, THE FOUNDRY
We're running the first of our Sunday afternoon listening sessions at The
Foundry, East London. The February show features local heroes We're Breaking
Up (TwoThousandAnd, Antiopic) and Cheapmachines (Kabuki Kore, NidNod). More
details of this and further shows to follow ...

-----

SMALL PIECES, 21 JANUARY, RESONANCE 104.4FM, MIDNIGHT-1AM GMT
In the meantime, tune into Resonance 104.4fm every Friday night for the
Small Pieces show, hosted by ourselves, HighpointLowlife, Sprawl and
[no.signal]. We're in the chair on 21 January. Those not in London, go to
www.resonancefm.com for live streaming audio.

------

A SLOW SOUND SYSTEM SIX
What's on the decks at the moment:

Albert Ayler - Prophecy (ESP-Disk)
Stephan Mathieu - On Tape (Hapna)
Company Flow - Funcrusher Plus (Rawkus)
Pharoah Sanders - Thembi (Impulse!)
Sebastien Roux - Pillow (Apestaartje)
Can - Tago Mago (Spoon Reissue)

Happy listening!


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 GMT
http://www.resonancefm.com

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

-----
-----

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

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

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

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

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

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.sprawl.org.uk

-----

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




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From ???@??? Thu Jan 13 23:05:25 2005
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Date: Thu, 13 Jan 2005 15:06:33 -0800
From: Kevin Ponto <xxxxx@xxxxxxxxxxxx.xxx>
Subject: Re: [microsound] [ot] the 56k challenge
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are we talking about the final master being under 56k or are we talking 
about composing pieces using under 56k of source material?

k


On Jan 13, 2005, at 11:37 AM, Shanan wrote:

> one thing I don't get after having a bit of a play
> around with mp3 compression - it seems easy enough to
> get a 56k mp3 from a 56 second track, but i couldn't
> find a way to get anything longer down to 56k. is it
> possible?
>
> xxxxxxx@xxx.xxx wrote:
> ...
> is over one minute and is no more than 56k in size
> [wav or mp3]-t
>
>
> Find local movie times and trailers on Yahoo! Movies.
> http://au.movies.yahoo.com
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
>


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From ???@??? Thu Jan 13 21:33:11 2005
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Date: Thu, 13 Jan 2005 13:37:01 -0800
From: Thom Blum <xxxx@xxxxxxxxxx.xxx>
Subject: [microsound] Re: wanna buy curtis roads cd('s)
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According to a spokesperson for Aspodel Ltd,
Roads's POINT LINE CLOUD will be released 8 March 2005.

Keep checking http://www.asphodel.com for release date info.

...Thom Blum


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From ???@??? Thu Jan 13 19:37:43 2005
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Date: Fri, 14 Jan 2005 06:37:38 +1100 (EST)
From: Shanan <xxxxx@xxxxx.xxx>
Subject: Re: [microsound] [ot] the 56k challenge
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one thing I don't get after having a bit of a play
around with mp3 compression - it seems easy enough to
get a 56k mp3 from a 56 second track, but i couldn't
find a way to get anything longer down to 56k. is it
possible? 

xxxxxxx@xxx.xxx wrote: 
....
is over one minute and is no more than 56k in size
[wav or mp3]-t 


Find local movie times and trailers on Yahoo! Movies.
http://au.movies.yahoo.com

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Date: Thu, 13 Jan 2005 11:14:50 -0800
From: Alberto Guedea <xxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Western Front Artists in Residency Performances
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WESTERN FRONT ARTISTS IN RESIDENCY PERFORMANCES:
REVERIE NOISE CITY/ART'S BIRTHDAY

Western Front Society
Artists in Residency Performances for
Art's Birthday and Reverie Noise City


Absolute Value of Noise
Alberto Guedea
Anna Frizz
Elizabeth Fischer
Francesca Mizzoni
Igor Santizo
Jean Routhier
Ken Roux
Michael North
Roberto Paci Dalo

Friday, January 14th at 8 pm - $10/$5 S.C. - Night 1
Saturday, January 15th at 8 pm - $10/$5 S.C. - Night 2
Western Front. Vancouver, Canada
303 East 8th Ave. (604) 8769343

ONLINE STREAM Listen Live at:
http://www.stream.aaeol.ca/stream.php?stream=reverie
Winamp, Macamp Etc.
More Information: http://www.reverie.aaeol.ca/CODE/venue.p?record=52

Alberto Guedea, Reverie Current Projects:
Record_: http://reverie.aaeol.ca/CODE/venue.p?map_location=307
Repeat_: http://reverie.aaeol.ca/CODE/venue.p?map_location=301&record=47

Contributors, Sunday 16th and Monday 17th:

Ars Acustica [Italy]
CITR Radio [Vancouver]
Kunstradio ORF [Vienna]
Mlab [Helsinki]
Modern Fuel Gallery [Kingston]
Radio Kinesonus [Tokyo]
Studio XX [Montreal]
The New Gallery [Calgary]
Video Pool [Winnipeg]
Western Front Society [Vancouver]

----------------------------------------------
http://a--g.com

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From ???@??? Thu Jan 13 19:05:44 2005
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Date: Thu, 13 Jan 2005 11:09:36 -0800
From: Thom Blum <xxxx@xxxxxxxxxx.xxx>
Subject: [microsound] San Francisco Tape Music Festival - Jan. 20-22
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The New San Francisco Tape Music Center,
sfSound, and ODC Theater present:

The San Francisco Tape Music Festival

January 20, 21, and 22, 2005
8:00 PM

ODC Theater
3153 17th St (@ Shotwell)
San Francisco, CA

$15 [$12 student/seniors] each night
$36 [$25 student/seniors] for festival pass
Box Office: 415-863-9834 [2pm-5pm, Wed-Sat]


A 3-night festival of fixed media audio art distributed in real-time 
across a sixteen-loudspeaker surround sound system. Featured works 
include classics by Morton Feldman, Gyorgy Ligeti, and Frank Zappa; 
audio dramas; 3D nature recordings; and new compositions by local and 
international composers, including the Bay Area premiere of FERN, a 
16-channel theatrical sound piece by Merlin Coleman.

For additional details see http://www.sfsound.org/tape.html

PROGRAM

Thursday, January 20, 8pm :: "Cinema for the Ear"
Dugal Mckinnon [o] [2001 -- New Zealand]
Merlin Coleman FERN [2004 -- Berkeley]
            --
Howard Frederics The Raven's Kiss [1993 -- USA]
Susan Parenti No Honey, I Can Do It [USA]
Joseph Anderson ChAnGEs MUSIC [1996 -- USA/UK]


Friday, January 21, 8pm :: "Electroclips"
Miba Weird Birds [2004 -- Oakland]
Tom Djll xmas xarols [1979 -- Santa Cruz]
Gabriele Proy Wein West Bahnhof [1997 -- Austria]
Morton Feldman Intersection [1953 -- USA]
George Cremaschi End of Hope [2000 -- Oakland]
The Molecules Bruce Lee [1998 -- Oakland]
Richard Lerman Five Fence Pieces [1984-1990 -- USA]
Matt Ingalls Scherzo Allergro Molto [2002 -- Oakland]
            --
Nicholas Virgo Westerlies [2001 -- UK]
John Giorno Shit, Piss, Blood, Pus & Brains [1975 -- USA]
Frank Zappa Nasal Rententive Calliope Music [1968 -- USA]
The Molecules Scarsky [1998 -- Oakland]
Richard Lerman Two Thatched Roofs [1984-1990 -- USA]
The Molecules Snappy [1998 -- Oakland]
Rudy Trubitt Car Wash [2004 -- Oakland]


Saturday, January 22, 8pm :: "The State of the Art"
Pippa Murphy Caspian Retreat [2002 -- UK]
Kent Jolly Mirrors [1994 -- Berkeley]
Eric Chasalow Portrait of the Artist [1997 -- USA]
Douglas Quin Weddel Seals Underwater [2004 -- Petaluma]
Ava Mendoza The Mind Electric [2004 -- Oakland]
            --
Gyorgy Ligeti Artikulation [1958 --Hungary/Germany]
Martin Stig Andersen Sleepdriver [2004 -- Denmark/UK]
Cliff Caruthers Ticktock [2005 -- Oakland]
Jonty Harrison ...et ansi de suite... [1992 -- UK]


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From ???@??? Thu Jan 13 18:39:18 2005
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Date: Thu, 13 Jan 2005 19:40:35 +0100
From: Noisejihad <xxxx@xxxxxxxxxx.xx>
Subject: Re: [microsound] [ot] the 56k challenge
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
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When floppys still were the talk of town (or a least just
available/purposeful) we actually made a floppy comp. feat. approx. 8-10
bands badly recorded and even worse compressed, though you were still able
to get an idea of what was going on, and we managed to fit approx 10-12
minutes on it...
Lars

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

----- Original Message ----- 
From: "john saylor" <xx@xxxx.xxxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Thursday, January 13, 2005 7:28 PM
Subject: Re: [microsound] [ot] the 56k challenge


> hi
>
> ( 05.01.13 12:57 -0500 ) Ben:
> > too bad "we" don't have floppy drives, would be nice to mail out
> > floppy(s) to each participant as documentation.
>
> maybe we can make the collection a torrent file [once it's done].
>
> i'll try to put up a page on twiki this weekend.
>
> maybe someone[s] can write up an announcement [submission requirements,
> time limits, &c.]
>
> -- 
> \js         }*']$      _\     #`     #http://or8.net/~johns ^;~*{["
> iraq body count: 15,289 [min] 17,503 [max]
>
> ---------------------------------------------------------------------
> 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 ???@??? Thu Jan 13 18:15:49 2005
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hi

( 05.01.13 12:57 -0500 ) Ben:
> too bad "we" don't have floppy drives, would be nice to mail out 
> floppy(s) to each participant as documentation.

maybe we can make the collection a torrent file [once it's done].

i'll try to put up a page on twiki this weekend.

maybe someone[s] can write up an announcement [submission requirements,
time limits, &c.]

-- 
\js         }*']$      _\     #`     #http://or8.net/~johns ^;~*{["
iraq body count: 15,289 [min] 17,503 [max] 

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From ???@??? Thu Jan 13 17:50:20 2005
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develop the proposal

too bad "we" don't have floppy drives, would be nice to mail out 
floppy(s) to each participant as documentation.

best ,



>>> From: Gavin Stevens
>>>
>>> It occurs to me that, with such small files, it would be possible to 
>>> fit
>>> 20 to 30 minutes of music onto a 1 MB floppy. Now that is 
>>> "microsound"
>>>
>>> On Wed, 12 Jan 2005 14:00:24 +0000
>>> xxxxxxx@xxx.xxx wrote:
>>>
>>>> i have an idea for a microsound project . lets all compose a work 
>>>> that
>>>> is over one minute and is no more than 56k in size [wav or mp3]-t
>>>
>>>



www.seasonalbk.net


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From ???@??? Thu Jan 13 11:08:43 2005
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i dont care if its been done before.......lets do it again/better
-t

-------------- Original message from "greg g" <xxxxxxxxxxxx@xxxxxxx.xxx>: -------------- 


> http://mp3death.us/nahc/NAHC012.zip 
> 
> u lose 
> 
> mega sound 4 ever 
> 
> 
> 
> >From: Gavin Stevens 
> >Reply-To: microsound 
> >To: microsound 
> >Subject: Re: [microsound] [ot] the 56k challenge 
> >Date: Wed, 12 Jan 2005 23:56:47 +0000 
> > 
> >I quite like this idea - it would give some extremely lo-fi sound, which 
> >has always appealed to me. 
> > 
> >It occurs to me that, with such small files, it would be possible to fit 
> >20 to 30 minutes of music onto a 1 MB floppy. Now that is "microsound" 
> >:-) 
> > 
> >Gavin. 
> > 
> >On Wed, 12 Jan 2005 14:00:24 +0000 
> >xxxxxxx@xxx.xxx wrote: 
> > 
> > > i have an idea for a microsound project . lets all compose a work that 
> > > is over one minute and is no more than 56k in size [wav or mp3]-t 
> > 
> >--------------------------------------------------------------------- 
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> >For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx 
> >website: http://www.microsound.org 
> > 
> 
> _________________________________________________________________ 
> FREE pop-up blocking with the new MSN Toolbar – get it now! 
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From ???@??? Thu Jan 13 06:17:21 2005
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Date: Thu, 13 Jan 2005 01:17:23 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] [MTL] Upgrade: 20 Janvier, 2005 : avec -40 Project
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================================================================
Jeudi, le 20 Janvier, 2005 / Thursday, the 20th of January, 2005
Société des arts technologiques (SAT) - 1195 St. Laurent
================================================================


            THE UPGRADE! MONTRéAL

Un rendez-vous mensuel pour les artistes, conservateurs et amoureux des
nouveaux médias et de la culture numérique à Montréal. Gratuit ! Les
propositions pour des présentations futures sont les bienvenues. Ouvert à
tous.
 
A monthly gathering of artists, curators and lovers of new media and digital
culture in Montréal. Free ! Proposals for presentations welcome. Open to
everyone.
 
            < http://theupgrade.sat.qc.ca >
 
====
 
avec / with :
 
            -40 PROJECT

            C0C0S0L1DC1T1, Terminus1525.ca

            et l¹Office national du film du Canada (ONF)  /
            National Film Board (NFB)

            Participating: Beewoo, Lucinda Catchlove, Nadia Duguay, Cinétik,
            Chantal Durand and more tba / et plus...
 

==== GRATUIT ==== GRATUIT ====

La Prochaine Rendez-vous :

Date : Jeudi, le 20 Janvier, 2005
 
18h30 : tobias c. van Veen (dj)
19h   : Présentation de ­40 Project
20h30 : Table Ronde avec commissaires et artistes
21h30 : Nadia Duguay, Beewoo, Cinètik (vjs) / tobias (dj)
23h00 : Fin !





====
Contact de Presse :
 
   
    tobias  c. van Veen
    Concept Engineer,  The  Upgrade! Montréal
    xxxxxx@xxx.xx.xx  514 995 0010
       
    Shabana  Ali  
    Assistante  au coordonnateur,
    The Upgrade! Montréal
    xxxxxxx@xxx.xx.xx
                   
                   
 
 
                   
 




tobias c. van Veen, Concept Engineer       -
(SAT) Society for Arts and Technology
Montréal, Canada | http://www.sat.qc.ca    +
http://theupgrade.sat.qc.ca | Upgrade!
[3p]  | http://3p.sat.qc.ca |  ++++++      -
http://www.quadrantcrossing.org/blog
ICQ: 18766209 | AIM: thesaibot +++         +


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From ???@??? Thu Jan 13 04:25:21 2005
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Subject: Re: [microsound] south american microsound
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If you search the microsound archives with a phrase like:

"south america"
or
"latin america"

You find a posting with an extensive set of web links.

The archives are at:

<http://www.propheticdesire.com>

Best,

Tad

----- Original Message -----
From: Ben <xxxx@xxxxxxxxxx.xxx>
Date: Wednesday, January 12, 2005 12:43 pm
Subject: [microsound] south american microsound - Re: [microsound] Manrico Montero + Karras - Free MP3

> is there a web reference for " microsound and sound art " related 
> works 
> ( not techno, electronica, or idm ) happening in south america ?
> 
> the khora.org page looks impressive, but links to people are all 404.



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Date: Thu, 13 Jan 2005 02:49:26 +0000
From: greg g <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] [ot] the 56k challenge
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 FILETIME=[959FF2D0:01C4F91A]

http://mp3death.us/nahc/NAHC012.zip

u lose

mega sound 4 ever



>From: Gavin Stevens <xxxxxxxx@xxxxx.xx.xx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] [ot] the 56k challenge
>Date: Wed, 12 Jan 2005 23:56:47 +0000
>
>I quite like this idea - it would give some extremely lo-fi sound, which
>has always appealed to me.
>
>It occurs to me that, with such small files, it would be possible to fit
>20 to 30 minutes of music onto a 1 MB floppy. Now that is "microsound"
>:-)
>
>Gavin.
>
>On Wed, 12 Jan 2005 14:00:24 +0000
>xxxxxxx@xxx.xxx wrote:
>
> > i have an idea for a microsound project . lets all compose a work that
> > is over one minute and is no more than 56k in size [wav or mp3]-t
>
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From ???@??? Thu Jan 13 02:16:30 2005
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Date: Wed, 12 Jan 2005 18:20:56 -0800
From: io <xx@xxxxxxxxx.xxx>
Subject: [microsound] FW: New class at Machine Project - Max/MSP/Jitter
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LA area list members might be interested in this
jon


----------

Max/MSP/Jitter Workshop
Instructor Brian Crabtree
Machine Project, 1200 D North Alvarado street, Los Angeles
Jan 16,23,30 and Feb 6 (Sunday)
5-8pm

What is Max/MSP/Jitter?

Max/MSP is a graphical programming environment, which means you create
your own software using a visual toolkit of objects, and connect them
together with patch cords. The basic environment that includes MIDI,
control, user interface, and timing objects is called Max. Built on top of
Max are hundreds of objects, that do a variety of rad stuff, including
Jitter

Jitter is a set of video, matrix, and 3D graphics objects for the Max
graphical programming environment. The Jitter objects extend the
functionality of MaxMSP with flexible means to generate and manipulate
matrix 
data -- any data that can be expressed in rows and columns, such as
video and still images, 3D geometry, as well as text, spreadsheet data,
particle systems, voxels, or audio. Jitter is useful to anyone interested
in real-time video processing, custom effects, 2D/3D graphics,
audio/visual interaction, data visualization, and analysis.

Who should take this class?

This class is for anyone interested in using Max/MSP to create
multimedia programs for sculpture, installation, performance and sweet
technology art in general. This is an intro class, and no prior experience
with 
MAX/MSP or computer programming is required.

Objectives:

Gather a broad understanding of the capabilities of Max/MSP/Jitter.
introduction to many objects, organization techniques, design methodology,
fancy tricks. presented as lectures interjected with experiments. lots
of time for debugging and questions.

We'll cover:

basic techniques
data management
network communication
midi
external controllers
generating/processing/analyzing sound and video


What you'll need:

computer (laptops are nice)
msx/msp/jitter (30 day demo available from http://cycling74.com)

What you might also want to bring (optional):

headphones
firewire video camera
usb game pad

Cost/Registration

This workshop is limited to 10 people and we expect it to fill quickly.
To avoid disappointment and general despair pre-register now. This
workshop is $150 for 12 contact hours. Online registration and more
information can be found at the Machine Project website.

http://www.machineproject.com/classes/max/max_registration_open.php

for more information contact Mark Allen via email x@xxxxxxxxxxxxxx or
call 213-483-8761


[Non-text portions of this message have been removed]








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From ???@??? Thu Jan 13 01:58:13 2005
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Date: Thu, 13 Jan 2005 01:57:57 +0000
From: sound no sound <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] come play soundnosound
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 FILETIME=[533CB9C0:01C4F913]

Hi Everyone,

We are looking for acts to come play soundnosound in Sydney Australia.

soundnosound happens every second Sunday of the month at the Lansdowne Hotel 
in Sydney Australia. What we do is put on diverse line-ups every month of 
noise (of any type), folk, psych, improvised, and basically anything 
interesting in a pub. The reason for this? Is to get this music out to a 
wider audience in Australia and show people something different to what 
they're use to seeing, even with the line-ups that we present, where we 
would have an improvised noise group playing with a psychedelic hardcore 
band and a folk artist. Good interesting music is good intersting music.

If anyone is thinking of touring to Australia or lives here and wants to 
play soundnosound we'd love you to get in contact with us at 
xxxxxxxxxxxx@xxxxxxx.xxx

Cheers,
Mark

our temp website: www.members.optusnet.com.au/soundnosound

_________________________________________________________________
SEEK: Now with over 60,000 dream jobs! Click here:   
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From ???@??? Wed Jan 12 23:58:10 2005
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From: jfrede <xxxxxx@xxxxxxx-xxxxxxxxxx.xxx>
Subject: Re: [microsound] Mac mini for microsounders
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pimp my mac

---------- Original Message ----------------------------------
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Date:  Wed, 12 Jan 2005 17:42:50 -0500

>totally bling.
>
>gm wrote:
>
>> already reading about one installed in a car
>>
>
>
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>

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Date: Wed, 12 Jan 2005 23:56:47 +0000
From: Gavin Stevens <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] [ot] the 56k challenge
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I quite like this idea - it would give some extremely lo-fi sound, which
has always appealed to me.

It occurs to me that, with such small files, it would be possible to fit
20 to 30 minutes of music onto a 1 MB floppy. Now that is "microsound"
:-)

Gavin.

On Wed, 12 Jan 2005 14:00:24 +0000
xxxxxxx@xxx.xxx wrote:

> i have an idea for a microsound project . lets all compose a work that
> is over one minute and is no more than 56k in size [wav or mp3]-t

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From ???@??? Wed Jan 12 22:38:59 2005
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From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] Mac mini for microsounders
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totally bling.

gm wrote:

> already reading about one installed in a car
>


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Subject: Re: [microsound] Mac mini for microsounders
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already reading about one installed in a car


On Tue, 11 Jan 2005 20:31:36 -0800, Trevor Mcpherson
<xxxxxxxxxxxxxxx@xxxxx.xxx> wrote:
> Hmmmm....
> A step towards replacing the home entertainment centre with one shiny
> little box?
> The magpie in me is excited - like I need another shiny digital device.
> 
> On 11-Jan-05, at 11:28 AM, Kim Cascone wrote:
> 
> > http://www.apple.com/macmini/
> >
> > not vaporware after all
> >
> >
> > ---------------------------------------------------------------------
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From ???@??? Wed Jan 12 22:03:42 2005
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Date: Wed, 12 Jan 2005 16:03:32 -0600
From: Chris Bryan <xxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] live net stream 3x3is9, S Moore,
 Mink/Dim Cost performance this SAT.
To: taylor deupree <xxxxxx@xxx.xxx>,
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Hello friends + fellow microsounders,

Just wanted to invite everyone to tune into a live Internet streaming
show I will be playing on Saturday January 15 2005,  8 pm - 9:30 pm
CST.

The event is for 'art's b-day' will feature performances by:

3x3is9 (me)
Sandee Moore
MINK/Dim Cost


The event is a 'deep listening' concert and if you are in Winnipeg you
can check it out in the basement of the Artspace / cinematheque
building.
Artspace 100 Arthur St. Winnipeg, Manitoba, Canada 

info:
http://www.cheapmeat.net/ArtsBirthday.html
http://cheapmeat.net/ArtsBdayLive.html

-- 
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
(1.8)sec.records
www.1pt8.tk
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

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From ???@??? Wed Jan 12 21:39:41 2005
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Date: Wed, 12 Jan 2005 13:39:35 -0800 (PST)
From: jake elliott <xxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] to montreal musicians
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hello montreal musicians:

i'm participating in david jhave johnston's etay.ca
project, and would like to host an evening of improv
music on tuesday the 18th of january.  during my stay
at etay, i will be building some contact-mic-based
modules in the space that could server as source
material for improvising electronic musicians, or as
accompaniment for others.

if this sounds like something you or your friends
would be interested in, please let them and i know. 
i'd really just like to spend a day/evening working
with  experimental musicians from montreal and
hopefully come away with some kind of recording we
could trim down and
distribute.

best
jake

contact: xxxxxx@xxxxx.xxx
info: structuredsound.net/jake/ || etay.ca

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Subject: Re: [microsound] wanna buy curtis roads cd('s)
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In a message dated 12/01/2005 21:06:20 GMT Standard Time, xxxxx@xxxxxxxxx.xxx 
writes:

> i'm looking for some curtis roads cd's
> i have looked around the web and couldn't find anything.
> maybe i'm just really bad at searching, but if anybody have any clues to
> where i could order, please let me know
> 
> sofus
> 

  this isnt out yet, Ive been waiting months, but check it out :
www.asphodel.com/cat/asp_3000.html






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

www.alembic.me.uk

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From: Onda Sonora Radio <xxxxxxxxxxxxxxx@xxxxx.xx>
Subject: [microsound] CONTENTS ONDA SONORA 12-01-05
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ONDA SONORA (Radio Sesiones Experimentales), Madrid (ES)

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

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

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

_________________________________

CONTENIDOS ONDA SONORA 12-01-05

01. STRAND REMIXED BY COEVAL 
Track: Racing For Bucks 
Album: Strand. Guitars & Noises - Reworked By 9 Spanish Digital Artists
Label: Tôi thích nh#7841;c

Dos músicos electrónicos madrileños, Miguel Gil Tertre (Strand) y Juan Carlos Blancas (Coeval), con un corte que parte de guitarras y ruidos creados por el primero que el segundo se ha encargado de retrabajar para esta compilación, primera referencia del sello de Strand Tôi thích nh#7841;c, en el que también colaboran otros musicos del panorama electrónico español: .Tape., P0l4ro[:de], Un Caddie Renversé Dans L'Herbe, Pau Torres, Vleizes, Rec_Overflow, Eedl y Fibla

Two electronic musicians from Madrid, Miguel Gil Tertre (Strand) and Juan Carlos Blancas (Coeval), with a track that departs from guitars and noises created by the first, that the second has reworked for the first reference of Strand's label Tôi thích nhac, in which other musicians of the Spanish electronic panorama also collaborate: .Tape., P0l4ro[:de], Un Caddie Renversé Dans L'Herbe, Pau Torres, Vleizes, Rec_Overflow, Eedl and Fibla

02. REC_OVERFLOW
Track: Drug Store
Album: Drug Store
Label: Plataforma-ltw

Rec_Overflow, junto a su corte para Strand, reaparece con un nuevo ep en Plataforma-ltw, "Drug Store", mientras ultima los preparativos para la publicación de sus nuevos trabajos en Spa.RK y WerkDisc

Rec_Overflow, together with his track for Strand, reappears with a new ep in Plataforma-ltw, "Drug Store", while finishing his new releases on Spa.RK and WerkDisc

03. JULIE ROUSSE 
Track: Cervelle Spaghetti 
Album: Des Restes Humains .ep 
Label: Conv 

Conv es otro netlabel con base en Madrid, que presenta un nuevo ep. En este caso a cargo de una diseñadora de sonido de origen francés aunque residente en Canadá, Julie Rousse, que basa su técnica en el desarrollo de improvisaciones electrónicas y electroacústicas dentro de una narrativa abstracta

Conv is another netlabel based in Madrid that presents a new ep. In this case it's a sound designer of French origin but living in Canada, Julie Rousse that bases her technique on developments of electronic and electroacoustic improvisations into abstract narrative environments

04. ELÍN 
Track: As The Phoenix Arises Its Radiance Strikes The Sun 
Album: Dark Vault
Label: Enough Records

El netlabel belga Enough Records recientemente editaba una compilación de ambient oscuro titulada "Dark Vault", un total de 17 cortes a cargo de 13 artistas diferentes entre los que encontramos nombres conocidos, entre otros Ubeboet, Tirriddiliu, Erratic o Elín, la islandesa Elín Anna Steinarsdóttir, que utiliza sonidos de origen electroacústico donde las texturas electrónicas de mezclan con grabaciones de campo y olas de ruido

The Belgian netlabel Enough Records recently released a dark ambient compilation, "Dark Vault", with a total of 17 tracks by 13 different artists among who we find known names: between another nine, Ubeboet, Tirriddiliu, Erratic or Elín, the Icelandic Elín Anna Steinarsdóttir, who uses sounds of electroacoustic origin where electronic textures mix with field recordings and waves of noise

05. MERI VON KLEINSMID
Track: Idle_chatter 
Album: Three Works EP
Label: Stasisfield 

Desde Stasisfield (Illinois, USA), una artista residente en Seattle, Meri Von KleinSmid, quien lleva más de una década componiendo música experimental y arte sonoro, con una variedad de técnicas que van de la manipulación digital al collage pasando por la fonografía

From Stasisfield (Illinois, USA), an artist residing in Seattle, Meri Von KleinSmid, who has been composing experimental music and sound art for almost a15 years, with a variety of techniques that go from digital manipulation to collage and phonography

06. DALE LLOYD
Track: turba [imitable]
Album: Lateral Minor / Turba
Label: Stasisfield 

Continuamos en Stasisfield con otro artista de Seattle, Dale Lloyd, también conocido como director del sello and/OAR y por sus producciones a múltiples grupos de rock independiente durante los 90, aunque de un tiempo a esta parte se dedica esencialmente a trabajar con sonidos del entorno

In Lithuania another netlabel, Sutemos, that soon will move to cd format, releases the new tracks by the French Florin Fabien (3tronik), this is the first of the 10 tracks included in "Mirror", a more mature work that last year's debut "KOma Proj3ct", though very close to the Autechre school

07. 3TRONIK 
Track: Revel 
Album: Mirror
Label: Sutemos 

En Lituania otro netlabel, Sutemos, que pronto pasará a editar en cd, publica los nuevos temas del francés Florin Fabien (3tronik), escuchamos el primero de los 10 cortes que componen "Mirror", un trabajo más maduro que su debut del año pasado "KOma Proj3ct", aunque muy cercano a la escuela de Autechre

In Lithuania another netlabel, Sutemos, that soon will move to cd format, releases the new tracks by the French Florin Fabien (3tronik), this is the first of the 10 tracks included in "Mirror", a more mature work that last year's debut "KOma Proj3ct", though very close to the Autechre school

08. BLEVIN BLECTUM 
Track: Pelican Part One, Two, Three and Four
Album: Magic Maple 
Label: Praemedia / Bleakhouse

Blevin Blectum, mitad del difunto proyecto Blectum From Blechdom y parte de la formación audiovisual Sagan, junto a Ryan Junell, Lesser y Wobbly en la costa oeste norteamericana. Este es su tercera grabación en solitario, "Magic Maple", un disco en el que todo parece estar desencajado que edita desde Chicago el sello Praemedia

Blevin Blectum, half of the deceased project Blectum From Blechdom, and a part of the audiovisual outfit Sagan, next to Ryan Junell, Lesser and Wobbly in the US Western Coast. This is her third solo recording, "Magic Maple", a record in which everything seems to be disjointed, that releases from Chicago the Praemedia label

09. EXCEPTER 
Track: Give Me The Cave / Free From Muscles / Hallways / Drone / Breast Of The Wave Offering / The Fire And The Wood
Album: Ka 
Label: Fusetron

Cerramos desde Brooklyn con J.F. Ryan, integrante de la No-Neck Blues Band, y su proyecto Excepter, que vuelve a sonar unos meses después en nuestro programa tras la publicación en cd de su álbum "Ka", anteriormente editado en una limitada versión sólo en vinilo. El cd, una exploración del caos, incluye, aparte de las tomas originales, varios nuevos cortes procedentes del EP "Vacation", convenientemente mezclados en el contexto para la ocasión

We close from Brooklyn, with J.F. Ryan, component of the No-Neck Blues Band, with his Excepter project, that sounds some months later again in our program after the cd release of his album "Ka", previously only in vinyl version. The cd, an exploration of chaos, includes, apart from the original takings, several new tracks coming from the "Vacation EP", conveniently blended in the context for the occasion

______

Nota: Este mensaje no ha sido solicitado, pero consideramos que podría interesarte. De no ser así, responde con un mensaje titulado "borrame" y serás inmediatamente eliminado del mailing. Muchas gracias

Note: This is an undemanded message, but we have considered it could be interesting for you. If that’s not the case, then reply us with this subject for the message: "delete me", and you will be inmediately out from the mailing. Thank you


                
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 FILETIME=[C5814880:01C4F8E5]

andrew duke 'dead air alive cd' available now.

n-fold issue 1 up (a free pdf journal featuring work by richard chartier, 
tomas phillips, steinbrüchel/brusa, brandon labelle and john kannenberg.)

petite sale. all three cdr release for $15.

accepting submissions for n-fold issue 2 now.

www.petitesono.com



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From ???@??? Wed Jan 12 20:16:12 2005
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Date: Wed, 12 Jan 2005 15:16:05 -0500 (EST)
From: Abflug <xxxxxxxxxx@xxxxx.xx>
Subject: [microsound] Abflug news // new distro, upcoming gigs
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Abflug releases now available through eMusic.com
------------------------------------------------
We're happy to announce that our releases are now
available through eMusic, a New York- and San
Diego-based digital music distributor. eMusic is among
the top digital music services, offering a diverse
catalog of 500,000 tracks from established and
emerging artists in every genre from the world's top
independent labels. Founded in 1998, eMusic was the
first service to sell songs and albums in the popular
MP3 format and the first company to launch a digital
music subscription service.

Browse Abflug releases and buy MP3s at eMusic at
http://www.emusic.com/label/100/100828.html and find
out more about eMusic at www.emusic.com. 

Upcoming shows
------------------------------------------------
Jan 27: Abflug Special @ Mbar, Helsinki, Finland
- Karri O. and Antoine Verhaverbeke
Feb 10: Abflug Special @ Mbar, Helsinki, Finland
- Karri O. and Burdock
Feb 26: Karri O. (live) at Butane, Turku, Finland

Thank you for flying with us!
Abflug
electronic music and video arts
www.abflugrec.com

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

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From ???@??? Wed Jan 12 19:55:43 2005
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Date: Wed, 12 Jan 2005 20:55:32 +0100
From: Marco Messina <xxxxxxxxxx@xxxxxxxx.xx>
Subject: [microsound] Mousikelab artgallery
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Hello all,

you are invited to see the exposure of Luisa Montalto on our artgallery

http://www.mousikelab.it/artgallery/ndex.htm


all the best

marco messina
http://www.mousikelab.com/
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Date: Wed, 12 Jan 2005 12:38:42 -0600 (CST)
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I have a web from my proyect "Chiste" (its a new proyect of experimental electronic from Chile), but in any case... (check the link "community").
 
http://www.mikamartini.scd.cl/Chiste_index.htm
 
Mika Martini.

Ben <xxxx@xxxxxxxxxx.xxx> wrote:
is there a web reference for " microsound and sound art " related works 
( not techno, electronica, or idm ) happening in south america ?

the khora.org page looks impressive, but links to people are all 404.

thanks for any help -

ben

On Jan 11, 2005, at 11:43 AM, Manrico Montero wrote:

> Greetings from Mexico City,
>
>
> http://www.khora.org
>
>

www.seasonalbk.net


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------------------------------------------- 
[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 ???@??? Wed Jan 12 17:36:11 2005
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 Montero + Karras - Free MP3
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is there a web reference for " microsound and sound art " related works 
( not techno, electronica, or idm ) happening in south america ?

the khora.org page looks impressive, but links to people are all 404.

thanks for any help -

ben

On Jan 11, 2005, at 11:43 AM, Manrico Montero wrote:

> Greetings from Mexico City,
>
>
> http://www.khora.org
>
>

www.seasonalbk.net


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From ???@??? Wed Jan 12 17:09:46 2005
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Date: Wed, 12 Jan 2005 17:09:49 +0000
From: Richard Whitelaw <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: Re: [microsound] wanna buy curtis roads cd('s)
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Hi Sofus

Buy the point-line-cloud DVD from asphodel. Release has been delayed but is
imminent they tell me.

It amazing. Trust me.

Richard

On 12/1/05 4:11 pm, "Sofus Forsberg" <xxxxx@xxxxx.xx> wrote:

> hi everybody
> 
> i'm looking for some curtis roads cd's
> i have looked around the web and couldn't find anything.
> maybe i'm just really bad at searching, but if anybody have any clues to
> where i could order, please let me know
> 
> sofus
> 
> 
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From ???@??? Wed Jan 12 17:06:19 2005
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From: Matthew Mitchell <xxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] wanna buy curtis roads cd('s)
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You could try the CCMIX 2 cd collection on Mode records.  Its got a bunch of stuff from different composers, all associated
with that institute in Paris: Xenakis, Julio Estrada, Jean-Claude Risset.  There's a couple pieces by Roads on there.  Those
are the only pieces of his I've seen anywhere, actually.

The above CD is still available in the US, I believe, not sure about elsewhere.

-matt 

>>hi everybody

i'm looking for some curtis roads cd's
i have looked around the web and couldn't find anything.
maybe i'm just really bad at searching, but if anybody have any clues to
where i could order, please let me know

sofus





www.mattmitchell.us  
Listen to free music, read the blog, sign the guestbook!

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From ???@??? Wed Jan 12 16:07:58 2005
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Subject: [microsound] Article on the changing nature of technological sounds
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an interesting short article about the changing nature of technological 
  sounds and the smithsonians attempt to preserve them:
http://www.fortwayne.com/mld/journalgazette/news/nation/10549422.htm


R I C H A R D C H A R T I E R

http://www.3particles.com
xxxxxxxx@xxxxxxxxxx.xxx

<<<
CD . Chessmachine ( with Ivan Pavlov/COH) [ Mutek_rec, Canada]
4xCD . Edition [ LINE, US ]
CD . Set or Performance [ LINE, US ]
CD . Kapotte Muziek [ Korm Plastics, NL ]

 >>>
CD . "retrieval#3" on Placodes [ n160, Japan ]
LP+CD . Retrieval [ ERS, Netherlands ]
LIVE . Presences Electroniques/GRM [ Paris, France ] Feb 19
LIVE . Chessmachine @ LAMOCA [ Los Angeles ] Feb 25
DJ . MIES @ Blueroom [ Washington, DC ] www.3particles.com/mies

DOWNLOAD . PS1/MOMA Slipstream Radio Set
http://www.wps1.org/include/shows/Sonorama.html#slipstream
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hi everybody

i'm looking for some curtis roads cd's
i have looked around the web and couldn't find anything.
maybe i'm just really bad at searching, but if anybody have any clues to
where i could order, please let me know

sofus


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From ???@??? Wed Jan 12 16:07:43 2005
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hi everybody

this list is GREAT.

my name is sofus forsberg.

i'm an electronic music maker....!!!

things i have done:

played in danish heavy funk/rap metal band in the 90's (guitar) in the style
of helmet, meshuggah, RATM, living color, 24/7 spyz etc.

started messing around with computers, and computermusic '97.

worked as an electronic equipment consultant in a major music store.
(synthesizers, samplers, speakers, outboard gear, digital equipment)

released an album 2002,

played lots of concerts....!

began taking a master degree in electronic music composition on the royal
danish academy of music 2004 with leafcutter john as my compositional
teacher.

hope to have good discussions with y'all in the future....

all the best 

sofus forsberg
aarhus - denmark

please check my homepage:

www.sofusforsberg.com



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From ???@??? Wed Jan 12 15:52:30 2005
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Subject: Re: [microsound] nicron sound comp - call for works
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hi,
we are interested... please visit: http://www.mikamartini.scd.cl/Chiste_index.htm
 
Saludos! Mika Martini

xxx@xxxxxxxxxxx.xx wrote:
hi,
maybe you're interested...

i'm waiting for contemporary electronic music works, sound compositions,
which are made on the basis of the following samples and sequences
(check http://porousher.hu for more details), including the free usability
of the sounds, which are previously used in nicron tracks. so, the only
condition is that the competitor should use only the samples of nicron, but
the processing methods are free, any software, any hardware, procedures and
technology are acceptable.

nicron [http] porousher.hu [uin] 153.023.627

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------------------------------------------- 
[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 ???@??? Wed Jan 12 15:52:23 2005
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Date: Wed, 12 Jan 2005 07:52:16 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] box 'O CD's/outboard
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sorry but the 1 box I had to send off has already been claimed...I'm 
sure there will be a box #2 but I'm still trying to clear out some 
stuff from my studio...
anyone need any outboard gear? these items are *NOT FREE* but I have a 
dbx stereo enhancer, a peavey graphic stereo EQ and a Niche fader box 
styled MIDI controller...email me off list if you're interested...they 
are all going for cheap cheap cheap...


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From ???@??? Wed Jan 12 15:08:10 2005
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Subject: [microsound]  electro-music 2005 (Phila,PA)
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 FILETIME=[84295A30:01C4F8B8]

Some on this list should be interested:

>
>Call for participation
>
>We proudly announce electro-music 2005_(TM) , a three day international
>conference/music festival to be held at the Cheltenham Art Center in
>Philadelphia, June 3 - 5, 2005. The program will include lectures,
>demos, jam sessions, and concerts.
>
>The scope of this festival is very broad, covering all aspects of
>electro-music, experimental electronic music, including circuit bending,
>computer music, electro-jazz, modular synthesis, musique concrete,
>improvisation, noodles (generative music, automatic and algorithmic
>composition), multi-media, visual art and much more. The focus will be
>on participant involvement, sharing, community development, audience
>education, and great music.
>
>Electro-music.com <http://electro-music.com> is an international
>community of composers and musicians that share a passion for
>electro-music. The community exists to create its own critical mass; to
>enable its members to develop music on their own terms. Electro-music is
>new music; still undefined; happening all over our planet. Electro-music
>is the natural result of two techno/social trends: the availability of
>low-cost powerful electronic music technology, and the communication
>revolution enabled by the internet. Electro-music is not defined by a
>particular style or sound, but by its primary motivation being the joy
>of creation, and the love of electronic sounds; it crosses many genres.
>For more information visit the event's web site.
><http://event.electro-music.com/>
>
>Participation can consist of lectures, talks, tutorials, demos,
>performances, robotic sculpture, presentations, concerts, automatic
>music, or other appropriate expression. If you would like to contribute
>to electro-music 2005 follow the instructions in one of the following
>guideline documents:
>
>       For speakers <http://electro-music.com/event.php?t=4698>
>       For performers <http://electro-music.com/event.php?t=4697>
>       For demos <http://electro-music.com/event.php?t=4699>
>
>
>
>
>



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i have an idea for a microsound project . lets all compose a work that is over one minute and is no more than 56k in size [wav or mp3]
-t
--Boundary_(ID_mxKHF7zOW4LOXk7ZlRZQ2A)--

From ???@??? Wed Jan 12 13:56:24 2005
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for those of you in the milano area in italy...

--
Milano
14.01.05

Staubgold Sound System,
'music out of place'

23.00hrs
Otolab, audiovisual opening set

24.00hrs
Staubgold Sound System
(visuals: Otolab)

Cox18
via Conchetta 18
Milano

--
Markus Detmer and Tim Tetzner, Staubgold founder and owner of the Dense 
record store in Berlin respectively,
will perform in Cox18 a composite set, the outcome of a collaborative 
effort whose aim is to explore and deliver
what they customarily refer to as “music out of place”.

Otolab presents an opening set with an audio livemix of unpublished 
tracks and samplings by Dies Ordre, Maikko and Mud.
The visuals for both sets have been realized by FD, Orgone and Xo00, 
expressly tailored for Cox18's stage.

--
http://www.staubgold.com
http://www.otolab.net

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Date: Wed, 12 Jan 2005 12:54:34 +0000
From: Richard Whitelaw <xxxxxxx@xxxxxxxxxxxxxxxx.xxx>
Subject: [microsound] Expo 966 call - final reminder!
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SONIC ARTS NETWORK PRESENTS EXPO 966
THE ANNUAL SAN EXPOSITION
17-20 JUNE 2005
In conjunction with University of Hull, Scarborough Campus
 
Expo 966 is an opportunity to showcase the work of the best UK
practitioners, to meet, listen and respond. After the success of last year¹s
highly eclectic event in Leicester the focus now shifts northward with a
packed weekend of SAN curated action hosted in association with The
University of Hull, Scarborough Campus. This weekend of performance,
exhibition and presentation will take place across a variety of public
venues and spaces in Scarborough including concert halls, bars and
nightclubs, each reflecting the unique culture of this northern seaside
town. The weekend aims to highlight the broadest possible range of
approaches and thinking that surrounds the sonic arts. We welcome
submissions of all kinds.
 
There is no charge for the submission or acceptance of work, and indeed
entry to the weekend continues to be free to all members of Sonic Arts
Network with most events free to all members of the public. We do ask that
selected artists attend the event. This call is open to all UK practitioners
and all international members of Sonic Arts Network.
 
Call for Works, Papers and Commission Proposals
 
Submissions
 
Submissions are sought in all forms of sonic art including real-time
interactive works, improvisation with technology, experimental electronica,
instrumental/electroacoustic mixes, acousmatic music, installations,
environmental sound work, performances, internet-based creative work, sound
and image works and cross-arts work. Though we welcome submissions of all
kinds we are particularly keen to receive submissions that reflect in some
way the cultural context of Scarborough.
 
Works must have been created after January 2004.
 
Some resources are limited and, for example performers must be supplied by
the submitting artists, however a range of performance and presentation
spaces will be available at The Spa Centre on the Scarborough seafront
(including a large auditorium with open stage and a generous bar space
suitable for less formal concert presentation) and the Campus Centre,
University of Hull Scarborough Campus  (including two performance spaces, a
bar space equipped with PA system and video projection and multiple rooms of
various sizes for the presentation of installation work). There is also
scope for outdoor performance and we will be staging late bar gigs on every
night of the conference including a Friday evening opening gig at the Ocean
Room at the Spa Complex on the Scarborough seafront and an exclusive
electro-cabaret event for late Saturday night.
 
Available equipment will include: a multi-channel sound diffusion system
catering for projection of stereo and multi-channel works (ADAT or hard
disk) and smaller, adaptable stereo systems suitable for installation work,
Macintosh G5 (dual processing) and G4 computers (OSX and OS9.2) with
Digi001, 002 and MOTU 828 Firewire (mark one) audio interfaces. Video
projection facilities are also available.
 
 
Research Papers
 
Aurality and Identity
 
Aurality and Identity is the theme of the final day of the conference
(Monday 20 June 2005) that will be devoted to research presentations
relating to the ever-increasing presence, and wider understanding of, the
social implications of sound. This is to include the use of sound in
projects and works that address concepts of cultural, social and political
identities as well as the role played by aurality in learning and
communication with regard to social development and education theory.
Presentations may take the form of written papers or discussions of
creative, research or practical work (including work in progress).
Presenters should plan for 20 minutes presentation time and a further 10
minutes discussion time will be allowed.
 
Submission Guidelines
 
Submissions of papers and works should include:
 
_ Title of work/paper
_ Name of author(s)
_ Contact details (name, address, telephone/fax, email, URL)
_ Brief bio (150 words max.)
_ Description of artistic concept (250 words max.)/Abstract summary of paper
(500 words max.)
_ For artistic submissions, the role of technology in realisation of work
(100 words max.)
_ Technical resources required for presentation (specifying those that can
be supplied by the artist in the case     of artistic submissions)
_ For artistic submissions an audio/video example of work (CD or link to www
site)
 
*Please note, we require the written information to be emailed to Dan Stone
at xxx@xxxxxxxxxxxxxxxx.xxx and clearly labelled hardcopy of examples of
work to be sent to:
 
Expo 966
Sonic Arts Network
The Jerwood Space
171 Union St
London
SE1 OLN
United Kingdom
 
Deadline for proposals: 31 January 2005
 
Commissions
 
In addition to our call for existing works, we are once again pleased to
offer two commission opportunities for the creation of new works to be
premiered at the Conference. Proposals for work are invited from British
artists or artists living and working in the UK. A sum of £1000 is offered
for the creation, production and realisation of new work.
 
Place, Environment, Location, Identity
 
Works that address these themes and specifically the context of Scarborough,
it¹s landscape, environment, history, culture and people are particularly
encouraged.
 
Commission proposals should include:
 
_ Title of work
_ Your name
_ Your contact details (name, address, telephone/fax, email, URL)
_ A brief biography (150 words max.)
_ Audio/video example of your previous work (or link to www site)
_ A Description of the artistic concept to be commissioned (500 words max.)
_ The technical resources required for the presentation (specifying those
which will be supplied by the artist)
_ A simple budget specifying your fee, the production and material costs,
presentation/performance costs, other costs (and any other sources of
funding where required)
 
*Please note, we require the written information to be emailed to
xxx@xxxxxxxxxxxxxxxx.xxx and clearly labelled hardcopy examples of work to
be sent to:
 
Expo 966 Commissions
Sonic Arts Network
The Jerwood Space
171 Union St
London
SE1 OLN
United Kingdom
 
Commission proposals should be clearly labelled and reach the Sonic Arts
Network office by January 31 2005
 
The time-scale for creation and completion of work is 1 March 2005 to 1 June
2005 and proposals should demonstrate a strategy/timetable for successful
completion within this period.
 


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From ???@??? Wed Jan 12 10:15:33 2005
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From: xxx@xxxxxxxxxxx.xx
Subject: [microsound] nicron sound comp - call for works
To: xxxxxxxxxx@xxxxxxxxx.xxx
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hi,
maybe you're interested...

i'm waiting for contemporary electronic music works, sound compositions,
which are made on the basis of the following samples and sequences
(check http://porousher.hu for more details), including the free usability
of the sounds, which are previously used in nicron tracks. so, the only
condition is that the competitor should use only the samples of nicron, but
the processing methods are free, any software, any hardware, procedures and
technology are acceptable.

nicron [http] porousher.hu [uin] 153.023.627

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From ???@??? Wed Jan 12 05:04:39 2005
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Date: Wed, 12 Jan 2005 00:04:32 -0500
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Subject: Re: [microsound] hola
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on 1/11/04 5:30 PM, Bill Jarboe at xxxxxxxxxx@xxxxxxxxx.xxx wrote:

> 
> hi,
> 
> i really like the look of the blog. i'm not sure about the 'rere and
> jastino' sample , though it's a good kind of not sure.
> 
> 
> 
> 
> 
> 
> 
> On Jan 11, 2005, at 1:35 AM, takahiro kawaguchi wrote:
> 
>> hallo friends.
>> I newly made the homepage. The sample of some sounds is set up there.
>> If you check it, I might be very happy. And, to be going to keep
>> taking contacting with you in the future, I made these....
>> 
>> thanks
>> all the bests.
>> 
>> check my web site
>> http://www.eonet.ne.jp/~rere/
>> 
>> blog
>> http://port.jugem.cc/
>> 
>> rere/takahiro kawaguchi
>> 
>> e-mail
>> xxxxxxxx.xxxxxxxxx@xxxxx.xxx
>> 
>> 
> Bill
> 
> 
> 
> 
> direct strategy # 943: talk interesting nonsense until someone forces
> you to stop.
> 
> 
> ---------------------------------------------------------------------
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> 

"though it's a good kind of not sure"

:)


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From ???@??? Wed Jan 12 04:32:04 2005
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Date: Tue, 11 Jan 2005 20:31:36 -0800
From: Trevor Mcpherson <xxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Mac mini for microsounders
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Hmmmm....
A step towards replacing the home entertainment centre with one shiny 
little box?
The magpie in me is excited - like I need another shiny digital device.

On 11-Jan-05, at 11:28 AM, Kim Cascone wrote:

> http://www.apple.com/macmini/
>
> not vaporware after all
>
>
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From ???@??? Wed Jan 12 02:24:32 2005
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Date: Tue, 11 Jan 2005 18:24:23 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] box 'O CD's
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....goes to Brian Klein...I'll contact Brian off list to make 
arrangements
:)
KIM


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From ???@??? Wed Jan 12 00:31:15 2005
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Date: Tue, 11 Jan 2005 19:31:18 -0500
From: andrew jones <xxxxxxxxx@xxx.xxx>
Subject: Re: [microsound] [canada]: Digital distribution to iTunes, Napster,
 Rhapsody,        MusicMatch and more!
In-reply-to: <BE09D436.19FCF%xxxxxx@xxxxxx.xx>
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CDbaby.net
has offered this for years for almost
nothing, and there's a few other digital
distros that do it for 20% of a releases
profits. really 100 bucks to digitally distribute
something? i mean it costs you nothing but time.

peace,
a

On Jan 11, 2005, at 7:06 PM, tobias c. van Veen wrote:

> Of interest -- (although a direct deal can be done with iTunes, I am
> guessing this speeds things up a bit). tV
>
>
> tobias c. van Veen -----------++++
> http://www.quadrantcrossing.org --
> http://www.thisistheonlyart.com --
> McGill Communication + Philosophy
> ICQ: 18766209 | AIM: thesaibot +++
>
> ------ Forwarded Message
> From: "Indie Pool" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Reply-To: "Indie Pool" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Date: Tue, 11 Jan 05 18:19:14 -0500
> To: "xxxxxx@xxxxxx.xx" <xxxxxx@xxxxxx.xx>
> Subject: Digital distribution to iTunes, Napster, Rhapsody, MusicMatch 
> and
> more!
>
> First of all, Happy New Year to you and your family from us here at 
> Indie
> Pool.  We believe 2005 will be a ground breaking year for Canadian
> independent recording artists.  We anticipate major changes to the 
> worldwide
> digital distribution network; modifications to Canadian content rules 
> that
> will finally meet independent music requirements; and the introduction 
> of
> satellite radio in Canada. Indie Pool will continue to be at the 
> forefront
> for each of these issues.  And now for the first order of business for 
> 2005:
>
> Indie Pool is proud to announce the continued expansion of its digital
> distribution program.  After months of negotiations with many parties, 
> Indie
> Pool has secured distribution to the world's largest digital retailers 
> for
> Canada's independent recording artists.  Starting February 1st, Indie 
> Pool's
> digital distribution program will not only include Puretracks, but the
> following retailers too:
>
> NEW STORES :  iTunes, Napster, Rhapsody, MusicMatch, Audio Lunchbox,
> MusicNow, MSN Music Service, Downloadpunk.com, Sony Connect, MusicNet,
> Liquid Audio, Australia's Destra, eCast, Wippit, and Musicstream.
>
> PURETRACKS U.S. : Last year, Indie Pool secured front of the line 
> service
> for Canada's indies through Puretracks, Canada's leading legal digital
> download store.  Puretracks recently announced the launch of its US 
> store
> which makes Canadian independents available on Puretracks in the United
> States.
>
> SAME PRICE : $100 to distribute a full length album or $50 for a 
> single.
> Artists already signed up with Puretracks may expand their coverage 
> free of
> charge, by signing an updated agreement.
>
> OUR CUT : Artists will receive 90% of all revenues received from 
> digital
> sales, Indie Pool keeps a 10% processing fee.
>
> MORE INFO : Please visit http://www.indiepool.com/digidistro or call
> 1-888-88-INDIE toll free and speak to your Indie Pool Artist Rep for 
> further
> details.
>
>
>
>
>
>
> ------ End of Forwarded Message
>
>
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>
Andrew Jones
912 Euclid Ave.
Birmingham, AL, 35213
407-927-7607
blog: dignifieddevil.blogspot.com  ----  aim: liminal18


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From ???@??? Wed Jan 12 00:06:33 2005
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Date: Tue, 11 Jan 2005 19:06:30 -0500
From: "tobias c. van Veen" <xxxxxx@xxxxxx.xx>
Subject: [microsound] [canada]: Digital distribution to iTunes, Napster,
 Rhapsody,        MusicMatch and more!
In-reply-to: <xxxxxxxxxxxx.xxxxxxxxxxxxxx@xxxx.xxxxxxxx.xxxxxxxxx.xxx>
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Of interest -- (although a direct deal can be done with iTunes, I am
guessing this speeds things up a bit). tV


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

------ Forwarded Message
From: "Indie Pool" <xxxxxxxxxx@xxxxxxxxx.xxx>
Reply-To: "Indie Pool" <xxxxxxxxxx@xxxxxxxxx.xxx>
Date: Tue, 11 Jan 05 18:19:14 -0500
To: "xxxxxx@xxxxxx.xx" <xxxxxx@xxxxxx.xx>
Subject: Digital distribution to iTunes, Napster, Rhapsody, MusicMatch and
more!

First of all, Happy New Year to you and your family from us here at Indie
Pool.  We believe 2005 will be a ground breaking year for Canadian
independent recording artists.  We anticipate major changes to the worldwide
digital distribution network; modifications to Canadian content rules that
will finally meet independent music requirements; and the introduction of
satellite radio in Canada. Indie Pool will continue to be at the forefront
for each of these issues.  And now for the first order of business for 2005:

Indie Pool is proud to announce the continued expansion of its digital
distribution program.  After months of negotiations with many parties, Indie
Pool has secured distribution to the world's largest digital retailers for
Canada's independent recording artists.  Starting February 1st, Indie Pool's
digital distribution program will not only include Puretracks, but the
following retailers too:

NEW STORES :  iTunes, Napster, Rhapsody, MusicMatch, Audio Lunchbox,
MusicNow, MSN Music Service, Downloadpunk.com, Sony Connect, MusicNet,
Liquid Audio, Australia's Destra, eCast, Wippit, and Musicstream.

PURETRACKS U.S. : Last year, Indie Pool secured front of the line service
for Canada's indies through Puretracks, Canada's leading legal digital
download store.  Puretracks recently announced the launch of its US store
which makes Canadian independents available on Puretracks in the United
States. 

SAME PRICE : $100 to distribute a full length album or $50 for a single.
Artists already signed up with Puretracks may expand their coverage free of
charge, by signing an updated agreement.

OUR CUT : Artists will receive 90% of all revenues received from digital
sales, Indie Pool keeps a 10% processing fee.

MORE INFO : Please visit http://www.indiepool.com/digidistro or call
1-888-88-INDIE toll free and speak to your Indie Pool Artist Rep for further
details.






------ End of Forwarded Message


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From ???@??? Wed Jan 12 00:26:41 2005
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Date: Tue, 11 Jan 2005 15:49:53 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] studio clean up
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I'm cleaning out my studio after my fall trip loaded me up with more 
CD's than I can store in my small work space...
these are all demos and actual indie releases by people I've met on the 
road...please do not be offended if your CD happens to be in the pile 
but I would rather recycle these than toss them into the bin...
so the first person to contact me off list will get a small box of CD's 
for the price of shipping
please do NOT ask me to list what is in the box...consider it a grab 
bag of microsound and experimental music goodies I've collected in 2004
all I ask is that you pay for shipping -  something like $3.00 for 
US/Canada and $6.00 for EU would work for me
there are approx 25 CD's in the box in various styles of packaging...

first person to contact me off list and pay me postage gets the box

xxx@xxxxxxxxxxxxx.xxx


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From ???@??? Tue Jan 11 21:11:20 2005
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Date: Tue, 11 Jan 2005 22:11:12 +0100
From: punck <xxxx@xxxxx.xxx>
Subject: [microsound] ctrlaltcanc records(?) new release : SINISTRI
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Hi people,
News from CtrlAltCanc Records (?)
http://www.ctrlaltcanc.tk

another great Mp3 Release:

ctrl20: SINISTRI " The Raum Bathroom Report, Exc. #2 (Vamp in E)"

from the Sinistri++ "Black Pulse vs White Space" project.
Recorded with a camera mic, 11/11/2004 at Raum, Bologna (Italy).
Manuele Giannini: guitar, amp.
Roberto Bertacchini: drums.
Alessandro Bocci: contact mic , mixer, space echo, synth, turntable

Free downloadble here:
http://www.ctrlaltcanc.tk

Thanx a  lot for your time

Have a nice 2k+5

Ciao
Ctrl+Alt+Canc

feedback necessary!!!


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From ???@??? Tue Jan 11 19:29:14 2005
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Date: Tue, 11 Jan 2005 11:28:53 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] Mac mini for microsounders
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http://www.apple.com/macmini/

not vaporware after all


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From ???@??? Tue Jan 11 18:33:02 2005
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Date: Tue, 11 Jan 2005 13:32:47 -0500
From: xxxxxxxxxxx@xxx.xxx
Subject: [microsound] Linux audio residency opportunity
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Hi
Please forward at will.
-- 
best,
Jake

-------------------------------
INVITATION TO TENDER

OSAudio residency

[Audio artist/producer/composer in residence at Access Space, April
2005]

Deadline for applications: 4th Feb 2005
Decision made and applicants informed mid Feb 2005.
Fee: £3500 sterling (approx 5000 Euros @ 6th Jan 2005)

Access Space, Sheffield's lowtech digital arts organisation, is
currently calling for applications for a month-long, audio residency.

Access Space is a free media lab in Sheffield's Cultural Industries
Quarter, offering open access to people with a range of knowledge and
experience of technology. We are looking for an artist to develop their
project using the recycled/reclaimed "redundant" technology and
open-source software available in Access Space.


The aims of the residency are:
1] To offer an artist/producer/composer the chance to develop ideas
using only open-source software (on the Linux operating system) in a
supportive environment.
2] To offer the users of Access Space an introduction to the creative
process of making new work.
3] To produce a finished piece of work (see below for further details).


The Residency:
The OSAudio residency will take place in April 2005 (exact times/dates
to be agreed). The successful applicant will get the opportunity to work
for one month (or 20-day equivalent) in Access Space's open environment,
with a degree of technical support and advice available from Access
Space staff. As part of the residency, the artist will run 2 workshop
sessions relating to the work involved in their residency, and an
informal presentation for Access Space participants and members of the
public. The resident will also document their residency in the form of
an online diary.

Available software includes the Planet CCRMA software, with PD,
Rosegarden, Ardour, Jack, Audacity, Supercollider Server etc etc.
Applicants should consider that part of Access Space's ethos is to only
use recycled/donated hardware. Therefore, the available hardware is a P3
800Mhz machine with Sound Blaster sound card. The majority of the
work-time will be monitored using headphones, due to Access Space being
a publicly accessible project.


The Work:
We hope to encourage a broad range of applications covering all types of
audio production, be they electronica, sound art, or more traditional
recording practices using open-source software. Proposals can be to
produce one or more specific audio works, or for development of patches,
code or software. However, the resident should aim to have a completed
product within the duration of the residency. The finished work will
then be available for download from the internet.


The Fee:
A fee of £3,500 will be offered to the successful applicant, subject to
the successful completion of the residency. A small contribution towards
travel and accommodation expenses may be available where appropriate.


How to submit your proposal:
Please email or post us a proposal, of not more than 2 sides of A4 plus
your CV, including details of your experience of working with
open-source music software, your reason for applying, the starting
point/s for your project and how you would approach the commission.

Access Space welcomes applications from all sectors of the community
irrespective of age, disability, race, religion, gender or sexual
orientation.


Please address the following points in your application:
1 - what form the finished work would take.
2 - how you propose to engage with the participants at Access Space.
3 - how much technical support would you need.
4 - how feasible is your project in the time available.
5 - what makes using open-source software particularly appropriate for
your project?

For more information, questions regarding hard/software, or to mail your
proposal:
Access Space
1a Sidney Street
Sheffield
S1 4RG
UK

0114 2495522
www.access-space.org
xxxxxx@xxxxxx-xxxxx.xxx

Access Space is UK registered charity no: 1103837

Access Space gratefully acknowledges financial support from the PRS
Foundation, Arts Council England (Yorkshire), and Digital South
Yorkshire.

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




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From ???@??? Tue Jan 11 18:15:46 2005
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From: Manrico Montero <xxxxxxxxxxxxxx@xxxxx.xxx.xx>
Subject: [microsound] Manrico Montero + Karras - Free MP3
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--Boundary_(ID_AlIkCy9rVy2ItSkdVDZgow)
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sorry if i send it these email twice but i didn't receive the email so i was paranoid etc,
 
Greetings from Mexico City,
 
just to share some of my stuff with the list,
 
as Manrico  
http://www.soundclick.com/bands/8/manricomonteromusic.htm

as Karras  

http://www.soundclick.com/bands/7/karrasmusic.htm

:)
 
Manrico Montero
 
 
http://www.khora.org
 
http://www.filtro.com.mx
 





---------------------------------
Do You Yahoo!?
Yahoo! Net: La mejor conexión a internet y 2GB en tu buzón de Correo Yahoo! por $100 al mes.
--Boundary_(ID_AlIkCy9rVy2ItSkdVDZgow)--

From ???@??? Tue Jan 11 17:04:21 2005
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From: John Nowak <xxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] life is random.
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On Jan 10, 2005, at 5:33 PM, b.phenix wrote:

> perhaps Xenakis and Cage have been playing on the iPods a lot over at 
> 1 Infinity Loop.

My thoughts exactly. :-)

- John


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From ???@??? Tue Jan 11 16:43:45 2005
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Subject: [microsound] Manrico Montero + Karras - Free MP3
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--Boundary_(ID_Ir7NP6ntuRnBSw24U9GHbQ)
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Greetings from Mexico City,
 
just to share some of my stuff with the list,
 
as Manrico  
http://www.soundclick.com/bands/8/manricomonteromusic.htm

as Karras  

http://www.soundclick.com/bands/7/karrasmusic.htm

:)
 
Manrico Montero
 
 
http://www.khora.org
 
http://www.filtro.com.mx
 



---------------------------------
Do You Yahoo!?
Yahoo! Net: La mejor conexión a internet y 2GB en tu buzón de Correo Yahoo! por $100 al mes.
--Boundary_(ID_Ir7NP6ntuRnBSw24U9GHbQ)--

From ???@??? Tue Jan 11 15:19:00 2005
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From: xxxxxxxxx@xxxxxxx.xxx
Subject: [microsound] !! generative audio ^%
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hello list and happy 2005 to all,

i hope everyone had happy holidays and has great things planned for the 
new year... with that said...

i have found a strong interest inside me which had not existed prior and 
that being in the generative audio processing field... i am curious as 
to see if ppl could share links to either music in this field, or to 
research papers, communities, boards and forums, advice, and your own 
personal experience. i recently have started using koan pro myself, and 
am eagerly awaiting any replies i may get regarding this field... reply 
on list or off at your discretion... i apologise if this topic has been 
mentioned before and i am thanking you in advance...

the more it changes, the more its the same thing,

d.



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From ???@??? Tue Jan 11 09:35:53 2005
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hallo friends. 
I newly made the homepage. The sample of some sounds is set up there.
If you check it, I might be very happy. And, to be going to keep
taking contacting with you in the future, I made these....

thanks 
all the bests. 

check my web site 
http://www.eonet.ne.jp/~rere/ 

blog 
http://port.jugem.cc/

rere/takahiro kawaguchi 

e-mail 
xxxxxxxx.xxxxxxxxx@xxxxx.xxx

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From ???@??? Tue Jan 11 09:32:27 2005
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hallo friends. 
I newly made the homepage. The sample of some sounds is set up there.
If you check it, I might be very happy. And, to be going to keep
taking contacting with you in the future, I made these....

thanks 
all the bests. 

check my web site 
http://www.eonet.ne.jp/〜rere/ 

rere/takahiro kawaguchi 

e-mail 
xxxxxxxx.xxxxxxxxx@xxxxx.xxx

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From ???@??? Wed Jan 12 07:59:59 2005
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Date: Tue, 11 Jan 2005 10:18:48 +0100
From: nicola catalano <xxxxxx@xxxxxx.xx>
Subject: [microsound] [ot] for mac fans :-)
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http://www.geocities.co.jp/Stylish/5910/imactip.htm



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

{ { 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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From ???@??? Mon Jan 10 22:32:43 2005
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> > >> if i was moderator , he would be banned

maybe you should be the "moderator" but then i would be the first to be 
off the list


> > > "He who is without sin among you, let him be the first to throw a 
> >stone.
what kind of sin do you speak of?
 


On 8 Jan 2005 at 21:52, bil bo wrote:

> surely any possible negative reprecussions of such a message would affect 
> no-one in the group other than myself?
> 
> im truely sorry if i upset anyone though..
> 
> >From: precursor <xxxxxxxxx@xxxxxxxxx.xxx>
> >Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
> >Subject: Re: [microsound] Completion of my first album
> >Date: Sat, 08 Jan 2005 13:21:47 -0500
> >
> >on 1/8/05 12:48 PM, tkrakowiak at xxxxxxxxx@xxxxxxxxx.xx wrote:
> >
> > > On Sat, 08 Jan 2005 10:47:36 -0500, precursor <xxxxxxxxx@xxxxxxxxx.xxx>
> > > wrote:
> > >
> > >> on 1/8/05 9:21 AM, visa k. at xxxx.xxxxxx@xxxxxxx.xx wrote:
> > >>
> > >>> Dude, develope some discretion.
> > >>>
> > >>> Obtuse as hell to ask that on a public mailing list.
> > >>>
> > >>> ~visa
> > >>>
> > >>> ----- Original Message -----
> > >>> From: "bil bo" <xxxxxxxxxxxxxxxx@xxxxxxx.xxx>
> > >>>
> > >>>> any idea where i could download a hacked copy of metaphysical
> > >>>> function/electronic instruments 2?
> > >>>> also, if anyone could help me find a hacked max/msp for the pc i 
> >would
> > >>>> be
> > >>>> extremely greatful.
> > >>>>
> > >>>
> > >>>
> > >>> ---------------------------------------------------------------------
> > >>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> > >>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> > >>> website: http://www.microsound.org
> > >>>
> > >>
> > >> if i was moderator , he would be banned
> > >>
> > >
> > > "He who is without sin among you, let him be the first to throw a 
> >stone.."
> > >
> >
> >stone?? umm, ain't that cruel..
> >
> >
> >---------------------------------------------------------------------
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> >
> 
> 
> 
> ---------------------------------------------------------------------
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> 


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From ???@??? Mon Jan 10 22:33:36 2005
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Date: Mon, 10 Jan 2005 17:37:25 -0500
From: graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] reaktor 4 emsembles?
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wondering if there are any other websites that host downloadable user
made reaktor 4 ensembles aside from the official site? i've thoroughly
pillaged the official user library and i'm hungry for more...

best,

g.


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From ???@??? Mon Jan 10 22:37:06 2005
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on 1/10/05 5:37 PM, graham miller at xxxxxxxxxxxx@xxxxxxxxx.xx wrote:

> wondering if there are any other websites that host downloadable user
> made reaktor 4 ensembles aside from the official site? i've thoroughly
> pillaged the official user library and i'm hungry for more...
> 
> best,
> 
> g.
> 
> 
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 

heres a few :)


http://tinyurl.com/4rgus

http://tinyurl.com/3qpjw

http://tinyurl.com/44nmk

http://www.semaforte.com/reaktor/


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perhaps Xenakis and Cage have been playing on the iPods a lot over at 1 
Infinity Loop.

http://www.macitynet.it/english/aA20182/index.shtml
reportedly banners from the setup at macworld. 
  


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From ???@??? Mon Jan 10 19:04:46 2005
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 Chicago
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Hello,
 
This coming Thursday there will be a performance at Heaven Gallery which we hope you can attend.  
 
January 13th, 2004
7pm door
 
Peter Brotzman / Fred Lonberg-Holm duo
Jim Baker / Michael Zerang duo
Rob Drinkwater / Jason Soliday / Brian Labycz trio
Dragons 1976
 
$7
Heaven Gallery
1550 N Milwaukee
2nd floor
Chicago, IL
info: xxxxx@xxxxx.xx or 773-342-4597
 
 
Thank you,
b.labycz

--Boundary_(ID_hdFB7Futp7+WpF0vMQT1YA)--

From ???@??? Mon Jan 10 17:29:54 2005
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From: ". m u r m e r ." <xxxxxx@xxxxxx.xxx>
Subject: [microsound] [playlist] framework - 24.12.04 / 31.12.04
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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: 14.01.05
~ time zone converter: http://www.thesaturnv.com/converter.html


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

 

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


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

hi all - welcome to the first framework playlist of 2005.  this is essentially just a quick note to apologise to those of you who may have tuned in to catch the repeat of the framework:focus edition featuring jeph jerman on the 22nd of december.  it has been brought to my attention that the wrong edition was aired (although hopefully you enjoyed having another chance to catch the chris watson show!), but to make it up to you, we will be repeating the jerman edition at a special time this friday:

framework:focus featuring the work of jeph jerman, will be repeated this friday, the 14th of january, at 4:30pm gmt (check the time zone converter above for local times).

friday is also the date of our first live broadcast of 2005, at its normal time of 8:30pm gmt.  our last two shows, in the 24th and the 31st on december, respectively, featured repeats of some special features we had over 2004, mostly live on-air performances, and a few framework exclusive compositions.  more details, and originally airing dates, below.

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



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


24.12.04

artist  /  title  /  original broadcast date

framework intro  /  adam wimbush
an intro featuring the cooling cracks of a gas heater
xxxxxxx@xxxxx.xx.xx

marc behrens  /  architectural commentary 5 (some models for resonant behaviour)  /  29.10.04
composed exclusively for framework using sounds from the resonancefm studios
http://www.mbehrens.com

murmer  /  -  /  20.02.04
untitled piece using original recordings made by william english and broadcast in the clearspot on the same day
xxxxxx@xxxxxx.xxx

michael northam/loren chasse  /  live on framework  /  09.07.04
live performance using a collection of recordings, objects, and the entire contents of the resonancefm studio
http://preg.org/~mnortham/, http://www.kaon.org/loren_chasse


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


31.12.04

artist  /  title  /  original broadcast date

adam wimbush  /  framework intro
intro recorded in a boatyard on blakeney quay, norwich
xxxxxxx@xxxxx.xx.xx

justin bennett  /  cacerolada  /  05.03.04
anti-war demo recordings, then unreleased, used at material for achim wollscheid's live performance
http://www.bmbcon.demon.nl/justin

achim wollscheid  /  live on framework  /  05.03.04
live performance manipulating bennett's demo recordings
http://www.selektion.com

keith berry  /  live on framework  /  06.02.04
on-air performance featuring material from his now-released cd buddha's mile
http://www.inbetweensilence.com


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


framework intro submissions:

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

welcome to framework.

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

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

thanks!



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



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

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


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

rob grant & melanie clifford  /  framework intro
thomas dimuzio  /  unearth & lift and spear  /  sonicism  /  rrrecords
chris watson  /  river mara at night   /  stepping into the dark  /  touch
johannes helden / - / sketchbook / trente oiseaux
toy bizarre  /  -  /  kdi dctb 116  /  absurd
murmer  /  liquid solid  /  definition  /  absurd
jgrzinich & seth nehil  /  the distant edge  /  confluence  /  intransitive
seth nehil & jgrzinich  /  the mirrored corner  /  stria  /  erewhon
annette lissauer  /  framework intro
toby paddock  /  air, surface and magnetic vibrations  /  -  /  -
steve roden  /  -  /  resonant cities  /  trente oiseaux
francisco lopez  /  untitled #101  /  untitled (2000)  /  ignis projekt
mnortham  /  ancient sewer pipe, valletta, malta  /  phonography.org 5  /  phonography.org
the quiet american  /  donkey trains leaving marpha, nepal  /  phonography.org 4  /  phonography.org
steve barsotti  /  trainyard presence  /  phonography.org 5  /  phonography.org
k. m. krebs  /  jericho sailing center (nautical gamelan)  /  phonography.org 4  /  phonography.org
david daniell  /  highway 371, forty miles south of farmington, january 19, 1998, 2:25 pm  /  sem  /  antiopic
joyce hinterding  /  -  /  spectral  /  antiopic/sigma editions
david daniell  /  dixon lake road, july 31, 1999, 5:45 am  /  sem  /  antiopic
tacet ncv  /  live on framework
jean-luc guionnet & bertrand denzler  /  live on framework
dallas simpson  /  framework intro
--Boundary_(ID_8peOAY6Y7Nol+Q9FfKx9nA)--

From ???@??? Mon Jan 10 14:33:12 2005
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hey whats the weather up there like at the moment..heading up to bangkok 
on weds from kl.
any recommendations for things going on there over the next week?  or 
should i just head strainght for a beach ?


{ brad brace } wrote:

>fortunately I'm in a little squid-fishing village on the
>Gulf of Thailand...
>
>imagine full distorted Pali chants from loudspeakers mounted
>on scaffolding above piles of gravel made by women sitting
>atop, with little hammers...
>
>soon to be heard on BBS
>
>take care all
>
>"Nothing can be said about the sea."
> -- Mr Selvam, Akkrapattai, India 2004
>
>
>---    bbs: brad brace sound                               ---
>---    http://63.170.215.11:8000
>---
>
>
>The 12hr-ISBN-JPEG Project       >>>> posted since 1994 <<<<
> "... easily the most venerable net-art project of all time."
>
>+ + +         serial           ftp://ftp.eskimo.com/u/b/bbrace
>+ + +      eccentric          ftp://  (your-site-here!)
>+ + +     continuous         hotline://artlyin.ftr.va.com.au
>+ + +    hypermodern      ftp://ftp.rdrop.com/pub/users/bbrace
>+ + +        imagery     ftp://bjornmag:xxxxxxx@xxxxx.xx/12hr/
>
>News:  alt.binaries.pictures.12hr   alt.binaries.pictures.misc
>               alt.binaries.pictures.fine-art.misc    alt.12hr
>
>. 12hr email
>subscriptions => http://bbrace.laughingsquid.net/buy-into.html
>
>
>.  Other  |  Mirror: http://www.eskimo.com/~bbrace/bbrace.html
>Projects  |  Reverse Solidus: http://bbrace.laughingsquid.net/
>          |                   http://bbrace.net
>
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>        *        http://bbrace.laughingsquid.net/wordpress/
>
>{ brad brace }   <<<<< xxxxxx@xxxxxx.xxx >>>>  ~finger for pgp
>
>
>
>
>
>
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>  
>


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From ???@??? Mon Jan 10 09:00:00 2005
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Date: Mon, 10 Jan 2005 04:05:39 -0500
From: david turgeon <xx@xxxxxxxxx.xxx>
Subject: [microsound] Re: [ot] code 46 | city of the future
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>regardless of what critics say of the storyline and characters, this is
>without a doubt one of the slickest, most realistic, beautifully shot,
>original, coherent and cohesive, visions of the future i have ever
>seen.

since the subject is brought up, i'll chime in & say (michael 
winterbottom's) "code 46" is a great movie indeed.  i had no problem with 
the storyline or the characters.  i found that there is very much of a 
philip k dick vibe to this film.  the same vibe that filmic adaptations of 
proper philip k dick novels never even got close to, even "blade runner" (a 
good movie, but not very dickian).  though we'll see if that changes 
when/if richard linklater's "a scanner darkly" comes out.

at any rate, the futuristic atmosphere in "code 46" is very well rendered 
through simple touches and minimal effects that really do feel like the 
future -- the movie doesn't rely on the gadgets lesser directors think can 
pass as "SF".  in this sense the movie also reminded me of "alphaville" or 
"farenheit 451" which convey their realism in a similarly low-key way.  the 
mixture of languages spoken by the characters is another nice touch: it's 
artificial, arbitrary, & strangely plausible.  i was impressed by the whole 
environment the characters lived in, which seemed very throughly thought 
out.  it's a shame that the story begins to drag on during the second half 
but that's my only caveat about this film.

& yep, nice music & sound design indeed.

have a nice day
~ david


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From ???@??? Mon Jan 10 08:55:13 2005
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fortunately I'm in a little squid-fishing village on the
Gulf of Thailand...

imagine full distorted Pali chants from loudspeakers mounted
on scaffolding above piles of gravel made by women sitting
atop, with little hammers...

soon to be heard on BBS

take care all

"Nothing can be said about the sea."
 -- Mr Selvam, Akkrapattai, India 2004


---    bbs: brad brace sound                               ---
---    http://63.170.215.11:8000
---


The 12hr-ISBN-JPEG Project       >>>> posted since 1994 <<<<
 "... easily the most venerable net-art project of all time."

+ + +         serial           ftp://ftp.eskimo.com/u/b/bbrace
+ + +      eccentric          ftp://  (your-site-here!)
+ + +     continuous         hotline://artlyin.ftr.va.com.au
+ + +    hypermodern      ftp://ftp.rdrop.com/pub/users/bbrace
+ + +        imagery     ftp://bjornmag:xxxxxxx@xxxxx.xx/12hr/

News:  alt.binaries.pictures.12hr   alt.binaries.pictures.misc
               alt.binaries.pictures.fine-art.misc    alt.12hr

.. 12hr email
subscriptions => http://bbrace.laughingsquid.net/buy-into.html


..  Other  |  Mirror: http://www.eskimo.com/~bbrace/bbrace.html
Projects  |  Reverse Solidus: http://bbrace.laughingsquid.net/
          |                   http://bbrace.net

        *        http://www.bloglines.com/blog/bbrace
        *        http://bbrace.laughingsquid.net/wordpress/

{ brad brace }   <<<<< xxxxxx@xxxxxx.xxx >>>>  ~finger for pgp






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From ???@??? Mon Jan 10 08:19:22 2005
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From: "David @ Audiobulb" <xxxxxxxx@xxxxx.xx.xx>
Subject: Re: [microsound] new site and shuttle 358 remix mp3
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Hi Brad

yes I enjoyed the material on your site and it is always great to hear 
shuttle material - good job :)

best wishes

David @ Audiobulb Records
www.audiobulb.com
----- Original Message ----- 
From: "brad henrickson" <xxxx@xxxxxxxxxx.xxx>
To: "'microsound'" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Monday, January 10, 2005 6:12 AM
Subject: RE: [microsound] new site and shuttle 358 remix mp3


> *bump* :)
>
>> -----Original Message-----
>> From: andy graybeal [mailto:xxxxxxxx@xxxxxxx.xxx]
>> Sent: Sunday, January 09, 2005 12:44 PM
>> To: microsound
>> Subject: Re: [microsound] new site and shuttle 358 remix mp3
>>
>> i love shuttle358 ;) thank you for this post !
>>
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>
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> 


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*bump* :)

> -----Original Message-----
> From: andy graybeal [mailto:xxxxxxxx@xxxxxxx.xxx]
> Sent: Sunday, January 09, 2005 12:44 PM
> To: microsound
> Subject: Re: [microsound] new site and shuttle 358 remix mp3
> 
> i love shuttle358 ;) thank you for this post !
> 
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From ???@??? Sun Jan  9 20:09:28 2005
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From: Dennis McNulty <x@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] code 46 | city of the future
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Hi Graham,

I haven't seen code 46 yet, but this strikes a chord with me:
 
> just simple devices, like recontexualizing settings, calling hong kong
> baghdad or whatever, or shooting mexico city as if it's some futuristic
> version of los angeles, is incredibly appealing and bathes these kinds
> of imagined sci-fi worlds in a kind of realism and detail that CG or
> plywood sets could never accomplish. the guggenheim becomes a shopping
> mall food court... the petronas towers in kuala lumpur become condos...
> and in the end, it's closer to way things will be, i think.

A film where this approach really works is 'alphaville' by Godard. One of my
favourite films ever. Paris in the early sixties becomes Alphaville : total
noir dystopia. It goes even further than just the location. Behavioural stuff.
Pretty simple but great. The use of music on the soundtrack is fantastic too:
it frequently just cuts out when it would ordinarally crescendo. Swimming pool
as a location for public exectution.

I could go on!!

d.

______________________________
http://dennismcnulty.com

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From ???@??? Sun Jan  9 20:43:46 2005
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i love shuttle358 ;) thank you for this post !

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Date: Sun, 09 Jan 2005 22:31:30 +0200
From: "visa k." <xxxx.xxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] Completion of my first album
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From: "John Nowak" <xxxx@xxxxxxxxx.xxx>
> People of your intelligence generally hang out here:
> http://www.kvr-vst.com


Now that's just totally uncalled-for. K-v-R is a very developer-centric, fun
community and might I say much lighter on pretensions than for instance this
mailing list here...


From: "tkrakowiak" <xxxxxxxxx@xxxxxxxxx.xx>
"He who is without sin among you, let him be the first to throw a stone.."


This is just ridiculous.


~visa




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From: Andrew Shires <xxxxxx.xxxxxx@xxxxxxxxxxxxxx.xxx>
Subject: [microsound] UPGRADE & AFTERLIFE: Cambridge,
 UK 11/1/05 @ CB2: =?UNKNOWN?Q?Pirand=E8lo_+?= support
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Pirandèlo's brief U.K. tour comes to CB2 Internet Cafe in Cambridge on
Tuesday 11th.  Here are some details.

-----

UPGRADE & AFTERLIFE: PIRANDÈLO

Pirandèlo + Ascoltare + Fuzzy Lights + bad timing + Harvest Time djs

Pirandèlo is a collaboration begun in 2004 between computer/sound
artists Mou, Lips!, live video artist Claudio Sinatti (who has worked
with the likes of Fennesz) and the slide-based live visuals of Marita
Cosma. The project's starting point is "cinematic synaesthesia" and
narrative: Pirandelo's sound combines vocals, live environmental
sounds and digital processes with an unusual lyrical
sweetness. Visually, their aim is also to break out of the frame,
synthesising photographic, digital and video
imagery. (http://www.pirandelo.org)

Ascoltare makes fine-grained and structured computer music
encompassing acoustic manipulation, microsound and utilizing found
sounds, irregular beats / scatter breaks, Raster Noton-inspired
production, spoken word, de-quantized / chance-encounter music as well
as melody. Featuring on the Wire Tapper 12 in December 2004, a 7"
"Giving Set" is due out early in 2005 on Strange Lights. With live
visuals from Steve's Evil Visuals. (http://www.ascoltare.co.uk)

Fuzzy Lights are a guitar/violin/vocal-based Cambridge
duo. (http://www.fuzzylights.com)

Upgrade & Afterlife: regular nights of experimental & DIY & digital &
guitar & electronic music in Cambridge, created by Bad Timing and
Harvest Time. (http://www.upgradeandafterlife.co.uk)

CB2 basement, 5-7 Norfolk St, Cambridge, CB1 2LD, UK. 8:30-12:00 Entry: £3 


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On Jan 8, 2005, at 4:52 PM, bil bo wrote:

> surely any possible negative reprecussions of such a message would 
> affect no-one in the group other than myself?
>
> im truely sorry if i upset anyone though..

People of your intelligence generally hang out here: 
http://www.kvr-vst.com

Hope it helps.

- John


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regardless of what critics say of the storyline and characters, this is
without a doubt one of the slickest, most realistic, beautifully shot,
original, coherent and cohesive, visions of the future i have ever
seen.  what blade runner is to the colour black, this is to white. blown
out, over exposed, concrete, stainless steel, neon, fluorescent
subterranean daylight.  endless atriums, kiosks, and 'have-a-nice-days.'
it's as if the world were an airport, in the palmpilot of your hand. a
flight from seattle to shanghai and back again takes less than a day and
all the while there are still camels and peasants carrying loads of
grain across the endless dessert, outcasts in the irradiated world of
the outside.

it's what happens when THX 1138 reaches the surface. it's what happens
when there are no countries left, only cities. and if location scouts
could get academy awards, this one would.

i mention this because of a microsound project a while back regarding
the city of the future sequence in the original solaris (for the record,
i think the second one is also brilliant in it's own way, but i
digress...). from what i remember the highway sequence was was simply
shot in tokyo and edited together to make us believe that this was
russia of the future. plus the sound effects...

if anything, the whole code 46 aesthetic is this simple but brilliant
idea taken to the next level.  for tarkovsky, japan of 1972 may have
been the future of russia, even with the japanese characters on signs
and advertising...

just simple devices, like recontexualizing settings, calling hong kong
baghdad or whatever, or shooting mexico city as if it's some futuristic
version of los angeles, is incredibly appealing and bathes these kinds
of imagined sci-fi worlds in a kind of realism and detail that CG or
plywood sets could never accomplish. the guggenheim becomes a shopping
mall food court... the petronas towers in kuala lumpur become condos...
and in the end, it's closer to way things will be, i think.

anyway, go see it.  the music kicks ass too:)

g.


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From ???@??? Sat Jan  8 21:53:07 2005
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From: bil bo <xxxxxxxxxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] Completion of my first album
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 FILETIME=[6C67EC20:01C4F5CC]

surely any possible negative reprecussions of such a message would affect 
no-one in the group other than myself?

im truely sorry if i upset anyone though..

>From: precursor <xxxxxxxxx@xxxxxxxxx.xxx>
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>Subject: Re: [microsound] Completion of my first album
>Date: Sat, 08 Jan 2005 13:21:47 -0500
>
>on 1/8/05 12:48 PM, tkrakowiak at xxxxxxxxx@xxxxxxxxx.xx wrote:
>
> > On Sat, 08 Jan 2005 10:47:36 -0500, precursor <xxxxxxxxx@xxxxxxxxx.xxx>
> > wrote:
> >
> >> on 1/8/05 9:21 AM, visa k. at xxxx.xxxxxx@xxxxxxx.xx wrote:
> >>
> >>> Dude, develope some discretion.
> >>>
> >>> Obtuse as hell to ask that on a public mailing list.
> >>>
> >>> ~visa
> >>>
> >>> ----- Original Message -----
> >>> From: "bil bo" <xxxxxxxxxxxxxxxx@xxxxxxx.xxx>
> >>>
> >>>> any idea where i could download a hacked copy of metaphysical
> >>>> function/electronic instruments 2?
> >>>> also, if anyone could help me find a hacked max/msp for the pc i 
>would
> >>>> be
> >>>> extremely greatful.
> >>>>
> >>>
> >>>
> >>> ---------------------------------------------------------------------
> >>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> >>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> >>> website: http://www.microsound.org
> >>>
> >>
> >> if i was moderator , he would be banned
> >>
> >
> > "He who is without sin among you, let him be the first to throw a 
>stone.."
> >
>
>stone?? umm, ain't that cruel..
>
>
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>



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From ???@??? Sat Jan  8 18:21:53 2005
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on 1/8/05 12:48 PM, tkrakowiak at xxxxxxxxx@xxxxxxxxx.xx wrote:

> On Sat, 08 Jan 2005 10:47:36 -0500, precursor <xxxxxxxxx@xxxxxxxxx.xxx>
> wrote:
> 
>> on 1/8/05 9:21 AM, visa k. at xxxx.xxxxxx@xxxxxxx.xx wrote:
>> 
>>> Dude, develope some discretion.
>>> 
>>> Obtuse as hell to ask that on a public mailing list.
>>> 
>>> ~visa
>>> 
>>> ----- Original Message -----
>>> From: "bil bo" <xxxxxxxxxxxxxxxx@xxxxxxx.xxx>
>>> 
>>>> any idea where i could download a hacked copy of metaphysical
>>>> function/electronic instruments 2?
>>>> also, if anyone could help me find a hacked max/msp for the pc i would
>>>> be
>>>> extremely greatful.
>>>> 
>>> 
>>> 
>>> ---------------------------------------------------------------------
>>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>>> website: http://www.microsound.org
>>> 
>> 
>> if i was moderator , he would be banned
>> 
> 
> "He who is without sin among you, let him be the first to throw a stone.."
> 

stone?? umm, ain't that cruel..


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From ???@??? Sat Jan  8 17:46:11 2005
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On Sat, 08 Jan 2005 10:47:36 -0500, precursor <xxxxxxxxx@xxxxxxxxx.xxx>  
wrote:

> on 1/8/05 9:21 AM, visa k. at xxxx.xxxxxx@xxxxxxx.xx wrote:
>
>> Dude, develope some discretion.
>>
>> Obtuse as hell to ask that on a public mailing list.
>>
>> ~visa
>>
>> ----- Original Message -----
>> From: "bil bo" <xxxxxxxxxxxxxxxx@xxxxxxx.xxx>
>>
>>> any idea where i could download a hacked copy of metaphysical
>>> function/electronic instruments 2?
>>> also, if anyone could help me find a hacked max/msp for the pc i would  
>>> be
>>> extremely greatful.
>>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
>> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
>> website: http://www.microsound.org
>>
>
> if i was moderator , he would be banned
>

"He who is without sin among you, let him be the first to throw a stone.."

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From ???@??? Sat Jan  8 15:47:43 2005
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on 1/8/05 9:21 AM, visa k. at xxxx.xxxxxx@xxxxxxx.xx wrote:

> Dude, develope some discretion.
> 
> Obtuse as hell to ask that on a public mailing list.
> 
> ~visa
> 
> ----- Original Message -----
> From: "bil bo" <xxxxxxxxxxxxxxxx@xxxxxxx.xxx>
> 
>> any idea where i could download a hacked copy of metaphysical
>> function/electronic instruments 2?
>> also, if anyone could help me find a hacked max/msp for the pc i would be
>> extremely greatful.
>> 
> 
> 
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: xxxxxxxxxx-xxxxxxxxxxx@xxxxxxxxx.xxx
> For additional commands, e-mail: xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
> website: http://www.microsound.org
> 

if i was moderator , he would be banned


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From ???@??? Sat Jan  8 14:17:28 2005
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From: "visa k." <xxxx.xxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] Completion of my first album
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Dude, develope some discretion.

Obtuse as hell to ask that on a public mailing list.

~visa

----- Original Message ----- 
From: "bil bo" <xxxxxxxxxxxxxxxx@xxxxxxx.xxx>

> any idea where i could download a hacked copy of metaphysical
> function/electronic instruments 2?
> also, if anyone could help me find a hacked max/msp for the pc i would be
> extremely greatful.
>


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From ???@??? Sat Jan  8 13:21:50 2005
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From: Davide Morelli <xxxx@xxxxxxxxxxxxx.xx>
Subject: [microsound] R: [microsound] Completion of my first album
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You may also want to check jMax, the free java implementation of Max:
http://freesoftware.ircam.fr//index.php3
works both on linux and windows

I would anyway reccomend PureData 
http://pure-data.sourceforge.net/

PS:
this is my first post in the list, Greetings everybody!


-----Messaggio originale-----
Da: Anthony Saunders [mailto:xxxxxxx@xxxxxxxxxxx.xxx]
Inviato: sabato 8 gennaio 2005 6.22
A: microsound
Oggetto: Re: [microsound] Completion of my first album


if you're not into paying for software, you should look at pure data, 
supercollider and linux.

cycling74 is a small company that deserves your cash if you're gonna 
use max/msp. pure data aka pd is free. and underdocumented, but hey 
that's the trade off.

a

On Jan 7, 2005, at 10:18 PM, bil bo wrote:

> any idea where i could download a hacked copy of metaphysical 
> function/electronic instruments 2?
> also, if anyone could help me find a hacked max/msp for the pc i would 
> be extremely greatful.
>
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From ???@??? Sat Jan  8 11:36:43 2005
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Hi Folks!...i will be in Paris from 15 to 18 of january ..is there anyone here that knows if some events will occur there those days?

Thanks and regards to all of you
Enrico :-)



____________________________________________________________
Libero ADSL: 3 mesi gratis e navighi a 1.2 Mega. E poi hai l'Adsl senza limiti a meno di 1 euro al giorno. 
Abbonati subito senza costi di attivazione su http://www.libero.it




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From ???@??? Sat Jan  8 05:22:57 2005
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From: Anthony Saunders <xxxxxxx@xxxxxxxxxxx.xxx>
Subject: Re: [microsound] Completion of my first album
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if you're not into paying for software, you should look at pure data, 
supercollider and linux.

cycling74 is a small company that deserves your cash if you're gonna 
use max/msp. pure data aka pd is free. and underdocumented, but hey 
that's the trade off.

a

On Jan 7, 2005, at 10:18 PM, bil bo wrote:

> any idea where i could download a hacked copy of metaphysical 
> function/electronic instruments 2?
> also, if anyone could help me find a hacked max/msp for the pc i would 
> be extremely greatful.
>
>> From: xxxxxxx@xxx.xxx
>> Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>> To: xxxxxxxxxx@xxxxxxxxx.xxx
>> Subject: Re: [microsound] Completion of my first album
>> Date: Fri, 7 Jan 2005 17:23:17 EST
>>
>> In a message dated 07/01/2005 22:20:49 GMT Standard Time,
>> xxxx.xxxxxx@xxxxxxx.xx writes:
>>
>> > Electronic Instruments 2. (Although, it was quite possible to rip 
>> the .ens
>> > from the metaphysical function freebie NI offered earlier... I do 
>> think they
>> > improved it for the commercial release, though).
>> >
>>
>>   all the parameters are controllable and theres a sample looper, 
>> none of
>> these vfeatures were in the freebie
>>
>>
>>
>>
>>
>> "He who has rejected his demons badgers us to death with his angels"
>> Henri Michaux
>>
>> www.alembic.me.uk
>>
>
>
>
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>
>


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 FILETIME=[CDDE4DB0:01C4F530]

any idea where i could download a hacked copy of metaphysical 
function/electronic instruments 2?
also, if anyone could help me find a hacked max/msp for the pc i would be 
extremely greatful.

>From: xxxxxxx@xxx.xxx
>Reply-To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
>To: xxxxxxxxxx@xxxxxxxxx.xxx
>Subject: Re: [microsound] Completion of my first album
>Date: Fri, 7 Jan 2005 17:23:17 EST
>
>In a message dated 07/01/2005 22:20:49 GMT Standard Time,
>xxxx.xxxxxx@xxxxxxx.xx writes:
>
> > Electronic Instruments 2. (Although, it was quite possible to rip the 
>.ens
> > from the metaphysical function freebie NI offered earlier... I do think 
>they
> > improved it for the commercial release, though).
> >
>
>   all the parameters are controllable and theres a sample looper, none of
>these vfeatures were in the freebie
>
>
>
>
>
>"He who has rejected his demons badgers us to death with his angels"
>Henri Michaux
>
>www.alembic.me.uk
>



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From ???@??? Fri Jan  7 22:20:28 2005
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> err...where is this 'metaphysical function' instrument of which you speak
?
>
> i had a look at the native instruments user library and can't seem to find
> it.

Electronic Instruments 2. (Although, it was quite possible to rip the .ens
from the metaphysical function freebie NI offered earlier... I do think they
improved it for the commercial release, though).

~visa


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--Boundary_(ID_DcQGQS9MOE/rOD1Xkt5kPg)
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In a message dated 07/01/2005 22:20:49 GMT Standard Time, 
xxxx.xxxxxx@xxxxxxx.xx writes:

> Electronic Instruments 2. (Although, it was quite possible to rip the .ens
> from the metaphysical function freebie NI offered earlier... I do think they
> improved it for the commercial release, though).
> 

  all the parameters are controllable and theres a sample looper, none of 
these vfeatures were in the freebie 





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

www.alembic.me.uk

--Boundary_(ID_DcQGQS9MOE/rOD1Xkt5kPg)--

From ???@??? Fri Jan  7 21:26:37 2005
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Date: Fri, 07 Jan 2005 16:25:26 -0500
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Subject: Re: [microsound] Completion of my first album
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> metaphysical function is pretty neat!!!

err...where is this 'metaphysical function' instrument of which you speak ?

i had a look at the native instruments user library and can't seem to find
it.

(...and i'm very curious).


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From ???@??? Fri Jan  7 19:19:57 2005
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Date: Fri, 07 Jan 2005 11:19:52 -0800 (PST)
From: Matt Davignon <xxxxxxxxxxxx@xxxxxxxxx.xxx>
Subject: [microsound] seeking musicians: DroneShift benefit 3/12
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Hey everyone, 

I'm organizing another DroneShift show, this time as a
benefit for 21 Grand's relocation. DroneShift is a
music event that is built entirely out of extremely
long notes and sound clusters, gradually shifting
every few minutes and lasting for a few hours. This
will be the second one, and I'm currently aiming for a
4 hour drone. I'm looking for folks who'd be
interested in participating. The show will be at 21
Grand, which is in downtown Oakland, California. 

This is similar to the Sound/Shift (or the last 2
years of the Big Sur Experimental Music Festival),
except
1) It's entirely focused on drone music - no soloing,
no beats, no obvious melodies or grooves
2) It's shorter (not 2 days long)
3) I'd prefer to schedule musicians for several small
shifts instead of single large ones, but I'm flexible
on this
4) The schedule is divided in increments of 5 minutes

Logistics: 
Ideally, I'd like for everyone who requires time to
set up to be set up before the show. Exceptions can be
made for folks playing only later in the event, but
stage/PA space then is subject to availability. Since
there will be a large number of musicians set up,
please plan on bringing equipment that doesn't take up
a lot of physical space. PA and tables are available,
but likely to be in high demand, so if some people can
bring their own it'll be extremely helpful. 

There will be 2 clocks visible from the stage, and
each person will have a schedule marked in 5 minute
intervals whether they're "on" or "off". Like
Sound/Shift, you'll be playing with a
constantly-changing pool of other musicians. I will
try to maximize the number of musician/instrument
combinations over the course of the event. I'd like to
get 20 or 30 musicians involved.  The total amount of
playing time for each person depends on the total
amount of participants, but I'm aiming for 30-40
minutes. 

Volunteers: 
I'd love it if someone could help out with the cd
table or someone else to help me with stage management
(setting people up with the PA, cue-ing musicians
according the schedule, etc). If it's someone who's
not playing, it'd be a good way to get free admission
and a free CD from me. 

The show would be on March 12th or March 19th,
depending on which night more musicians are available.
(Update: we're definitely leaning towards 3/12.) Both
nights are Saturdays, and I'm aiming for 7pm to 11pm.


If interested, please send me: 

Name: 
Email:
Instrument(s): 
Prefer 1 long shift or several short shifts?:
Date, 3/12 or 3/19, or either?: 
Website (if applicable, for program): 


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From ???@??? Fri Jan  7 17:39:04 2005
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Date: Fri, 07 Jan 2005 12:38:54 -0500
From: Michael North <xxxxxxx.xxxxx@xxxxxxxxx.xx>
Subject: [microsound] [ot]streaming event:Reverie : noise city
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Reverie : noise city : a small space open : pieces for not buying
6:00 PM Ottawa/Canada time [GMT - 05:00]
17 pieces of electronics & percussion

Info at http://reverie.aaeol.ca/map/index.html....
 Stream at http://stream.aaeol.ca/stream.php?stream=michael


mike_north
http://www.front.bc.ca/details.p?record=1609
http://aaeol.ca/



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From: Michael Greenwood <xxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] my list
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Hello

It wasn't a very micro year for me, in retrospect.

No order:

1/    Oren Ambarchi-Grapes From the Estate CD and Triste LP
2/    T-Rex-The Slider  2CD re-issue
3/    The Kinks-Village Green Preservation Society 3CD re-issue
4/    "Les Yeux Sans Visage" on the big screen
5/    Sunn O)))-White2 2LP
6/    The Hank Snow Collection  2LP
7/    Blonde Redhead-Misery Is A Butterfly  CD
8/    Bold! Daring! Shocking! True: A History of Exploitation Films,
1919-1959
by Eric Schaefer BOOK
9/    Panda Bear-Young Prayer CD
10/  Sugar Hill Gang VS Grandmaster Flash 3LP re-issue
11/  Goin' Down The Road DVD
12/  Toronto community radio (CKLN 88.1 and CIUT 89.5) getting better
all the time

Happy 2005!

All the best,
Michael


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From ???@??? Fri Jan  7 12:29:05 2005
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From: sound no sound <xxxxxxxxxxxx@xxxxxxx.xxx>
Subject: [microsound] soundnosound this Sunday!!!!
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 FILETIME=[7753D590:01C4F4B4]

Hello you...

There is a strange thing going on around here, soundnosound, two months in a 
row?? Holy cow!!

This month we’ve got a doozy for ya!


NED COLLETTE - has been busy working away in Melbourne over the last few 
years as producer, writer, and leader of instrumental outfit City City City. 
As a solo artist he has worked his background in free-noise experimentalism 
into more simple folk song formats resulting in a live show which is both 
intimate and explosive. Think acoustic guitars making love to loop pedals, 
with more than a hint of driving kraut-psychedelia, and you’re on the right 
track. Compare it to Keiji Haino, Jim O’Rourke, Nick Drake and Can.

HAPPY ADULTS - is the brainchild of local cretin Toby Baldwin. influenced by 
such diverse phenomena as radiation sickness and Devendra Banhart, Baldwin 
decided he required an excuse to vent his bile duct publicly. Consisting of 
anywhere upwards of zero members, the band itself is an amorphous and 
malleable entity. In other words, Baldwin is a lazy and bitter individual 
with a bent for crypto-fascist frothing and unlistenable frequency heaping.

SEAWORTHY - are quiet, pastoral soundscapes of guitar, drums, piano,
electronics and field recordings. Their music has previously
been described as sounding like an instrumental Pavement jam produced by
Eno with scuffed up melodies and lullaby drones. Their latest release is a
three track live cd called Backwoods Architecture released on Steady Cam 
Records.


After the musical / festive brilliance that was the last soundnosound, we 
could’ve just sat back and got fat, but we thought that was a little 
selfish, and there‘s way too much good shit out there that needs to be 
shared with all of you!


So.... Make sure you take the time on Sunday 9th Jan to come down to the 
Landsdowne Hotel (Cnr City Rd and Broadway, Chippendale) and see yet another 
FREE soundnosound! It all happens from 5 til 9pm.

For more info see our extravagant website....

www.members.optusnet.com.au/soundnosound

See you there,

samannamarksteve.

_________________________________________________________________
Are you right for each other? Find out with our Love Calculator:  
http://fun.mobiledownloads.com.au/191191/index.wl?page=191191text


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Subject: [microsound] FW: Hugh Davies obituary
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----------
> From: Ian Stonehouse <xxxxxxx@xxxx.xx.xx>
> Reply-To: Ian Stonehouse <xxxxxxx@xxxx.xx.xx>
> Date: Fri, 7 Jan 2005 11:28:35 +0000
> To: xxx-xxxx@xxxxxxxx.xx.xx
> Subject: Hugh Davies obituary
> 
> [EMS-NEWS]
> 
> Hugh Davies obituary in The Independent today
> 
> http://news.independent.co.uk/people/obituaries/story.jsp?story=598389


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From ???@??? Fri Jan  7 10:55:51 2005
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Date: Fri, 07 Jan 2005 10:52:18 +0100
From: douglas benford <xxxxxxx@xxxxx.xxxxx.xx.xx>
Subject: [microsound] London SPRAWL 9th Birthday w.
 =?iso-8859-1?Q?PIRAND=C8LO?= & more
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--Boundary_(ID_LvEIG6gZQs7K3sKhyAAuuQ)
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================================
S P R A W L  January 2005 bulletin
================================

HAPPY NEW YEAR

SPRAWL at the Charterhouse Bar, London

NINTH BIRTHDAY SPECIAL!
yes, it's a bit of a celebration folks!

DATE: Weds 12th January

live sets by

* PIRANDÈLO (mou-lips/List/italy)

* KATZO (Countenance/japan)

* J-LAB (uk)

guest dj
* o.acam (miso/deep burnt/scotland)

plus resident djs + curators
* si-cut.db (uk/bip hop/fallt/highpoint lowlife/tennis)
* iris garrelfs (germany/bip hop)

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

================================
PAST ARTISTS AT SPRAWL OVER THE NINE YEARS:
http://www.sprawl.org.uk/PastFrame.html
================================

Next Sprawls this year:

* INTERPLAY 3. Interplay is back, next month, & a hell of a line-up!

Weds 9th Feb
POLE (scape/mute)  + DEADBEAT (scape/Intr_version)
MARKUS SCHMICKLER (pluramon) + THOMAS LEHN (mimeo)
MAX EASTLEY (obscure/bip hop) + FREEFORM (skam/sub rosa)

Thurs 10th Feb
STEPHAN MATHIEU (orthlorng/sirr) + SI-CUT.DB (fallt/bip-hop)
LEAFCUTTER JOHN (planet mu) + JANEK SCHAEFER (audiOh!/sirr)
SCANNER (sub rosa/bette) + IRIS GARRELFS (bip hop)

plus graphic work by D-Fuse
VENUE: The Spitz, Spitalfields Market,
109 Commercial Street, London E1 8BG
http://www.spitz.co.uk/
8pm - midnight            PRICE: £8 / £6 concs, £12 for both nights
BOX OFFICE: 020 7392 9032
ONLINE BOOKING: http://www.wegottickets.com       

This project is supported by the Goethe-Institut, London and the PRS Foundation

* Sprawl March 9th:
Tuner (Fr), The Bohman Brothers, Rashamon, e/n [no.signal]
at http://www.charterhousebar.co.uk

================================
On the radio: Next Sprawl Small Pieces show: '9 years of sprawl -
a retrospective with music and reminiscences'
This Friday 7th January 12-1am. GMT Resonance FM 104.4
http://www.resonancefm.com


[] some related artist activities
================================
si-cut.db, Iris Garrelfs - live sets
================================

JAN 14
SI-CUT.DB
Bip_Hop night with DJ Philippe Petit
Bern (Reset electronic), Switzerland

JAN 15
SI-CUT.DB
Bip_Hop night with DJ Philippe Petit
Delemont (SAS), Switzerland

JAN 25
SI-CUT.DB + Iris Garrelfs + Rashamon
Freebutt, Brighton
http://www.spiritofgravity.com

FEB 10
SI-CUT.DB in collaboration with Stephan Mathieu
IRIS GARRELFS in collaboration with Scanner
INTERPLAY 2005, Spitz, London
http://www.sprawl.org.uk

================================
si-cut.db / iris garrelfs - releases
================================
CURRENT
SI-CUT.DB winter track 'snow at night', free to download, is on
Looking Back Ain't No Way Forward [ Xmas Compilation 2004 ]
on the highpointlowlife label
http://www.highpointlowlife.com/downloads.shtml

SI-CUT.DB remix of Pan/tone's 'Sans Adore'
on Pan/tone double CD 'newfound urban calm'
on Bip Hop [bleep 26/27] http://www.bip-hop.com

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 '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

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

FUTURE TBA
SI-CUT.DB: download track on www.thinnerism.com compilation.
New album on Bip-Hop, mastered by Twerk, 'From Tears: Beach Archive'.

IRIS GARRELFS: debut album due on Bip Hop TBA

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

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

SPRAWL WEBSITE
================================
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>
--Boundary_(ID_LvEIG6gZQs7K3sKhyAAuuQ)--

From ???@??? Fri Jan  7 07:00:28 2005
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Date: Thu, 06 Jan 2005 23:00:17 -0800 (PST)
From: Cordell Klier <xxxxxxxx@xxxxx.xxx>
Subject: [microsound] 'Brainwave' cap controls computer
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hi.. found this fun to hear about. nabbed this
from the big igloo list on also on & thought you
guys might enjoy this..?..??..

Cordell

From:
http://news.bbc.co.uk/2/hi/technology/4074869.stm
via: http://www.gyre.org/news/Neurotechnology

'Brainwave' cap controls computer

The cursor movements were recorded: blue is 
slowest, and red fastest
A team of US researchers has shown that 
controlling devices with the brain 
is a step closer.

Four people, two of them partly paralysed 
wheelchair users, successfully 
moved a computer cursor while wearing a cap with 
64 electrodes.

Previous research has shown that monkeys can 
control a computer with 
electrodes implanted into their brain.

The New York team reported their findings in the 
Proceedings of the National 
Academy of Sciences.

"The results show that people can learn to use 
scalp-recorded 
electroencephalogram rhythms to control rapid and

accurate movement of a 
cursor in two directions," said Jonathan Wolpaw 
and Dennis McFarlane.

The research team, from New York State Department

of Health and State 
University of New York in Albany, said the 
research was another step towards 
people controlling wheelchairs or other 
electronic devices by thought.

Wadsworth Center
Laboratory of Nervous System Disorders
wolpaw@ wadsworth.org

Thinking cap

The four people faced a large video screen 
wearing a special cap which meant 
no surgery or implantation was needed.

 A non-invasive brain control interface could 
support clinically useful 
operation of a robotic arm, a motorised 
wheelchair or a neuroprosthesis

Jonathan Wolpaw and Dennis McFarlane, State 
University of New York
Brain activity produces electrical signals that 
can be read by electrodes. 
Complex algorithms then translate those signals 
into instructions to direct 
the computer.
Such brain activity does not require the use of 
any nerves or muscles, so 
people with stroke or spinal cord injuries could 
use the cap effectively.

"The impressive non-invasive multidimensional 
control achieved in the 
present study suggests that a non-invasive brain 
control interface could 
support clinically useful operation of a robotic 
arm, a motorised wheelchair 
or a neuroprosthesis," said the researchers.

The four volunteers also showed that they could 
get better at controlling 
the cursor the more times they tried.

Although the two partially-paralysed people 
performed better overall, the 
researchers said this could be because their 
brains were more used to 
adapting or that they were simply more motivated.

It is not the first time researchers have had 
this sort of success in 
brain-control experiments.

Some teams have used eye motion and other 
recording techniques.
Earlier this year, a team at the MIT Media Labs 
Europe demonstrated a 
wireless cap which read brain waves to control a 
computer game character.

+++

Official Press Release:
http://www.health.state.ny.us/press/releases/2004/wolpaw_release_12-06-2004.htm

Communication Option for the Severely Disabled 
Improves
Health Department Researchers Show Their 
Non-Invasive Brain-Computer 
Interface Offers More Control than Once Thought

ALBANY, NY, December 6, 2004 - A brain-computer 
interface (BCI) that 
translates electrical signals detected from the 
scalp into a user's commands 
offers comparable precision, speed and accuracy 
to systems that rely on 
electrodes surgically implanted in the brain, 
researchers at the Department 
of Health's Wadsworth Center laboratories have 
shown. It has been widely 
assumed that only invasive devices could control 
complex movements, such as 
operating a word processing program or a 
motorized wheelchair by thought 
alone.

Jonathan Wolpaw, M.D., and Dennis McFarland, 
Ph.D., published their findings 
online in the Proceedings of the National Academy

of Sciences the week of 
December 6, 2004. The paper will appear in the 
journal's December 21, 2004, 
print edition. Dr. Wolpaw's laboratory pioneered 
BCI technology.

BCIs provide an alternative communication and 
control option for the 
severely disabled, such as individuals with Lou 
Gehrig's disease, brain and 
spinal injuries, cerebral palsy and other 
neurodegenerative diseases. The 
brain's electrical output is translated by a 
computer into physical outputs, 
such as moving a cursor on a computer screen.

In the Wadsworth system, users wear an electrode 
cap that detects 
electroencephalographic (EEG) activity from the 
scalp and records specific 
brain waves. An adaptive algorithm analyzes the 
output and focuses on the 
signals that provide people greatest control as 
they learn to use their 
thoughts to direct a cursor to a target on a 
computer screen. As the trainee 
improves, the algorithm adapts anew.

"Thanks to medical technology, people paralyzed 
by brain injuries or 
disorders are living longer. Brain-computer 
interface technology promises to 
improve their quality of life by offering a new 
chance to communicate and 
control their lives," said Commissioner of Health

Antonia C. Novello, M.D., 
M.P.H., Dr.P.H.

In the newly published study, able-bodied and 
spinal cord-injured 
individuals who were trained in Dr. Wolpaw's lab 
achieved real-time, 
two-dimensional cursor control comparable to that

reported in studies of 
non-human primates with implanted electrodes. 
Their marked improvement in 
the performance of a non-invasive BCI can be 
attributed to changes in the 
signal processing and to advances in the adaptive

algorithm. The findings 
suggest that an EEG-based system, which does not 
require surgical 
implantation of electrodes in the brain, may be 
further improved and may 
eventually support such sophisticated tasks as 
operating a neuroprosthetic 
arm or having mouse-like control over a cursor.

Dr. Wolpaw's research is supported by the 
National Institutes of Health and 
the James S. McDonnell Foundation. He is chief of

Wadsworth Center's 
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aimed at curing and 
restoring function after spinal cord injuries.

Biggs Laboratory -- (518) 474-2160
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From ???@??? Fri Jan  7 06:24:25 2005
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Subject: [microsound] new site and shuttle 358 remix mp3
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hello all....

 i hope this new year has found you well, for the new year i have rebuilt my 
site and i have two tracks for free download,,, one of which is a remix i 
was asked to do for shuttle 358 for a cd that ended up not happening. hope 
you enjoy.

http://www.jfrede.com

top 5 CDs 2004

1. Marc Behrens - Animistic (for Donatella)  / amazing audio and beautiful 
packaging everyone should buy this (on aufabwegen)
2. Triosk meets Jan Jelinek - 1+3+1
3. Steve Roden & Jason Khan - Brombron 06
4. The Vegetable Orchestra - Automate
5. Kadet - Thin Air


best DVD
1. Rivers and Tides - Andy Goldsworthy


--

j.frede
current location: los angeles
http://www.jfrede.com

out now.
j.frede rewrites scanners diary - current recordings
http://www.current-recordings.com




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ONDA SONORA, Madrid (ES)

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

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

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

_________________________________

CONTENTS ONDA SONORA 05/01/05

01. DAVID JACKMAN

Track: Edge Of Nothing
Album: Edge Of Nothing

Label: Die Stadt


Comenzamos el programa de esta semana con las últimas novedades del sello alemán Die Stadt, inmerso en la reedición de varios trabajos a cargo de David Jackman, compositor y artista visual nacido en el Reino Unido y activo desde finales de los 60 con su primer proyecto, The Scratch Orchestra -junto a Cornelius Cardew, Brian Eno y los miembros del combo de improvisación AMM, entre otros- y posteriormente en solitario con su proyecto Organum, en el que han colaborado por ejemplo Jim O'Rourke, Christoph Heemann (de H.N.A.S.), y Steven Stapleton (de NWW) entre muchos otros grandes nombres. Vamos a escuchar "Edge Of Nothing", un trabajo editado originalmente en 1983 que ahora reedita Die Stadt

We begin this week with some news from the German label Die Stadt, immersed in the reissue of several works by David Jackman, composer and visual artist that was born in the United Kingdom and is musically active from the end of the 60s with his first project, The Scratch Orchestra -together with Cornelius Cardew, Brian Eno and the members of the improvisation outfit AMM, among others- and later on with his solo project Organum, in which Jim O'Rourke, Christoph Heemann (of H.N.A.S.), and Steven Stapleton (of N.W.W.) among many other big names have collaborated. "Edge Of Nothing" was originally released in 1983

02. ORGANUM 
Track: Wolf
Album: Vacant Lights / Rara Avis

Label: Die Stadt

03. ORGANUM

Track:  Vacant Lights Pt 1

Album: Vacant Lights / Rara Avis

Label: Die Stadt

Reediciones de material a cargo de David Jackman y su proyecto Organum. Sonaron consecutivamente cortes de "Rara Avis" y "Vacant Lights", dos trabajos clásicos de Organum retrabajados por Jackman para esta nueva edición en Die Stadt

Reissues of David Jackman's Organum project. "Rara Avis" and "Vacant Lights" are two classic works of Organum reworked by Jackman for this new edition in Die Stadt

04. WILLIAM BASINSKI

Track: Part 2 
Album: Variations: A Movement In Chrome Primitive 2CD 

Label: Die Stadt / Durtro


Otra de las novedades de la compañía alemana en colaboración con el sello Durtro de David Tibet, un doble cd a cargo del compositor estadounidense William Basinski que contiene sus primeras investigaciones con piano y cinta, de principios de los años 80: "Variations: A Movement In Chrome Primitive"

Another novelty from the German company along with David Tibet's Durtro label , a double cd by the American composer William Basinski, containing his first investigations with piano and tape, from the beginning of the 80's: "Variations: A Movement In Chrome Primitive"


05. AIV
Track: Untitled_Track_02 
Album: Authentic & Vague: Images 
Label: Audiot 

Nos trasladamos a Riga, en Letonia, con un nuevo sello llamado Audiot dedicado a editar el trabajo de jóvenes diseñadores de sonido procedentes de la zona del Báltico. Escuchamos el proyecto AIV, de los bielorrusos Ilya Andreyev y Anton Sorokin, una propuesta ambiental de matices ruidistas cuyos autores recomiendan escuchar con auriculares: "Authentic & Vague: Images"

We move to Riga, in Latvia, with the new Audiot label, dedicated to release the work of young sound designers coming from the Baltic area. This is the AIV project, by the Belarussians Ilya Andreyev and Anton Sorokin, an environmental proposal of noisy shades whose authors recommend to listen to with headphones: "Authentic & Vague: Images"


06. CRITIKAL
Track: 2 

Album: State
Label: Nexsound / Zeromoon

Continuamos en el este europeo de la mano ahora de Andrey Kiritchenko y su sello Nexsound, creado con el objetivo principal de promocionar la escena experimental ukraniana, aunque abierto a todo tipo de proyectos como el que suena: Critikal, la colaboración entre el propio Andrey Kiritchenko, el norteamericano Jeff Surak (director del sello Zeromoon) y el sueco Jonas Lindgren (fundador de Musique:Motpol Records), una combinación de texturas electrónicas e improvisación acústica repleta de detalles

We continue in European East by the hand of Andrey Kiritchenko and his Nexsound label, created with the main objective of promoting the experimental Ukranian scene, although it is open to all kind of projects like this one, Critikal, the collaboration between Andrey Kiritchenko himself, the North American Jeff Surak (director of the Zeromoon label) and the Swedish Jonas Lindgren (founder of Musique:Motpol Records), a combination of electronic textures and acoustic improvisations full of details


07. PROPERGOL Y COLARGOL
Track: No Particular Destination

Album: Charly Roger. Songs For Fuzzycandy LP

Label: Autres Directions In Music

Hace unas semanas escuchábamos lo último de Autres Directions in Music, desde Nantes, el recopilatorio "The Noise & The City" en el que cabían hasta 30 artistas; en aquella ocasión escuchamos a Sogar, aunque entre los presentes se encontraba este dúo de Brest, en Francia, que suena ahora con su nuevo disco para Autres Directions In Music: "Charly Roger. Songs For Fuzzycandy lp": Se trata de Propergol y Colargol

Some weeks ago we listened to the last release of Autres Directions in Music, from Nantes, the compilation "The Noise & The City", in which they fit up to 30 artists; in that occasion we listened to Sogar, though among the present it was this duet from Brest, in France, that comes now with their new record for Autres Directions In Music: "Charly Roger. Songs For Fuzzycandy lp": Propergol y Colargol


08. GREG HEADLEY 
Track: To Drink Up The Sea 
Album: It Can Leave, It Must Leave

Label: 28 Angles 

Greg Headley es un guitarrista experimental y músico electrónico de California que reconoce la influencia en su trabajo del escritor irlandés James Joyce, en especial de su "Ulises". "It Can Leave, It Must Leave" se ha publicado en el sello californiano 28 Angles

Greg Headley is an experimental guitarist and electronic musician from California that acknowledges the influence on his work of the Irish writer James Joyce, specially his "Ulysses". "It Can Leave, It Must Leave" has been released in the Californian label 28 Angles


09. MIMEO 
Track: 6 
Album: Lifting Concrete Lightly 
Label: Serpentine Gallery

Hoy cerramos la sesión de esta semana con la Music In Movement Electronic Orchestra (MIMEO) en directo desde la Serpentine Gallery de Londres el año pasado, un evento en el que participaron un total de 11 músicos entre los que encontramos a los británicos Phil Durrant, Kaffe Matthews y Keith Rowe, los alemanes Thomas Lehn y Markus Schmickler, los austríacos Christian Fennesz y Peter Rehberg, los holandeses Cor Fuhler y Gert-Jan Prins, el francés Jerôme Noettinger y el portugués Rafael Toral. Y así nos despedimos

We close the session of this week with the Music In Movement Electronic Orchestra (MIMEO), live last year from the Serpentine Gallery in London, an event in which a total of 11 musicians took part, among who we find the British Phil Durrant, Kaffe Matthews and Keith Rowe, the German Thomas Lehn and Markus Schmickler, the Austrian Christian Fennesz and Peter Rehberg, the Dutch Cor Fuhler and Gert-Jan Prins, the French Jerôme Noettinger and the Portuguese Rafael Toral

______

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From ???@??? Thu Jan  6 22:20:13 2005
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Subject: Re: [microsound] Completion of my first album
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nice job  eric b.  i didnt hear any rakim lyrics
though/.    i'm playing the files at work, and its
freezing here too.   nice mood and concrete.  i'm
curious as to what its done on as well.   a few
suggestions would be song titles perhaps, and possibly
an artist alias, as there already exists one eric b. 
who jams, i might add.   good work.   

bry.



> nice music. it's going great with my green tea and
> twilight snow fall
> outside right now. the field recording are really
> nice too... creepy and
> cinematic. what's it done on? i've been doing a lot
> of stuff like this
> lately, just improvising live to harddrive using my
> nord lead 3 to tweak
> out some massive dark ambient textures... hardware
> though...
> 
> have you checked out the 'metaphysical function'
> instrument in reaktor
> instruments II? you'd dig.
> 
> also i really like your website...
> 
> all the best
> 
> g.
> 
> Eric b wrote:
> 
> > You can download the entire project free
> > at http://www.ericbollman.com
> >
> > Any feedback/thoughts regarding the compositions
> or
> > the mastering of the album would be GREATLY
> > appreciated. Please contact me off the list.
> >
> > thanks!!
> > -eric
> >
> > __________________________________________________
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From ???@??? Thu Jan  6 22:17:17 2005
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whoops! i apologize for the reply all slip
--- Eric b <xxxx_xxxxxxxx@xxxxx.xxx> wrote:

> hey graham,
> 
> Thanks for the feedback. Most of it is done with a
> reaktor and just an old  MD recorder for the field
> recordings. metaphysical function is pretty neat!!!
> Thanks again for the mail.
> 
> -eric
> 
> --- graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:
> 
> > nice music. it's going great with my green tea and
> > twilight snow fall
> > outside right now. the field recording are really
> > nice too... creepy and
> > cinematic. what's it done on? i've been doing a
> lot
> > of stuff like this
> > lately, just improvising live to harddrive using
> my
> > nord lead 3 to tweak
> > out some massive dark ambient textures... hardware
> > though...
> > 
> > have you checked out the 'metaphysical function'
> > instrument in reaktor
> > instruments II? you'd dig.
> > 
> > also i really like your website...
> > 
> > all the best
> > 
> > g.
> > 
> > Eric b wrote:
> > 
> > > You can download the entire project free
> > > at http://www.ericbollman.com
> > >
> > > Any feedback/thoughts regarding the compositions
> > or
> > > the mastering of the album would be GREATLY
> > > appreciated. Please contact me off the list.
> > >
> > > thanks!!
> > > -eric
> > >
> > >
> __________________________________________________
> > > Do You Yahoo!?
> > > Tired of spam?  Yahoo! Mail has the best spam
> > protection around
> > > http://mail.yahoo.com
> > >
> > >
> >
>
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> > xxxxxxxxxx-xxxx@xxxxxxxxx.xxx
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> > 
> > 
> >
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> > 
> 
> 
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From ???@??? Thu Jan  6 22:03:23 2005
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Date: Thu, 06 Jan 2005 14:03:17 -0800 (PST)
From: Eric b <xxxx_xxxxxxxx@xxxxx.xxx>
Subject: Re: [microsound] Completion of my first album
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hey graham,

Thanks for the feedback. Most of it is done with a
reaktor and just an old  MD recorder for the field
recordings. metaphysical function is pretty neat!!!
Thanks again for the mail.

-eric

--- graham miller <xxxxxxxxxxxx@xxxxxxxxx.xx> wrote:

> nice music. it's going great with my green tea and
> twilight snow fall
> outside right now. the field recording are really
> nice too... creepy and
> cinematic. what's it done on? i've been doing a lot
> of stuff like this
> lately, just improvising live to harddrive using my
> nord lead 3 to tweak
> out some massive dark ambient textures... hardware
> though...
> 
> have you checked out the 'metaphysical function'
> instrument in reaktor
> instruments II? you'd dig.
> 
> also i really like your website...
> 
> all the best
> 
> g.
> 
> Eric b wrote:
> 
> > You can download the entire project free
> > at http://www.ericbollman.com
> >
> > Any feedback/thoughts regarding the compositions
> or
> > the mastering of the album would be GREATLY
> > appreciated. Please contact me off the list.
> >
> > thanks!!
> > -eric
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Tired of spam?  Yahoo! Mail has the best spam
> protection around
> > http://mail.yahoo.com
> >
> >
>
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> 
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From ???@??? Thu Jan  6 21:25:03 2005
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Date: Thu, 06 Jan 2005 16:28:33 -0500
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Subject: Re: [microsound] Completion of my first album
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nice music. it's going great with my green tea and twilight snow fall
outside right now. the field recording are really nice too... creepy and
cinematic. what's it done on? i've been doing a lot of stuff like this
lately, just improvising live to harddrive using my nord lead 3 to tweak
out some massive dark ambient textures... hardware though...

have you checked out the 'metaphysical function' instrument in reaktor
instruments II? you'd dig.

also i really like your website...

all the best

g.

Eric b wrote:

> You can download the entire project free
> at http://www.ericbollman.com
>
> Any feedback/thoughts regarding the compositions or
> the mastering of the album would be GREATLY
> appreciated. Please contact me off the list.
>
> thanks!!
> -eric
>
> __________________________________________________
> Do You Yahoo!?
> Tired of spam?  Yahoo! Mail has the best spam protection around
> http://mail.yahoo.com
>
> ---------------------------------------------------------------------
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From ???@??? Thu Jan  6 20:03:02 2005
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Date: Thu, 06 Jan 2005 12:02:54 -0800
From: Phil Thomson <xxxxxxxxxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] Bill Gates: Free Culture advocates are "communists"
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"There are some new modern-day sort of communists who want to get rid
of the incentive for musicians and moviemakers and software makers
under various guises. They don't think that those incentives should
exist."

http://www.boingboing.net/2005/01/05/bill_gates_free_cult.html

P


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://pthomson.blogspot.com/
{ blog2: http://www.bloglines.com/blog/PhilThomson
{ label: http://centibel.org/

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From ???@??? Thu Jan  6 19:21:14 2005
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Date: Thu, 06 Jan 2005 14:22:11 -0500
From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] CKLN FM's Whynot Jazz playlist  for December 22, 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?
> 2004/12/22
>
>
> Artist
> Song Title
> Album Title
> Label
>
>
>
> Furt
> Mice
> Dead or Alive
> psi
>
>
>
> The Hanuman Sextet
> String Over Skin
> Confusing The Devil
> rcrcd
>
>
>
> Barnyard Drama
> White Christmas
> Christmas Singalong Vol 2
> Barnyard Records
>
>
>
> AIR Acoustic Trio
> Rostock part 2
> Rostock
> Meta Records
>
>
>
> Micheal Keith
> 16
> Non-Adhersive Electric Guitar Solo
> www.alexiteric.com
>
>
>
> Scorch Trio
> Brennj Fynnj
> Luggumt
> Runegrammofon
>
>
>
> Do Make Say Think
> White Light of Chinatown
> & Yet & Yet
> Constellation
>
>
>
> Michael Occupinti/Chris Cawthray
> Snowfall
> Winter Music
> independent
>
>
>
> R.U.B.
> Adhere and Now
> Are You Be
> Animul Records
>
>
>
> Barnyard Drama
> Rudolph The Red Nose Reindeer
> Christmas Singalong Vol. 2
> Barnyard Records
>
>
>
> Fred Longberg - Holm Trio
> Track 8
> other Valentines
> demo
>
>
>
> Lori Freedman-Kaffe Matthews
> track 3
> @ Goethe Institue
> Roughidea
>
>
>
> Ateleia
> Production and Poverty
> Swimming Against the Moment
> Antioptic
>
>
>
> Tim Posgate
> with Ben Grossman
> A Little MIT
> Guildwood
> Records
>
>
>
> 2nd Outlet
> Aurlian Yellow
> Burnt Sienna
> Nuscope
>
>
>
> B. Falaise/R.Samworth/P.Tanguay/D.Vander Schyff
> It Was Nice
> The Unexpected One
> Ambiance Magnestiques
>
>
>
> Barnyard Drama
> Jingle Bell rock
> Christmas sing Along Vol 2
> Barnyard Records
>
>
>
> Nels Cline/Andrea Parkins/Tom Rainey
> Alleys of North America
> Ash and Tabula
> (Out Trios Volume 3)
> Atavistic
>
>
>
> Food
> Christcookies
> Last Supper
> Rune Grammofon
>
>
>
> Sten Sandell/David Stackenas
> Jansson's Temptation part 1
> Gubbrora
> psi
>
>
>
> Barnyard Drama
> Feliz Navidad
> Christmas Sing Along Vol 2
> Barnyard Records
>
>
>
> Tim Posgate
> In the Future of Your Dream
> In the Future of Your Dream
> Guildwood Records
>
>
> 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 ???@??? Thu Jan  6 16:50:37 2005
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From: xxxxxxx@xxx.xxx
Subject: [microsound] to kim from thaniel. nosedemo
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hey, the cdr should get to you either today or tommorrow [ saturday at the latest] . please email me when you get it.
-t

-------------- Original message from Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>: -------------- 


> redirected URL 
> http://tinyurl.com/695uv 
> 
> 
> the long story: 
> http://www.reuters.co.uk/newsArticle.jhtml? 
> type=internetNews&storyID=7250030§ion=news&src=rss/uk/internetNews 
> 
> 
> I guess it was for real... 
> 
> 
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--Boundary_(ID_evrtclRLSI/KFOy7lieXrw)--

From ???@??? Thu Jan  6 16:17:45 2005
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Date: Thu, 06 Jan 2005 08:05:51 -0800
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Subject: [microsound] [ot] follow up to the Apple sub-$500 desktop
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redirected URL
http://tinyurl.com/695uv


the long story:
http://www.reuters.co.uk/newsArticle.jhtml? 
type=internetNews&storyID=7250030§ion=news&src=rss/uk/internetNews


I guess it was for real...


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From: Eric b <xxxx_xxxxxxxx@xxxxx.xxx>
Subject: [microsound] Completion of my first album
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You can download the entire project free 
at http://www.ericbollman.com

Any feedback/thoughts regarding the compositions or
the mastering of the album would be GREATLY
appreciated. Please contact me off the list.

thanks!!
-eric

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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] "modern-day sort of communists"
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apparently Bill Gates lives in more of a bubble than previously  
suspected...

here's the short redirected url:
http://tinyurl.com/3kl9s

here's the real one:
http://news.com.com/Gates+taking+a+seat+in+your+den/2008-1041_3 
-5514121.html?part=rss&tag=5514121&subj=news.1041.5

> "There are fewer communists in the world today than there were. There  
> are some new modern-day sort of communists who want to get rid of the  
> incentive for musicians and moviemakers and software makers under  
> various guises. They don't think that those incentives should exist."  
> - B. Gates


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anyone interested in playing around with rfid might want to check out 
the upcoming issue of elektor (the diy electronics mag). it will 
include a small circuit that detects if any RFID-readers/scanners are 
active in an area.



2005-01-05 kl. 23.22 skrev Kim Cascone:

>> rifd chip with a midi-track
>
> you mean an RFID tag, right? that's a very interesting idea: create a 
> RFID tag that could create 'problems' for scanning devices, i.e. 
> jamming scanners in retail or gov't places...how would one translate 
> this into sound? collecting data from the scanning device and using it 
> as parameter data in Max/MSP or PD?...anyone know if such a project 
> exists?
> cool idea though! :)
>
>
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Just in case I'm not the only one who had no idea what rdif is....
http://www.acmqueue.com/modules.php? 
name=Content&pa=printer_friendly&pid=216&page=1
http://en.wikipedia.org/wiki/RFID
On 5-Jan-05, at 3:13 PM, Kassen wrote:

> Brian Klein;
>
>> yeah most clothes don't have barcodes or rfids, unless
>> you're buying them from certain stores, or you leave
>> the price tag on. but a good idea might be to take cds
>> (or other musical media) and scan their barcodes.
>
> Hmmm. We can already scan sound, it might be much more interesting to  
> scan
> non-sound products.
>
> I remember one gizzmo from a decade or so ago that was stirring up a  
> hype in
> Japan. This "Barcode Battler" would transform a scanned barcode into
> strength/defence/whatever for imaginary combatants. You and your  
> friends
> could pitch various products against eachother. If memory serves this  
> caused
> a riot when some kind of pasta turned out to yield exceptionally high  
> scores
> and all fans ran out to get it...
>
> Just imagine how some innocent little product like oatmeal might be  
> the new
> amen break of Microsound. It would be exceptionally funny if the best  
> sounds
> would come from relatively expensive products that would be of no use  
> to the
> average Microsounder.
>
> On a more serious note; many laptops come with IR ports. The addition  
> of a
> source of infra red might get a dedicated tweaker a suitable barcode  
> reading
> device at little cost.
>
> Kas.
>
>
>
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Brian Klein;

> yeah most clothes don't have barcodes or rfids, unless
> you're buying them from certain stores, or you leave
> the price tag on. but a good idea might be to take cds
> (or other musical media) and scan their barcodes.

Hmmm. We can already scan sound, it might be much more interesting to scan
non-sound products.

I remember one gizzmo from a decade or so ago that was stirring up a hype in
Japan. This "Barcode Battler" would transform a scanned barcode into
strength/defence/whatever for imaginary combatants. You and your friends
could pitch various products against eachother. If memory serves this caused
a riot when some kind of pasta turned out to yield exceptionally high scores
and all fans ran out to get it...

Just imagine how some innocent little product like oatmeal might be the new
amen break of Microsound. It would be exceptionally funny if the best sounds
would come from relatively expensive products that would be of no use to the
average Microsounder.

On a more serious note; many laptops come with IR ports. The addition of a
source of infra red might get a dedicated tweaker a suitable barcode reading
device at little cost.

Kas.



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From ???@??? Wed Jan  5 22:59:56 2005
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yeah most clothes don't have barcodes or rfids, unless
you're buying them from certain stores, or you leave
the price tag on. but a good idea might be to take cds
(or other musical media) and scan their barcodes. 



> That´d be a like a updated version of that casio
> keyboard the scans
> barcodes!
> 
> It could even make real sense to incorportate this.
> Some synth or sequecer
> could read the tags of your clothes and adapt the
> sound to what you wear. A
> moody sound for the worn black hoodies, a cheerful
> one for the bright shirts
> with the cartoon characters. You might need to train
> a neural net for a
> while while it reads the tags and you fill in your
> mood but this makes a lot
> of sense to me.
> 
> The problem is that right now all the worn hoodies
> are still without the
> tags, this plan might need to age a little.
> 
> Kas.
> 
> 
> 
> 
> 

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Kim;

> you mean an RFID tag, right? that's a very interesting idea: create a
> RFID tag that could create 'problems' for scanning devices, i.e.
> jamming scanners in retail or gov't places...how would one translate
> this into sound? collecting data from the scanning device and using it
> as parameter data in Max/MSP or PD?...anyone know if such a project
> exists?


That´d be a like a updated version of that casio keyboard the scans
barcodes!

It could even make real sense to incorportate this. Some synth or sequecer
could read the tags of your clothes and adapt the sound to what you wear. A
moody sound for the worn black hoodies, a cheerful one for the bright shirts
with the cartoon characters. You might need to train a neural net for a
while while it reads the tags and you fill in your mood but this makes a lot
of sense to me.

The problem is that right now all the worn hoodies are still without the
tags, this plan might need to age a little.

Kas.




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> rifd chip with a midi-track

you mean an RFID tag, right? that's a very interesting idea: create a 
RFID tag that could create 'problems' for scanning devices, i.e. 
jamming scanners in retail or gov't places...how would one translate 
this into sound? collecting data from the scanning device and using it 
as parameter data in Max/MSP or PD?...anyone know if such a project 
exists?
cool idea though! :)


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From: Mike Hansen <xxxxxxxxxx@xxxxxxxxx.xx>
Subject: [microsound] WhynotJazz-Top 10 and Honourable Mentions for 2004
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>
> Mike Hansen WhynotJazz Program CKLN FM 88.1 Wednesdays 7am -11am
>
> Top 10
>
> 1. Christian Fennesz  Venice Touch
>
> 2. Alvin Curran/Domenico Scianjno   Our Ur   Rossbin Productions
>
> 3. Wolfgang Mitterer   Radio Fractal/Beat Music  Hatology/Hathut 
> Records
>
> 4. Brigit Uhler/Ernst Thoma    Slants   Unit Records
>
> 5. Pau Torres   My Wrong Mood    Testing Ground Records
>
> 6. Martin Brandlmayr/Werner Dafeldecker/Martin Siewert/Stephen Nemeth
> Die Instabilitat Der Symmetrie  Grob/Doc Records
>
> 7. Cremaster   Flysch  G3G Records
>
> 8. Smash and Teeny   Gathering   Spool Records
>
> 9. Burkhard Beins/Dirk Marwedel/ Michael Vorfeld  Misiiki              
>          Rossbin Productions
>
> 10. John Tilbury/Eddie Prevost  Discrete Moments  Matchless Recordings
>
> Honourable Mentions
>
> 1. Matt Broughner  Live at The Underground  independent
> 2. Lee Ranaldo/Dave Dyment  New Life After Fire  Art Metropole
> 3. Axel Dorner/Tony Buck  Durch und Durch  Vitamin Records
> 4. Les Poules  Prairie Orange  Ambiance Magnestiques
> 5. Nilsson/Sandell Duo  Strings and Objects  LJ Records
> 6. Mats Gustafsson/Sonic Youth  Hidros 3  Smalltown Supersound
> 7. Iks   Abstr cncr    Ora Records
> 8. Brodie West/Han Bennink  Brodie and Han  independent
> 9. Koch, Schutz and Studer   Life Tied   Intakt Records
> 10. Stars Like Fleas   Sun Lights Down the Fence   Praemedia
>
>
> Mike Hansen
> WhynotJazz Program
> CKLN FM 88.1 Toronto
> 79 Benson Ave.
> Toronto,On
> Canada
> M6G 2H7
> xxxxxxxxxx@xxxxxxx.xxx
>
>


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From ???@??? Wed Jan  5 14:45:11 2005
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  Subj:    Linux audio CD deadline extended
  Date:    Tue, 4 1 2005 2:56:28 pm GMT 
  From:    Ed Carter <xx@xxxxxxx.xxx> 
  To:    Jake Harries <xxxxxxxxxxx@xxx.xxx> 
  Sent from the Internet (Details) 
 


Hi Jake

Hope you had good new year. Thought I'd let you know that we're
extending the deadline for the Linux Audio CD by a couple of weeks - can
you forward the new info to the lists you posted it to before? We've had
a really good response, so are possibly thinking of doing a double CD
(which gives plenty more room!).

Cheers
ed


CALL FOR AUDIO SUBMISSIONS

Linux Open Source Sound CD (L.O.S.S.)

[Planned release date - April 2005]

Deadline for submissions: 21-01-05

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, between 20 secs and 8 mins 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
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.



-- 
Ed Carter
Digital Arts Programme Manager
Access Space -- 1 Sidney Street -- Sheffield S1 4RG
Access Space is UK Registered Charity: #1103837
T: +44 (0)114 2495522
F: +44 (0)114 2495533
W: http://access-space.org 
 


--
best 
Jake 
xxxxxxxxxxx@xxx.xxx


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From ???@??? Wed Jan  5 09:16:42 2005
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question:
is the server still down? I keep getting "remote server refused 
connection", even though I am inputting the login and password I was 
sent...

thanks,

Julio.


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From ???@??? Tue Jan  4 22:26:52 2005
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From: Carrera-Linn Cultural Exchange <xxxx.xxxxx@xxxx.xxx>
Subject: Re: [microsound] [OT] Tsunami update
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Karri Ojanen wrote:

>Yes, this sounds like a good idea. But when you say 'dirt poor', think of
>ordinary Sri Lankans, Indians, Indonesians, Malaysians and Thai. _They_
>are dirt poor compared to any 'dirt poor' musician in our parts of the
>world. Surely you can help now by giving a couple bucks to the Red Cross
>catastrophy aid fund? I think any one of us in the west can afford to
>help.
>
>Karri
>  
>
Folks;

You may wish to give to Worldvision as well.  They have a lot of 
experience in the area and can definitely spread funds around the right way.

Go here for more info, and it's really good to see how this tragedy can 
unite people.

https://www.kintera.org/site/pp.asp?c=fvKVLbMVIwG&b=277370&lid=tsunami_donate&lpos=main1btn


-- 
Best,

Rudolph A. Carrera
http://clcx.org (coming soon)
http://rudycarrera.com
http://rudolphcarrera.blogspot.com/



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From: Eloy Anzola <xxxx@xxxxxxxxx.xxx>
Subject: [microsound] [OT] Top 100 Artists in the world
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The A.R reflects the artists exhibition career from 1999 to today as seen
from the perspective of the organizing curators of museums and private
galleries.

http://www.artfacts.net/ranking/Page2_EN.php


 -----
xxxx@xxxxxxxxx.xxx
http://groovylab.com/



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From ???@??? Tue Jan  4 22:25:58 2005
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--Boundary_(ID_6RGh9a9+AFX1z7tfUHEugQ)
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on 1/4/05 11:09 PM, Eloy Anzola at xxxx@xxxxxxxxx.xxx wrote:

> The A.R reflects the artists exhibition career from 1999 to today as seen
> from the perspective of the organizing curators of museums and private
> galleries.
> 
> http://www.artfacts.net/ranking/Page2_EN.php


no time to check the facts :-)
>>+
happy new year<<


--Boundary_(ID_6RGh9a9+AFX1z7tfUHEugQ)--

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i love the last bit from that t-shirt link:

"Now wear your shirt with pride for a better quality of life and remember,
fuck grace and fuck modesty, accept all compliments with arrogance for you
are now better than everyone."



Kim Cascone wrote:

> anyone up for a project? I got an idea while checking out this site:
> http://www.stencilrevolution.com/tutorials/tutorialsview.php?id=2


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From ???@??? Tue Jan  4 20:38:03 2005
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From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [new] stencil - addendum
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check out the tutorials page for more tips on making and cutting 
stencils:
http://www.stencilrevolution.com/tutorials/


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From ???@??? Tue Jan  4 20:34:59 2005
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Date: Tue, 04 Jan 2005 21:31:25 +0100
From: th_ost <xxxxxx@xxx.xxx>
Subject: Re: [microsound] [new] .microsound_tShirt project
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the aesthetic and theme should be sympathetic to .microsound, i.e. 
digital music, noise, electro-acoustic, glitch, software based artifact 
creation, subversion of technology, open source content, group 
collaboration, network music communities, whatever, etc.


why not also implement a rifd chip with a midi-track?

;)


°°°
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....
°°°°°
  ----- Original Message ----- 
  From: Kim Cascone 
  To: microsound_list 
  Sent: Tuesday, January 04, 2005 20:07
  Subject: [microsound] [new] .microsound_tShirt project


  anyone up for a project? I got an idea while checking out this site:
  http://www.stencilrevolution.com/tutorials/tutorialsview.php?id=2

  here's the proposal: generate stencil art for a .microsound T-shirt: 
  put a .pdf version for download/printout on the hotline server, put a 
  .jpeg of the design on a TWiki page with a matching filename (so for 
  example, I see 'micromascot101.jpg' on the TWiki site and can find 
  'micromascot101.pdf' on the hotline server), anyone who wants to print 
  a T can do so by cutting out the stencil and making a single copy of 
  the shirt per the instructions above at the stencilrevolution.com 
  site...
  the aesthetic and theme should be sympathetic to .microsound, i.e. 
  digital music, noise, electro-acoustic, glitch, software based artifact 
  creation, subversion of technology, open source content, group 
  collaboration, network music communities, whatever, etc.

  ***there are no limits to submissions, but you must place a .jpeg on 
  TWiki page and a .pdf on hotline server (when it gets fixed)

  - just a thought: all flavors of *nix have a mascot and/or logo - maybe 
  someone could think of an appropriate mascot/logo for .microsound?

  *simple rules:*
  - deadline for entries: is Jan 31 2005
  - all entries allowed/encouraged but must be put on TWiki and hotline 
  server
  - 1-color stencil preferred, 2-color stencil maximum - for ease of 
  manufacturing
  - follow the guidelines in the stencilrevolution.com link I posted above


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From ???@??? Tue Jan  4 19:07:30 2005
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Subject: [microsound] [new] .microsound_tShirt project
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anyone up for a project? I got an idea while checking out this site:
http://www.stencilrevolution.com/tutorials/tutorialsview.php?id=2

here's the proposal: generate stencil art for a .microsound T-shirt: 
put a .pdf version for download/printout on the hotline server, put a 
..jpeg of the design on a TWiki page with a matching filename (so for 
example, I see 'micromascot101.jpg' on the TWiki site and can find 
'micromascot101.pdf' on the hotline server), anyone who wants to print 
a T can do so by cutting out the stencil and making a single copy of 
the shirt per the instructions above at the stencilrevolution.com 
site...
the aesthetic and theme should be sympathetic to .microsound, i.e. 
digital music, noise, electro-acoustic, glitch, software based artifact 
creation, subversion of technology, open source content, group 
collaboration, network music communities, whatever, etc.

***there are no limits to submissions, but you must place a .jpeg on 
TWiki page and a .pdf on hotline server (when it gets fixed)

- just a thought: all flavors of *nix have a mascot and/or logo - maybe 
someone could think of an appropriate mascot/logo for .microsound?

*simple rules:*
- deadline for entries: is Jan 31 2005
- all entries allowed/encouraged but must be put on TWiki and hotline 
server
- 1-color stencil preferred, 2-color stencil maximum - for ease of 
manufacturing
- follow the guidelines in the stencilrevolution.com link I posted above


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From ???@??? Tue Jan  4 17:19:25 2005
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Date: Tue, 04 Jan 2005 18:22:09 +0100
From: "xxxx@xxx" <xxxx_xx@xxx.xxx>
Subject: [microsound] behrens tour help wanted
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dear all,
german sound artist marc behrens (www.mbehrens.com) and dj zipo
(www.aufabwegen.com) are playing in europe.
we are looking for people that are intersted in setting up show for the free
periods.
we are particularily on the lookout for gigs in switzerland on 5/6Th
february and in austria on 7&8th february.
anybody who is interested please get back to me offlist at
xxxx@xxxxxxxxxx.xxx

marc behrens + dj zipo tour
03.02.2005: zuerich, walcheturm
04.02.2005: geneve, cave 12
09.02.2005: bratislava, goethe institute
07.or8th.02.2005: vienna unconfirmed
11.02.2005: leipzig, galerie für zeitgenössische kunst
12.02.2005: berlin, sibirsche zelle (tbc)
13.02.2005: frankfurt ???

thanks for your time...

best,
till


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


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From ???@??? Tue Jan  4 17:14:25 2005
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Date: Tue, 04 Jan 2005 09:00:55 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] .microsound hotline server
To: microsound_list <xxxxxxxxxx@xxxxxxxxx.xxx>
Cc: microsound_hotline_admin Eric <xxxx@xxxxxxxxxxx.xxx>
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does anyone else have a problem connecting/logging into the hotline 
server?
if you cannot connect please drop the server admin an email:
xxxx@xxxxxxxxxxx.xxx
and let him know you are having difficulty
sorry about this!
KIM


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From ???@??? Tue Jan  4 02:47:15 2005
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as of this morning the hotline server for the microsound list has been 
down...if I haven't responded to your email it is because I can't log 
into the server to assign pswd's...FYI: I don't actually run the 
server, I just admin the hotline accounts...
sorry!
KIM


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From ???@??? Mon Jan  3 22:11:16 2005
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yes. you can map vst automation with audiomulch.


--- scott allison <xxxxxxxxx@xxxxxxx.xxx> wrote:

> Also of note is the free VST plug by Tom Erbe and
> Akria Rabeilas "+decimate" 
> for bit depth and sample rate reduction.
> 
> http://www.soundhack.com/freeware.php
> 
> There are versions for both PC and Mac, so it should
> work within Audiomulch, 
> but you will have to find something to control speed
> of bit depth 
> transition, maybe Audiomulch has an assingable
> enevlope? You could possibly 
> do it manually via midi.
> 
> Best
> Scott Allison
> 
> >try pluggo's 'degrader' in tandem with jhno's
> 'LFO'.
> 
> >>>does anyone know if there is a plug in
> for audiomulch that will
> >>>drop a  wavs bit rate slowly over a long
> period of time.
> >>>-thaniel ion lee//bridlewire
> 
> >>or any plugin that works with wavelab or
> nuendo that drops
> >>bitrates?
> 
> 
> 
>
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> 
> 


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From ???@??? Mon Jan  3 22:06:29 2005
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Date: Mon, 03 Jan 2005 23:06:11 +0100
From: festival garage <xxxx@xxxxxx-x.xx>
Subject: [microsound] FM3 concert @ staalplaat store berlin
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sat 08 january LIVE at STAALPLAAT

haunted, hypnotic minimal electronics from christiaan virant's
beijing-based FM3 project.

8:00pm torstr. 72 10119  berlin/germany + zelda panda

----
http://www.heavengallery.com/define/FM3.html

(you can also check our stream archive http://www.garage-g.de)



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From ???@??? Mon Jan  3 21:17:07 2005
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Date: Mon, 03 Jan 2005 13:17:00 -0800 (PST)
From: zach layton <xxxxxxxxxx@xxxxx.xxx>
Subject: [microsound] [an] Darmstadt @ galapagos w. Oblaat, jeff carey,
 robert van heuman + adam kendall
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Happy New Year...for those of you in the New York Area:

Wednesday's Darmstadt party is going to be fantastic.  Featuring Live
Video by {R}ake's ADAM KENDALL, electronic improv all the way from
Amsterdam with JEFF CAREY and ROBERT VAN HEUMAN, and Brooklyn's own
powerbook genius, OBLAAT.  And, as usual, I'll be playing some gems by
John Cage, James Tenney, Morton Feldman and company in the spaces between.
 I can't adequately express my enthusiasm for this one...it's going to be
a feast for the eyes and ears and should not be missed!!!

see below for details:

Weds 1/5 7pm-10pm $5 

experimental new music and classics of the avant garde listening party...

Featuring JEFF CAREY + ROBERT VAN HEUMEN + OBLAAT with Video by ADAM
KENDALL 

Jeff Carey is computer music composer and performer who studied Audio
Technology at American University and Sonology at the Institute for
Sonology of the Koninklijk Conservatorium in Den Haag. His work has always
centered around a system-oriented approach to sound production and
composition. Carey has focused his attention on two specific sound making
activities: his participation as computer instrumentalist in the
electro-acoustic ensemble Office-R(6) and his own acousmatic multichannel
computer compositions. 

Robert van Heumen has worked with Anouk van Dijk (choreographer) on music
for choreographies and for the website http://www.anoukvandijk.com. In
2001, he worked with Koen Nutters (composer/acoustic bass) on the project
'St.Lab/OfficeR' for research on composed improvisation with electronics
and acoustic instrumentalists. He has done various performances in
Amsterdam, including STEIM and OT301 concerts, working as an improvisor on
live sampling.

Adam Kendall is a Brooklyn-based musician and video-artist.  In the words
of one kind critic, his video is "Real-world images evolving into abstract
textures and monochrome colors."  His extra-curricular activities include
co-curating the a/v series {R}AKE.

http://www.hellbender.org

OBLAAT - Based in Brooklyn, New York, sound artist, composer,
[electroluxe] event schemer, core member of SHARE(http://share.dj),
o.blaat (keiko uenishi) is known for creating various interactive audio
environments such as 'beat piece (with Ping-Pong game)', 'audio coat
check', 'coupier', 'fillip'. All of which were resulted from her ceaseless
pursuits of ways to erase performer's presence and ultimately alter
listening situation altogether.

After performing with an unique hand-made electronic sound system
‘tapboard.effector.soundsystem’ for a couple of years, Uenishi has been
exploring powerbook's mobility and its least distracting state of being.
Her first composition effort with powerbook, has been commissioned and
presented by galarie wieland (Berlin), Germany, as a part of its
exhibition, 'Songs of Love and Hate (side A)'.

Her powerbook performance has appeared at many music venues/events/museums
including; Tonic, The Kitchen, SHARE at openair, Whitney Museum of
American Art, P.S. 1 Contemporary Art Center, American Museum of Moving
Image, UnityGain, phonomena, Rhizome.org, White Columns, MIT, Cornell
Univercity, Vox Populi Gallery in Philladelphia, PA, and toured
extensively in Europe: Serralves Museum of Contemporary Art (Porto), ZDB
(Lisbon), Forum Municipal Luisa Todi(Setubal) in Portugal; Rhiz &
Phonotaktik Festival (Vienna) in Austria; NBI, Bastard, Staatsbank,
Transmediale festival 2004 (all in Berlin); A-Musik (Köln), in Germany; Le
Lieu Unique (Nantes), Zoobizarre (Bordeaux), Transfert 2003
(Lille-Paris-Poitiers-Bordeaux) in France; STEIM (Amsterdam), WORM
(Rotterdam) in Netherlands; RAS gallery (Barcelona) in Spain; What Is
Music? Festival in Melbourne and Sydney, in Australia.

Her sound was described in Wired magazine as 'Unleashing an enchanted sea
of sound: Fuzzed-out birdcalls flit through submarine drones, and scratchy
beats crackle like a thousand records skipping as one'. She has
collaborated numerous artists including: Ikue Mori, DJ Olive, Lloop,
Miguel Frasconi, Timeblind, Eyvind Kang, Sachiko M, Tetsuji Akiyama, Aki
Onda, Toshio Kajiwara, Zeena Parkins, Christine Bard, Kaffe Matthews,
Georg Zeitblom, Ralph Steinbrüchel, Günter Müller, Norbert Morslang,
Anthony Coleman, Kurt Ralske, Lukasz Lysakowski, HC Gilje, Eric Redlinger,
Klaus Filip, among others. She was a member of Marina Rosenfeld's 17 piece
guitar/powerbook orchestra, 'Sheer Frost Orchestra 2000', and also was a
member of laptops-and-electronics quartet with Ikue Mori, Kaffe Mathews,
and Marina Rosenfeld, recorded with a commission by STEIM, Amsterdam,
Holland, 2001




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From ???@??? Mon Jan  3 20:23:38 2005
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Date: Mon, 03 Jan 2005 15:25:28 -0500
From: tkrakowiak <xxxxxxxxx@xxxxxxxxx.xx>
Subject: Re: [microsound] dyne:bolic 1.4 codename LUMUMBA
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i think it's an excellent distro, as a matter of fact i'm totally in love  
with it.
'nest' function is great (saving all the prefs on usbkey or hdd)


cheers
t



On Mon, 03 Jan 2005 21:03:11 +0100, derek holzer <xxxxx@x-x.xxx> wrote:

>
> -------- Original Message --------
> Subject: [spectre] dyne:bolic 1.4 codename LUMUMBA
> Date: Mon, 3 Jan 2005 20:03:30 +0100
> From: jaromil <xxxxxxx@xxxx.xxx>
> Organization: rastasoft.org
>
>
> -----BEGIN PGP SIGNED MESSAGE-----
> Hash: SHA1
>
>
>
>   annunciazio'! annunciazio'! pepperepe'! pepperepe'!
>
>         dyne.org productions proudly present:
>
>         8                        8             8  o
>         8                        8             8
>    .oPYo8 o    o odYo. .oPYo. 88 8oPYo. .oPYo. 8 o8 .oPYo.
>    8    8 8    8 8' `8 8oooo8    8    8 8    8 8  8 8    '
>    8    8 8    8 8   8 8.        8    8 8    8 8  8 8    .
>    `YooP' `YooP8 8   8 `Yooo' 88 `YooP' `YooP' 8  8 `YooP'
>    :.....::....8 ..::..:.....:..::.....::.....:..:..:.....:
>    :::::::::ooP'.::::::::::::::::::::::::::::::::::::::::::
>    :::::::::...:::::: version 1.4 :: codename LUMUMBA :::::
>
>        100% FREE MULTIMEDIA GNU/LINUX OPERATING SYSTEM
>
>          RASTA SOFTWARE FOR THE FREEDOM OF CREATION
>
>    the complete system is free to download and copy, go on
>             ____ _ http://dynebolic.org _ _____
>             ___ __ http://dynebolic.org __ ____
>             __ ___ http://dynebolic.org ___ ___
>             _ ____ http://dynebolic.org ____ __
>       and redempt yourself from closed source software
>                 ISO CD image of 610Mbytes
>
>
>
> :: WHAT IS DYNE:BOLIC ?
>
>     Dyne:bolic GNU/Linux is a live bootable cd, containing a whole
>     operating system that works straight from boot, without the need to
>     install or change anything on the hard disk.
>     If you like and want to have it on harddisk you can simply copy the
>     /dyne directory on your computer: the simpliest installation ever!
>
>     Dyne:bolic is user-friendly: recognizes your hardware devices (sound,
>     video, firewire, and USB), and offers a VAST range of free software
>     applications for multimedia production, audio and video manipulation,
>     sound composition and synthesis, 3D modeling, photography, peer2peer
>     filesharing, web browsing, desktop publishing, word processing, cd
>     burning, email, encryption, remote conferencing, funky games, a world
>     atlas navigator and even more.
>
>     Advanced features include: a complete environment with the most  
> advanced
>     multimedia applications available on GNU/Linux, automatic clustering  
> joining
>     the CPU power between any other dyne:bolic on the local network,  
> capability
>     to work well on old PC (Pentium1 64Mb) and even XBOX game consoles,  
> support
>     to save and encrypt personal data and settings on a usb key.
>
>     Dyne:bolic is shaped on the needs of media activists and artists to
>     promote free speech as a tool for the production and not only the
>     fruition of digital and analog informations.
>     It takes birth as a grassroot effort to spread free software and the
>     spirit of sharing information and knowledge.
>
>     for more information see:
>     http://dynebolic.dyne.org/index.php?show=features with screenshots
>     http://dynebolic.dyne.org/index.php?show=press past reviews
>     http://dynebolic.dyne.org/index.php?show=docs the manual and wiki
>
>
>
> :: WHAT'S NEW IN THIS RELEASE?
>
>     This release provides a major upgrade to software included and adds
>     new useful applications, plus fixes some important outstanding bugs.
>     Since the enormous success of the previous release, the suggestions
>     of a growing number of users and the dedication of currently active
>     developers Jaromil and Smilzo lead to this very stable release.
>
>     Everyone is encouraged to upgrade! here the complete ChangeLog:
>
>    = 1.4 major update "LUMUMBA"
>   - Pure Data equipped with all major extensions:
>     PDP, PiDiP, RRadical, grid, pique, bonk, choice,
>     fiddle, freeverb, zexy, GEM-0.90, OSC and more
>     (10x to Aymeric, Derek, Frank, Yves, Tom and PD!)
>   - Blender-2.33a + Yafray-0.0.7 + Python game engine
>   - LiVES 0.9.1 with Ogg/Theora and _many_ other codecs!
>   - FreeJ-0.7.1 "BIKO" - RASTASOFTWARE!
>     console remote controller (VJ over Ethernet) and
>     Procedural Video Scripting: evolution from NLE systems
>   - updated Linux 2.4.26, Alsa, OpenMosix and SquashFS-2.1
>     with improved efficience and wider device support
>     including Zoran devices and most video boards
>   - Xbox support up to recent versions and cromwell bios
>   - Python is included with GUI extensions
>   - Fix to modem connection, now fully functional
>   - new software: Jamin-0.8, InkScape-0.39, poedit-1.2.5,
>     KPhone-4.0.2, TimeMachine-0.2.4, tftp-hpa-0.38,
>     Bomb-1.26, Pure-Ftpd-1.0.20, mlDonkey-2.5.22,
>     Circle-0.41c, Aqualung-0.9b2, FLAC-1.1, iftop-0.17p1,
>     Emacs-21.3, Seq24-0.5.2, Thunderbird-1.0,
>     Chestnut-dialer-0.1, libtheora-1.0a4
>   - Mobilemesh wireless adaptive routing daemon
>     see /usr/mobilemesh (10x to Elektra)
>   - updated software: FreeJ-0.7.1, MuSE-0.9.1,
>     ImageMagick-6, LADSPA, Jack-0.98.1, Blender-2.33a,
>     Cinelerra-1.2.1, Gaim-1.0, GQview-1.4.3, isolinux 2.10,
>     GEM-0.90, pd-0.37-4, Audacity-1.2.2, LiVES-0.9.1,
>     BlueFish-0.13, EffecTV-0.3.9, MPlayer-1.0pre5,
>     QJackCtl-0.2.10, Hydrogen-0.9, SDL-1.2.7, png-1.2.7,
>     Xfe-0.72, libFOX-1.2.9, Firefox-1.0, Rezound-0.11.1beta,
>     ogg-1.1.1, vorbis-1.0.1, Hydrogen-0.9.1, mjpegtools-1.6.2
>   - new games: Eboard, Racer and Eat The Whistle!
>     tk-solitaire and Starfighter-1.1.1 plus the juicy
>     updates for Wesnoth-0.8.6
>   - more documentation in the dynebolic user's manual
>   - lectrobrain :: thk03
>
>     In case you have a DOCK (/dyne directory copied in your harddisk)  
> you should
>     upgrade it by using the one in this release - or when you boot the  
> CD just
>     answer YES when you'll be prompted to upgrade.
>
>
>
> : THIS IS RASTA SOFTWARE !
>
>     This software is about Resistance ina babylon world which tries to
>     control and limit the way we communicate and we share informations
>     and knowledge.
>
>     This software is for all those who don't want to afford the latest  
> expensive
>     hardware to speak out their words of consciousness and good will,  
> still
>     offering a complete operating system with more features than some  
> other
>     proprietary system affected by viruses and full of spyware.
>
>     This software is free, Jah Rastafari Livity bless your freedom!
>
>     You should share this software for the good of yourself and your
>     people, respect others and let them express, be free and let others
>     be free. You are welcome to redistribute dyne:bolic in any way you
>     like, to your friends and neighbours, to anybody who needs or is just
>     curious to try, as you wish.
>
>     The roots of Rasta culture can be found in Resistance to slavery.  
> This
>     software is not a business. This software is free as of speech and  
> is one
>     step in the struggle for Redemption and Freedom. This software is  
> dedicated
>     to the memory of Patrice Lumumba, Marcus Garvey, Marthin Luther  
> King, Steve
>     Biko, Walter Rodney, Malcom X, Mumia Abu Jamal and all those who  
> still
>     resist to slavery, racism and oppression, who still fight  
> imperialism and
>     seek an alternative to the egemony of capitalism in our World.
>
>
>
> :: CONTRIBUTE TO DYNE:BOLIC !
>
>     IF dyne:bolic can be useful for you, you can also be useful to
>     dyne:bolic! consider the possibility to get involved with
>     development, contribute artwork and ideas, help with debugging and
>     documenting and anything else can come to you in mind.
>
>     ->>>> BUG REPORT ONLINE INTERFACE: http://bugs.dyne.org
>     ->>>> JOIN OUR MAILINGLIST: mailto:xxxxxxxxx-xxxxxxxxx@xxxx.xxx
>     ->>>> CONTRIBUTE DOCUMENTATION: http://lab.dyne.org/DyneBolic (wiki)
>
>     Furthermore, please consider that the dyne:bolic project is an
>     indypendent effort relying on support from non-profit, grant-making
>     and business organizations willing to sustain development of free and
>     opensource software like this.
>
>     Dyne:bolic relies on support from individuals like you to preserve,
>     protect and promote the freedom it gives to its users.
>
>     This new release opens a donation round which is much needed at the  
> moment
>     so please show your appreciation with a small act of generosity!  
> thanks!
>
>
>
> :: GET SUPPORT AND CUSTOMIZED VERSIONS
>
>     The dyne:bolic team is also offering commercial support: we can  
> provide
>     workshops, consulting services, customisations, setup and warranty  
> for
>     fitness to a particular purpose.
>
>     If you need commercial support on dyne:bolic this is the way you can  
> be 100%
>     sure it will work for you.
>
>     In fact, this is the sustainable model we are building around  
> dyne:bolic to
>     support our development and further research: we are following the  
> best
>     knowledge here principle and offer customisation and special support
>     packages.
>
>     For more informations see  
> http://dynebolic.dyne.org/index.php?show=cust
>     and our workshop offer  
> http://dynebolic.dyne.org/index.php?show=workshop
>
>
>
> :: DEVELOPERS TEAM
>
>     Denis "Jaromil" Rojo - mantainer of dyne:bolic, HasciiCam MuSE and  
> FreeJ
>
>     Alex "Smilzo" Gnoli - mantainer of the Xbox dynebolic kernel
>
>     Silvano "Kysucix" Galliani - developer of FreeJ
>
>     Antonino "Nightolo" Radici, Luca "Rubik" Profico
>     and Angelo "Pallotron" Failla                    - developers of MuSE
>
>     Federico "Bomboclat" Prando and Francesco "C1cc10" Rana for the  
> bolic1
>
>
>
> :: THANKS, WAVES AND CHEERS
>
>     Thanks to the many people developing day by day the whole GNU/Linux  
> system,
>     they are thousands all around the world and it is impossible to  
> include all
>     of them here. ONE LOVE!
>
>     Special Thanks to the OpenMosix project, Tom and the Blender crew,  
> Salsaman
>     for his valuable developments on LiVES, Dmp for the suggestions  
> about Xbox,
>     the amazing PD crews, Phillip Lougher for his great results in  
> SquashFS 2,
>     Albi for his suggestions and friendship, the linux-audio-dev  
> programmers,
>     the Twibright labs for Links2, the Xiph.org foundation, the  
> squatters in
>     A'dam and all others mentioned thru past present and future  
> documentation of
>     dyne:bolic!
>
>     Great respsct to all dyne.org hackers, the FreakNet medialab and the
>     autistici/inventati collective, ECN.org and italy.indymedia, the  
> ASCII,
>     the #mdp slum and the irc.freenode.net #dyne IRC channel, Metro  
> Olografix,
>     the Hackmeeting community, radio Ondarossa, New Global Vision and  
> the great
>     dynebolic mailinglist community.
>
>     Thanks and greetings also to the individuals helping developers with  
> their
>     genuine solidarity, ospitality and humanity: Andrea Mayr, Armin  
> Medosh,
>     Jo van der Spek, Reni & Jogi, Matteo "blended" Scassa, Robert De  
> Geuss,
>     Gaby Wijers and many others understanting how much this is important  
> to have
>     keep such a project going.
>
>     Thanks, A thousand flowers will blossom!
>
>
>
> :: DISCLAIMER
>
>     This program is free software; you can redistribute it and/or modify
>     it under the terms of the GNU General Public License as published by
>     the Free Software Foundation; either version 2 of the License, or (at
>     your option) any later version.
>
>     This program is distributed in the hope that it will be useful, but
>     WITHOUT ANY WARRANTY; without even the implied warranty of
>     MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU
>     General Public License for more details.
>
>     You should have received a copy of the GNU General Public License
>     along with this program; if not, write to:
>     Free Software Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139,  
> USA.
>
>     Several redistributed binaries are copyrighted by the respective  
> authors,
>     it is documented in the accompanying manual of the distribution.
>
>     dyne.org is available to provide the source of the included binaries
>     upon request, all the included software can be redistributed under  
> the
>     terms of the GNU GPL license and, in some cases, the X/BSD license.
>
>     For more informations refer to the web pages on http://dynebolic.org
>
>
>
>
> - --
>   jaromil,  dyne.org rasta coder,  http://rastasoft.org
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From ???@??? Mon Jan  3 20:03:38 2005
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Subject: [microsound] dyne:bolic 1.4 codename LUMUMBA
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-------- Original Message --------
Subject: [spectre] dyne:bolic 1.4 codename LUMUMBA
Date: Mon, 3 Jan 2005 20:03:30 +0100
From: jaromil <xxxxxxx@xxxx.xxx>
Organization: rastasoft.org


-----BEGIN PGP SIGNED MESSAGE-----
Hash: SHA1



  annunciazio'! annunciazio'! pepperepe'! pepperepe'!

        dyne.org productions proudly present:

        8                        8             8  o
        8                        8             8
   .oPYo8 o    o odYo. .oPYo. 88 8oPYo. .oPYo. 8 o8 .oPYo.
   8    8 8    8 8' `8 8oooo8    8    8 8    8 8  8 8    '
   8    8 8    8 8   8 8.        8    8 8    8 8  8 8    .
   `YooP' `YooP8 8   8 `Yooo' 88 `YooP' `YooP' 8  8 `YooP'
   :.....::....8 ..::..:.....:..::.....::.....:..:..:.....:
   :::::::::ooP'.::::::::::::::::::::::::::::::::::::::::::
   :::::::::...:::::: version 1.4 :: codename LUMUMBA :::::

       100% FREE MULTIMEDIA GNU/LINUX OPERATING SYSTEM

         RASTA SOFTWARE FOR THE FREEDOM OF CREATION

   the complete system is free to download and copy, go on
            ____ _ http://dynebolic.org _ _____
            ___ __ http://dynebolic.org __ ____
            __ ___ http://dynebolic.org ___ ___
            _ ____ http://dynebolic.org ____ __
      and redempt yourself from closed source software
                ISO CD image of 610Mbytes



:: WHAT IS DYNE:BOLIC ?

    Dyne:bolic GNU/Linux is a live bootable cd, containing a whole
    operating system that works straight from boot, without the need to
    install or change anything on the hard disk.
    If you like and want to have it on harddisk you can simply copy the
    /dyne directory on your computer: the simpliest installation ever!

    Dyne:bolic is user-friendly: recognizes your hardware devices (sound,
    video, firewire, and USB), and offers a VAST range of free software
    applications for multimedia production, audio and video manipulation,
    sound composition and synthesis, 3D modeling, photography, peer2peer
    filesharing, web browsing, desktop publishing, word processing, cd
    burning, email, encryption, remote conferencing, funky games, a world
    atlas navigator and even more.

    Advanced features include: a complete environment with the most advanced
    multimedia applications available on GNU/Linux, automatic clustering 
joining
    the CPU power between any other dyne:bolic on the local network, 
capability
    to work well on old PC (Pentium1 64Mb) and even XBOX game consoles, 
support
    to save and encrypt personal data and settings on a usb key.

    Dyne:bolic is shaped on the needs of media activists and artists to
    promote free speech as a tool for the production and not only the
    fruition of digital and analog informations.
    It takes birth as a grassroot effort to spread free software and the
    spirit of sharing information and knowledge.

    for more information see:
    http://dynebolic.dyne.org/index.php?show=features with screenshots
    http://dynebolic.dyne.org/index.php?show=press past reviews
    http://dynebolic.dyne.org/index.php?show=docs the manual and wiki



:: WHAT'S NEW IN THIS RELEASE?

    This release provides a major upgrade to software included and adds
    new useful applications, plus fixes some important outstanding bugs.
    Since the enormous success of the previous release, the suggestions
    of a growing number of users and the dedication of currently active
    developers Jaromil and Smilzo lead to this very stable release.

    Everyone is encouraged to upgrade! here the complete ChangeLog:

   = 1.4 major update "LUMUMBA"
  - Pure Data equipped with all major extensions:
    PDP, PiDiP, RRadical, grid, pique, bonk, choice,
    fiddle, freeverb, zexy, GEM-0.90, OSC and more
    (10x to Aymeric, Derek, Frank, Yves, Tom and PD!)
  - Blender-2.33a + Yafray-0.0.7 + Python game engine
  - LiVES 0.9.1 with Ogg/Theora and _many_ other codecs!
  - FreeJ-0.7.1 "BIKO" - RASTASOFTWARE!
    console remote controller (VJ over Ethernet) and
    Procedural Video Scripting: evolution from NLE systems
  - updated Linux 2.4.26, Alsa, OpenMosix and SquashFS-2.1
    with improved efficience and wider device support
    including Zoran devices and most video boards
  - Xbox support up to recent versions and cromwell bios
  - Python is included with GUI extensions
  - Fix to modem connection, now fully functional
  - new software: Jamin-0.8, InkScape-0.39, poedit-1.2.5,
    KPhone-4.0.2, TimeMachine-0.2.4, tftp-hpa-0.38,
    Bomb-1.26, Pure-Ftpd-1.0.20, mlDonkey-2.5.22,
    Circle-0.41c, Aqualung-0.9b2, FLAC-1.1, iftop-0.17p1,
    Emacs-21.3, Seq24-0.5.2, Thunderbird-1.0,
    Chestnut-dialer-0.1, libtheora-1.0a4
  - Mobilemesh wireless adaptive routing daemon
    see /usr/mobilemesh (10x to Elektra)
  - updated software: FreeJ-0.7.1, MuSE-0.9.1,
    ImageMagick-6, LADSPA, Jack-0.98.1, Blender-2.33a,
    Cinelerra-1.2.1, Gaim-1.0, GQview-1.4.3, isolinux 2.10,
    GEM-0.90, pd-0.37-4, Audacity-1.2.2, LiVES-0.9.1,
    BlueFish-0.13, EffecTV-0.3.9, MPlayer-1.0pre5,
    QJackCtl-0.2.10, Hydrogen-0.9, SDL-1.2.7, png-1.2.7,
    Xfe-0.72, libFOX-1.2.9, Firefox-1.0, Rezound-0.11.1beta,
    ogg-1.1.1, vorbis-1.0.1, Hydrogen-0.9.1, mjpegtools-1.6.2
  - new games: Eboard, Racer and Eat The Whistle!
    tk-solitaire and Starfighter-1.1.1 plus the juicy
    updates for Wesnoth-0.8.6
  - more documentation in the dynebolic user's manual
  - lectrobrain :: thk03

    In case you have a DOCK (/dyne directory copied in your harddisk) 
you should
    upgrade it by using the one in this release - or when you boot the 
CD just
    answer YES when you'll be prompted to upgrade.



: THIS IS RASTA SOFTWARE !

    This software is about Resistance ina babylon world which tries to
    control and limit the way we communicate and we share informations
    and knowledge.

    This software is for all those who don't want to afford the latest 
expensive
    hardware to speak out their words of consciousness and good will, still
    offering a complete operating system with more features than some other
    proprietary system affected by viruses and full of spyware.

    This software is free, Jah Rastafari Livity bless your freedom!

    You should share this software for the good of yourself and your
    people, respect others and let them express, be free and let others
    be free. You are welcome to redistribute dyne:bolic in any way you
    like, to your friends and neighbours, to anybody who needs or is just
    curious to try, as you wish.

    The roots of Rasta culture can be found in Resistance to slavery. This
    software is not a business. This software is free as of speech and 
is one
    step in the struggle for Redemption and Freedom. This software is 
dedicated
    to the memory of Patrice Lumumba, Marcus Garvey, Marthin Luther 
King, Steve
    Biko, Walter Rodney, Malcom X, Mumia Abu Jamal and all those who still
    resist to slavery, racism and oppression, who still fight 
imperialism and
    seek an alternative to the egemony of capitalism in our World.



:: CONTRIBUTE TO DYNE:BOLIC !

    IF dyne:bolic can be useful for you, you can also be useful to
    dyne:bolic! consider the possibility to get involved with
    development, contribute artwork and ideas, help with debugging and
    documenting and anything else can come to you in mind.

    ->>>> BUG REPORT ONLINE INTERFACE: http://bugs.dyne.org
    ->>>> JOIN OUR MAILINGLIST: mailto:xxxxxxxxx-xxxxxxxxx@xxxx.xxx
    ->>>> CONTRIBUTE DOCUMENTATION: http://lab.dyne.org/DyneBolic (wiki)

    Furthermore, please consider that the dyne:bolic project is an
    indypendent effort relying on support from non-profit, grant-making
    and business organizations willing to sustain development of free and
    opensource software like this.

    Dyne:bolic relies on support from individuals like you to preserve,
    protect and promote the freedom it gives to its users.

    This new release opens a donation round which is much needed at the 
moment
    so please show your appreciation with a small act of generosity! thanks!



:: GET SUPPORT AND CUSTOMIZED VERSIONS

    The dyne:bolic team is also offering commercial support: we can provide
    workshops, consulting services, customisations, setup and warranty for
    fitness to a particular purpose.

    If you need commercial support on dyne:bolic this is the way you can 
be 100%
    sure it will work for you.

    In fact, this is the sustainable model we are building around 
dyne:bolic to
    support our development and further research: we are following the best
    knowledge here principle and offer customisation and special support
    packages.

    For more informations see http://dynebolic.dyne.org/index.php?show=cust
    and our workshop offer http://dynebolic.dyne.org/index.php?show=workshop



:: DEVELOPERS TEAM

    Denis "Jaromil" Rojo - mantainer of dyne:bolic, HasciiCam MuSE and FreeJ

    Alex "Smilzo" Gnoli - mantainer of the Xbox dynebolic kernel

    Silvano "Kysucix" Galliani - developer of FreeJ

    Antonino "Nightolo" Radici, Luca "Rubik" Profico
    and Angelo "Pallotron" Failla                    - developers of MuSE

    Federico "Bomboclat" Prando and Francesco "C1cc10" Rana for the bolic1



:: THANKS, WAVES AND CHEERS

    Thanks to the many people developing day by day the whole GNU/Linux 
system,
    they are thousands all around the world and it is impossible to 
include all
    of them here. ONE LOVE!

    Special Thanks to the OpenMosix project, Tom and the Blender crew, 
Salsaman
    for his valuable developments on LiVES, Dmp for the suggestions 
about Xbox,
    the amazing PD crews, Phillip Lougher for his great results in 
SquashFS 2,
    Albi for his suggestions and friendship, the linux-audio-dev 
programmers,
    the Twibright labs for Links2, the Xiph.org foundation, the squatters in
    A'dam and all others mentioned thru past present and future 
documentation of
    dyne:bolic!

    Great respsct to all dyne.org hackers, the FreakNet medialab and the
    autistici/inventati collective, ECN.org and italy.indymedia, the ASCII,
    the #mdp slum and the irc.freenode.net #dyne IRC channel, Metro 
Olografix,
    the Hackmeeting community, radio Ondarossa, New Global Vision and 
the great
    dynebolic mailinglist community.

    Thanks and greetings also to the individuals helping developers with 
their
    genuine solidarity, ospitality and humanity: Andrea Mayr, Armin Medosh,
    Jo van der Spek, Reni & Jogi, Matteo "blended" Scassa, Robert De Geuss,
    Gaby Wijers and many others understanting how much this is important 
to have
    keep such a project going.

    Thanks, A thousand flowers will blossom!



:: DISCLAIMER

    This program is free software; you can redistribute it and/or modify
    it under the terms of the GNU General Public License as published by
    the Free Software Foundation; either version 2 of the License, or (at
    your option) any later version.

    This program is distributed in the hope that it will be useful, but
    WITHOUT ANY WARRANTY; without even the implied warranty of
    MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU
    General Public License for more details.

    You should have received a copy of the GNU General Public License
    along with this program; if not, write to:
    Free Software Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.

    Several redistributed binaries are copyrighted by the respective 
authors,
    it is documented in the accompanying manual of the distribution.

    dyne.org is available to provide the source of the included binaries
    upon request, all the included software can be redistributed under the
    terms of the GNU GPL license and, in some cases, the X/BSD license.

    For more informations refer to the web pages on http://dynebolic.org




- --
  jaromil,  dyne.org rasta coder,  http://rastasoft.org

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From ???@??? Mon Jan  3 18:47:09 2005
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From: scott allison <xxxxxxxxx@xxxxxxx.xxx>
Subject: Re: [microsound] bit rate dropping
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 FILETIME=[9C6ADE70:01C4F1C4]

Also of note is the free VST plug by Tom Erbe and Akria Rabeilas "+decimate" 
for bit depth and sample rate reduction.

http://www.soundhack.com/freeware.php

There are versions for both PC and Mac, so it should work within Audiomulch, 
but you will have to find something to control speed of bit depth 
transition, maybe Audiomulch has an assingable enevlope? You could possibly 
do it manually via midi.

Best
Scott Allison

>try pluggo's 'degrader' in tandem with jhno's 'LFO'.

>>>does anyone know if there is a plug in for audiomulch that will
>>>drop a  wavs bit rate slowly over a long period of time.
>>>-thaniel ion lee//bridlewire

>>or any plugin that works with wavelab or nuendo that drops
>>bitrates?



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From ???@??? Mon Jan  3 17:17:32 2005
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Subject: Re: [microsound] bit rate dropping
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try pluggo's 'degrader' in tandem with jhno's 'LFO'.


best,
t



On Sun, 2 Jan 2005 23:15:32 -0500, chthonic streams  
<xxxxxxxx@xxxxxxxxxxxxxxx.xxx> wrote:

>> does anyone know if there is a plug in for audiomulch that will drop a  
>> wavs bit rate slowly over a long period of time.
>> -thaniel ion lee//bridlewire
>
> or any plugin that works with wavelab or nuendo that drops bitrates?
>
>
> d.
>
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     hello,

      i have just 2  little message :
      happy new year 2005 !!!
      good health , good job , good luck , money.......
      and respect for son,boys,girls....!!!!!!

      and it's possible for you:

      Help those affected by this recent tragedy in Asia.
      Support the relief effort 
      thanks

      regards,
      bern


      now: 

      BERN - No more wars - underline 002 ... underlinelabel.com  [UK]
      JONAS BERING - Diva - [ Bern Edit ] - DSP 005 ... dsprecs.com  [ITA]

      and coming soon other music for different labels:
      sinergy netwoks [ES] , thinnerism [GE] , site-rec [PL] , static discos [MX]
      sud electronique [UK] , ojodeapolo [CH] , archipel[CC] , sushitech [IL] ...

      and playlist - new links - new info in bern-online.net

      www.bern-online.net
      www.molair.net
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From ???@??? Mon Jan  3 03:59:34 2005
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>does anyone know if there is a plug in for audiomulch that will drop 
>a wavs bit rate slowly over a long period of time.
>-thaniel ion lee//bridlewire

or any plugin that works with wavelab or nuendo that drops bitrates?


d.

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--Boundary_(ID_pPehpFgbUgXGmeVFxNwTxg)
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does anyone know if there is a plug in for audiomulch that will drop a wavs bit rate slowly over a long period of time. 
-thaniel ion lee//bridlewire
--Boundary_(ID_pPehpFgbUgXGmeVFxNwTxg)--

From ???@??? Sun Jan  2 21:21:31 2005
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--Boundary_(ID_Nug6CYBcqBhHcYJMB+Z5Hg)
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hello t. p.
 
your report is excellent.

Then a  room
quite hypnotising, with, placed in the center, a light turning on  itself,
screening violent light forms on the walls, turning very fast (some  kind of
cop cars or ambulance's light, you say "gyrophare" in french), and  whith
some kind of bass and gapped white noise : quite  fascinating,
yes, it was the voice of raoul hausmann passed through an analog  
synthesizer, it's taken from the "poèmes phonétiques".
you can hear the original at _www.ubu.com_ (http://www.ubu.com)   :
_http://www.epc.buffalo.edu/sound/mp3/sp/artist_tellus/04_hausmann.mp3_ 
(http://www.epc.buffalo.edu/sound/mp3/sp/artist_tellus/04_hausmann.mp3) 

but  after that
was a room more and more fascinating ; a room by La Monte Young,  called "the
dream house", 
and it was my prefered room, an amazing and very peaceful room.
 
cheers and bonne année à tous,

 
e.
 
[  http://xstreamradio.free.fr ]
[ Now playing: Experimental and Electronic  music ]
--Boundary_(ID_Nug6CYBcqBhHcYJMB+Z5Hg)--

From ???@??? Sun Jan  2 19:37:10 2005
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Date: Sun, 02 Jan 2005 11:37:02 -0800
From: Kim Cascone <xxx@xxxxxxxxxxxxx.xxx>
Subject: [microsound] [ot] treacherous computing - must read!
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a very enlightening and informative read...it is yet another reason to 
adopt a FOSS model early so the corporations have a harder time locking 
us all into their ecosystem...

http://www.cl.cam.ac.uk/~rja14/tcpa-faq.html

> People believed that the GPL made it impossible for a company to come 
> along and steal code that was the result of community effort. This 
> helped make people willing to give up their spare time to write free 
> software for the communal benefit. But TC changes that. Once the 
> majority of PCs on the market are TC-enabled, the GPL won't work as 
> intended. The benefit for Microsoft is not that this will destroy free 
> software directly. The point is this: once people realise that even 
> GPL'led software can be hijacked for commercial purposes, idealistic 
> young programmers will be much less motivated to write free software.


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From ???@??? Sun Jan  2 19:01:02 2005
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I am taking an hour or so on this rainy northern Californian morning to 
assign hotline server passwords to microsound members...I have my 
PitbullPro Admin panel up and ready for creating new accounts...sorry I 
have been flaky with this but last year was brutal as far as travel 
goes and I have been going non-stop since returning to the US just 
before the holidays...
!contact me OFF LIST NOW for a hotline account!
happy new year to all!
:)
xxx@xxxxxxxxxxxxx.xxx


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From ???@??? Sun Jan  2 15:42:17 2005
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From: =?iso-8859-1?Q?Th=E9ophraste_Peeble?= <xxxxxxxxxxxxx@xxxx.xx>
Subject: Re: [microsound] sound art exhibition in Paris
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I live in Paris so I got the chance to see this exposition, which seemed to
me really complete : it begins with the work of different painters on
experimenting how to represent sound with paintings (I remember some really
great Kandinsky's works - as I generally do not appreciate very much what he
does), after the same problem is treated, but with videos (I particularly
loved one with colored shapes moving very slowly - just like some
constellation photos - and one with black & white's geometrical figures
quickly metamorphosing into other figures). After that, I think  there was
some rooms dedicated to the early research on audio synthesis. Then a room
quite hypnotising, with, placed in the center, a light turning on itself,
screening violent light forms on the walls, turning very fast (some kind of
cop cars or ambulance's light, you say "gyrophare" in french), and whith
some kind of bass and gapped white noise : quite fascinating, but after that
was a room more and more fascinating ; a room by La Monte Young, called "the
dream house", all lighten in red and blue, so the room seemed purple, but
looking from some angles you could see objects and people encircled by red
or blue lines - really strange. The floor was "encarpeted", in order that
people could lye or sleep here - what I did during a long hour ; and, very
relaxing, two loud speakers were diffusing evolving white noise (nothing
recorded, the sound was generated in real time)... I won't speak longer  &
longer about this exposition, but, there was also : some videos about John
Cage's work, a room dedicated to the italian futurists (particularly Luigi
Russolo and his manifest "the Art of Noises" - also reproductions of his
"intonarumori" : his noise machines), a large room for the Fluxus movement,
and videos of their performances, and, finally (but I didn't described the
half) a surprising installation, in the middle of a room, a colored smoke
diffuser, with Erik Satie's music...

t. p.

----- Original Message -----
From: derek holzer <xxxxx@x-x.xxx>
To: microsound <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Sunday, January 02, 2005 3:18 PM
Subject: [microsound] sound art exhibition in Paris


> Did anyone get a chance to see the "Sons & Lumières, A history of sound
> in 20th Century art" at the Centre Pompidou in Paris? I just don't think
> I'll be able to get down there before it close [um, tomorrow!]
>
> I did see the catalog, and it looks incredible. An amazing historical
> overview from painting to Fluxus to video art related to sound. Not too
> much info on the Pompidou website, but worth doing some research on.
>
> http://tinyurl.com/4bwp9
>
> If any microsounders did get to see it, I'd love to hear some feedback!
>
> happy new year,
> d.
>
>
>
> --
> derek holzer ::: http://www.umatic.nl
> ---Oblique Strategy # 36:
> "Consult other sources
> -promising
> -unpromising"
>
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>


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---------- Forwarded message ----------
From: lawrence casserley
Date: Fri, 2 Jan 2004 15:21:02 +0000
Subject: Hugh Davies
To: "xxx-xxxxxxxxxx@xxxxxxxxx.xx" <xxx-xxxxxxxxxx@xxxxxxxxx.xx>


I just received the following from David Toop:

Hugh Davies

Sad news: Hugh Davies died on the 1st January, 2005. Born in
1943, Hugh was a pioneer of live electronic music, an inventor of
musical instruments, a composer, educator, and renowned
researcher into the history of electronic music. An assistant to
Karlheinz Stockhausen from 1964 to 1966, he participated in the
recording of Stockhausen's Mikrophonie I in 1965. Other
recordings included wonderful LPs by Music Improvisation
Company and Gentle Fire, and his solo albums for FMP and
Grob. Anybody involved in live electronics, electronic
improvisation, hardware hacking, or, come to that, anybody who
needs a table in order to be able to perform, owes a debt to
Hugh. He will be sadly missed.

No doubt a more detailed tribute will appear soon, but I wanted to
express my shock and deep sorrow for a greatly valued colleague and
friend, whom I have known and worked with for many years.

Lawrence


Lawrence Casserley - xxxxxxxx@xxxxxxxxxx.xx.xx
Lawrence Electronic Operations - www.lcasserley.co.uk
Colourscape Music Festivals - www.colourscape.org.uk



-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

{ home: http://www.sfu.ca/~pthomson/
{ blog: http://pthomson.blogspot.com/
{ blog: http://www.bloglines.com/blog/PhilThomson
{ host: http://philbook.homeunix.org:90/
{ radio: http://philbook.homeunix.org:8000/
{ label: http://centibel.org/

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From: Sabastian Boaz <xxxx@xxxx.xxx>
Subject: Re: [microsound] OT: Newton OS MIDI Sequencer?
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There is a midi Player out there, somewhere... You use an old macintosh 
adb midi interface. I've meant to do this before with my newton but it 
was too much work to get the midi file onto the newton.

Sabastian

On Jan 1, 2005, at 8:35 PM, devslashnull wrote:

> Hey List,
>
> tech question:
>
> does anyone know of a simple sequencing app that will output MIDI via 
> the built-in serial port on the Newton Message Pad 110?
>
> i've been looking and nothing has turned up.
>
> CommTom
> Communications of Tomorrow
> "it's only a day away"
>
> unique electronic music for the adventurous ear.
>
> http://www.commtom.com


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From ???@??? Sun Jan  2 14:18:37 2005
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Date: Sun, 02 Jan 2005 15:18:02 +0100
From: derek holzer <xxxxx@x-x.xxx>
Subject: [microsound] sound art exhibition in Paris
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Did anyone get a chance to see the "Sons & Lumières, A history of sound 
in 20th Century art" at the Centre Pompidou in Paris? I just don't think 
I'll be able to get down there before it close [um, tomorrow!]

I did see the catalog, and it looks incredible. An amazing historical 
overview from painting to Fluxus to video art related to sound. Not too 
much info on the Pompidou website, but worth doing some research on.

http://tinyurl.com/4bwp9

If any microsounders did get to see it, I'd love to hear some feedback!

happy new year,
d.



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

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From ???@??? Sun Jan  2 13:05:57 2005
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On Jan 1, 2005, at 6:25 PM, jan.larsson wrote:

>> One obvious reason to use higher sampling rates is if you want to 
>> play something back at half or quarter speed.

> Only if you have ultrasonic content.  96 does not give you nearly 
> enough bandwidth to work with ultrasonics. Go for 384.

Why's that? It would seem that playing a sound recorded at 88.2 at half 
speed would essentially give you a sample rate of 44.1 without 
interpolation. It would sound better than playing a 44.1 file at half 
speed, essentially giving you a SR of 22.05, no?

I was thinking the same thing as Tim at least.

- John


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From ???@??? Sun Jan  2 09:56:50 2005
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Date: Sun, 02 Jan 2005 01:46:44 -0800
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some work from the past year -- improv/sequenced. more coming soon.

http://patternmedia.com/



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From ???@??? Sun Jan  2 01:34:34 2005
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--Boundary_(ID_KJL9trnt+20RKfBiPKfHJA)
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Hey List,

tech question:

does anyone know of a simple sequencing app that will output MIDI via 
the built-in serial port on the Newton Message Pad 110?

i've been looking and nothing has turned up.

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

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_KJL9trnt+20RKfBiPKfHJA)--

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--Boundary_(ID_FsJNo5WfyP0sTlfMIaOVAw)
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Hey List,

tech question:

does anyone know of a simple sequencing app that will output MIDI via 
the built-in serial port on the Newton Message Pad 110?

i've been looking and nothing has turned up.

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

unique electronic music for the adventurous ear.

http://www.commtom.com
--Boundary_(ID_FsJNo5WfyP0sTlfMIaOVAw)--

From ???@??? Sat Jan  1 23:25:57 2005
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Subject: Re: [microsound] How to record 96kHz audio (OT)
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Only if you have ultrasonic content.  96 does not give you nearly 
enough bandwidth to work with ultrasonics. Go for 384.


2005-01-01 kl. 23.26 skrev Tim Walters:

> One obvious reason to use higher sampling rates is if you want to play 
> something back at half or quarter speed.


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From ???@??? Sat Jan  1 23:07:42 2005
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From: =?iso-8859-1?Q?Bj=F6rn_Eriksson?= <xxxxxxx@xxxxxxx.xx>
Subject: Re: [microsound] convert ogg files to mp3
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Audacity will do the job on windows, mac or linux. Open ogg file and export 
as mp3.
CDex (only for pc unfortunately) also does the job but you need an extra 
step to convert to wav first. Both are freeware and open source.
http://audacity.sourceforge.net/
http://cdexos.sourceforge.net/

Yours,
Björn


----- Original Message ----- 
From: "roberth" <xxxxxxx@xxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, January 01, 2005 5:26 AM
Subject: [microsound] convert ogg files to mp3


>
> can anyone point me to a good shareware for converting ogg files to mp3 
> files?
> i have tried downloading a few encoders ( don't support ogg) and a ripper 
> (will only do it from a cd)
> happy new year
> robert
>
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> 


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Subject: Re: [microsound] How to record 96kHz audio (OT)
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One obvious reason to use higher sampling rates is if you want to play 
something back at half or quarter speed.


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As Owen wrote, you can upsample locally in the software to handle 
special cases that would benefit from 96, 192, 384 or higher rates. No 
need to run the complete system at high rates.

My hardware protools can run at 96 and 192 kbps without extra cpu-load 
on the computer but I'm back now using 44kbps (24-bit).



2005-01-01 kl. 20.59 skrev Joakim Lindén:

> Recording no, I don't think so, but synthesis at higher rates sound 
> much clearer to me... Probably because of aliasing of the oscillators.
>
>
>
> ----- Original Message ----- From: "Owen Green" 
> <x.x.xxxxx@xxxxxxxx.xxx>
> To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
> Sent: Saturday, January 01, 2005 3:17 PM
> Subject: Re: [microsound] How to record 96kHz audio (OT)
>
>
>> chthonic wrote:
>>> this may be a bit OT, but does anyone have an opinion on 88.1kHz or 
>>> 96kHz recording as opposed to 44.1 or 48?
>>
>> The only unequivocal advantage to working up there (that I know of) 
>> is to push artifacts from certain processes outside the audio band 
>> (compression and filtering most conspicuously). In which case you can 
>> always upsample before processing and come down again. AFAIK there 
>> have been no reliable blind tests demonstrating intrinsically better 
>> sound quality from high sampling rates (though, depending on your 
>> converters, YMMV).
>>
>> Using a 24-bit word length from the get-go, OTOH, is definitely worth 
>> it; I tend to work at 24/44.1.
>>
>> HTH
>> Owen


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Recording no, I don't think so, but synthesis at higher rates sound much 
clearer to me... Probably because of aliasing of the oscillators.



----- Original Message ----- 
From: "Owen Green" <x.x.xxxxx@xxxxxxxx.xxx>
To: "microsound" <xxxxxxxxxx@xxxxxxxxx.xxx>
Sent: Saturday, January 01, 2005 3:17 PM
Subject: Re: [microsound] How to record 96kHz audio (OT)


> chthonic wrote:
>> this may be a bit OT, but does anyone have an opinion on 88.1kHz or 96kHz 
>> recording as opposed to 44.1 or 48?
>
> The only unequivocal advantage to working up there (that I know of) is to 
> push artifacts from certain processes outside the audio band (compression 
> and filtering most conspicuously). In which case you can always upsample 
> before processing and come down again. AFAIK there have been no reliable 
> blind tests demonstrating intrinsically better sound quality from high 
> sampling rates (though, depending on your converters, YMMV).
>
> Using a 24-bit word length from the get-go, OTOH, is definitely worth it; 
> I tend to work at 24/44.1.
>
> HTH
> Owen
>
>
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> 


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From ???@??? Sat Jan  1 19:46:03 2005
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Subject: Re: [microsound] [ot] Can you trust your computer?
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>Can you trust your computer?
-Hopefully that question is put forward for rhetorical purposes only...

AvS

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

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

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

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

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



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From ???@??? Sat Jan  1 19:13:43 2005
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Subject: [microsound] [ot] Can you trust your computer?
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Can you trust your computer?
by Richard Stallman

http://www.gnu.org/philosophy/can-you-trust.html

> Today you can avoid being restricted by proprietary software by not 
> using it. If you run GNU/Linux or another free operating system, and 
> if you avoid installing proprietary applications on it, then you are 
> in charge of what your computer does. If a free program has a 
> malicious feature, other developers in the community will take it out, 
> and you can use the corrected version. You can also run free 
> application programs and tools on non-free operating systems; this 
> falls short of fully giving you freedom, but many users do it.


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From ???@??? Sat Jan  1 18:10:43 2005
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Susan's  "against interpretation" still 
speaks to me.... especially now.

-- 
albert ortega
xxxxxxxxxxx@xxxxxx.xxx - email





-----Original Message-----
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Sent:     Tue, 28 Dec 2004 14:21:07 -0800
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Subject:  [microsound] [ot] Susan Sontag

http://www.salon.com/news/wire/2004/12/28/sontag/index.html

Ms Sontag was a big inspiration to me and her mind will be sorely missed


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Subject: Re: [microsound] How to record 96kHz audio (OT)
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chthonic wrote:
> this may be a bit OT, but does anyone have an opinion on 88.1kHz 
> or 96kHz recording as opposed to 44.1 or 48?  

The only unequivocal advantage to working up there (that I know of) is 
to push artifacts from certain processes outside the audio band 
(compression and filtering most conspicuously). In which case you can 
always upsample before processing and come down again. AFAIK there have 
been no reliable blind tests demonstrating intrinsically better sound 
quality from high sampling rates (though, depending on your converters, 
YMMV).

Using a 24-bit word length from the get-go, OTOH, is definitely worth 
it; I tend to work at 24/44.1.

HTH
Owen


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http://www.williamgibsonbooks.com/blog/2004_12_01_archive.asp#110453918782334548

"The Canadian government, until January 11th, will match any donation
to major relief operations working from Canada.

In other words, you double the size of your donation if you send money
this way, rather than by sending it directly to an affected country or
donating in your own country.

Donations to Oxfam Canada, the Canadian Red Cross, World Vision
Canada, UNICEF Canada, Care Canada, Doctors Without Borders, World
University Service of Canada , Salvation Army, Canadian Food for the
Hungry International, Save the Children Canada, and SOS Children's
Villages will all be doubled by the Canadian government -- but only
until January 11th.

Best wishes to everyone for the new year."

Links to the Canadian organizations above are featured at the page
linked to above.

Phil


-- 
Phil Thomson
xxxxxxxxxxxxxxxxx@xxxxx.xxx

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From ???@??? Wed Jan 12 20:16:57 2005
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From: Bill Jarboe <xxxxxxxxxx@xxxxxxxxx.xxx>
Subject: Re: [microsound] [ot] for mac fans :-)
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hi nicola,

      glad you are still kicking around rome making fun of machinery or 
whatever it  is you are doing...

  moving onto more serious matters i made a translation for the ignorant 
masses who don't know japanese:


(thanks , babelfish!)



This is change of design of the nail which made the design of imac in 
motif. (^ ^

Either one is agreeable to the taste of everyone, probably will be?

This is the tip/chip which was made on October 22nd of 99. Those which 
first were made with the image of imac this are.

Being the color tone potato completely suitable, you think that it is 
recognized well that with just image makes. (^ ^

Not to be translucent white, to insert pearl white, furthermore the 
mark of the apple with the champagne gold the work

  There is a . It is the long nail.

Don't you think? CM you did with such image. (^ ^

This being asked, is the item which it made. Previousi tip(selfishly 
designation ^. ^) Compared tointhe design of imac

Close kana? The  you think, but how probably will be?Colorof the indigo 
orange is lovely very

Nut. It is the nail of of short circuit of the square.

Also the tried making one next. This is  itipof the bluewiththe 
longnail.

It tried producing on March 22nd2000. Because the finger is being the 
one hand, 5, regrettablethe markof red

It could not make. This time round being able to point to the black and 
appearance of new color and the change of color,the designof i-book

It triedmaking in reference. You can be understood, probably will be? 
(^ ^

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Bill





  direct strategy #3147:   listen to bagpipes until they teach you how 
to be obscene.
On Jan 11, 2005, at 1:18 AM, nicola catalano wrote:

> http://www.geocities.co.jp/Stylish/5910/imactip.htm
>

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hi,

    i really like the look of the blog. i'm not sure about the 'rere and 
jastino' sample , though it's a good kind of not sure.







On Jan 11, 2005, at 1:35 AM, takahiro kawaguchi wrote:

> hallo friends.
> I newly made the homepage. The sample of some sounds is set up there.
> If you check it, I might be very happy. And, to be going to keep
> taking contacting with you in the future, I made these....
>
> thanks
> all the bests.
>
> check my web site
> http://www.eonet.ne.jp/~rere/
>
> blog
> http://port.jugem.cc/
>
> rere/takahiro kawaguchi
>
> e-mail
> xxxxxxxx.xxxxxxxxx@xxxxx.xxx
>
>
Bill




  direct strategy # 943: talk interesting nonsense until someone forces 
you to stop.


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