Composition

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PublisherEBM(T)2016
/|__O__||||||||||||\//|_>>||__||| |/////_\/| |/| |/|||||||\/|||||||\|\/|//|_ \|/||||\||||__|| __| /|___ //|||||||/___|////|>|_|/|/| <> |//|/////| |/| |/| || O|//| ||||\|\/|/||/_\ |/||||| \|||//|||// /|____\ ||^|||___|||////| |//|///> <>// \__/|/| _ |/| || |\/| ||||/||||/||___||/|||| \||||//| | /| O ||////\\||/ |////|||/ /__| <> |///// //| |/| |/| || O||/| ||||/||||/|||/| |/|||||\|||//| | /|_____|\_ //\ /////|>||||| | |/// ///| |/| |/||| |//| |// / / / // /////////// // /// /// /// /////// // ///// ///// / / / / // / / / / / // / * / Once we did a trip to Tokyo. //////Iwasstillyoungthen andtheyhad just finished // // /* /// building the new highway. It took the state many centuries and leaders // / ...
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PublisherEBM(T)2015
Boids is an artificial life program, developed by Craig Reynolds in 1986, which simulates the flocking behaviour of birds.The name “boid” corresponds to a shortened version of “bird-oid object”, which refers to a bird-like object. Taking the position of the bird-like object, how does other creatures sound like? The limitation of labelling computer generated species after preexisting ones complicates our relation to the former. Digitally sythesized -oids lost in the deep sea, later found and played back in 2x speed. A group of dead -oids scattered along the timeline. It’s our choice to hear an -oid.
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PublisherLateral Addition2021
Writing About The Names A statement The Names is a new Berlin/Amsterdam collective of creative musicians playing open, yet melodic, pieces in a Cage/Oliveros informed spectrum of improvised strategies and open-ended compositions. Giving homage to the Chicago tradition of AACM music as well as praise to progressive thinking in society, highlighting people such as Angela Davis, Michelle Alexander, Audre Lorde and composers such as Anthony Braxton, Eva-Maria Houben, and George Lewis, whose names, along with the names of band members and friends, have been used as the melodic or structural impetus of each composition. Shaped by the ideas of critical music, listening and ...
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PublisherEBM(T)2014
“Bifurcating a Resounding No!” compounds a variety of prepared acoustic situations, computer synthesis and field recordings developed in the software bidule. It strives to create a multidimensional listening experience both subtle & engaging. It is intended for listening in quiet environments through headphones or monitors with little distraction. The photograph is a book (The Queen’s Gambit), a bookmark (acid) and one of Ingmar Bergman’s favorite quotes “We come into this world with sealed orders”. All of this is inspired by smothered mate (chess) which is a checkmate delivered by a knight in which the mated king is unable to move because ...
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PublisherMACBA2009
Yasunao Tone (Tokyo, 1935) is a Japanese interdisciplinary artist. He graduated from Chiba Japanese National University in 1957, majoring in Japanese literature. He became active in the Fluxus movement in the 1960s and moved to the United States in 1972. He organised and participated in many experimental music and performance groups such as Group Ongaku, Hi-Red Center and Team Random (the first computer art group in Japan). His unconventional musical work brings together certain forms of traditional Eastern culture and post-structuralist theories, and since the mid to late nineties has become a notable influence on new generations of sound artists ...
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PublisherHatje Cantz2012
There is no such thing as voice in literature. That is, we assign chimerical properties to characters’ voices; fictions based on voices we have heard in relation to the description of the characters’ personalities; identities we want to confer on the characters. Whilst we read and listen to this voice, it is neither true nor false. It is the product of a careful assembly of traces and features we believe represent a person – more physically even than their own body….
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PublisherMACBA2010
Generative music is a term used to describe music which has been composed using a set of rules or system. This series of six episodes explores generative approaches (including algorithmic, systems-based, formalised and procedural) to composition and performance primarily in the context of experimental technologies and music practices of the latter part of the 20th Century and examines the use of determinacy and indeterminacy in music and how these relate to issues around control, automation and artistic intention. Each episode of this RWM series is followed by a special accompaniment programme of exclusive music by some of the leading sound artists ...
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PublisherMACBA2009
In this Quadern d’àudio we publish the complete series of 17 graphic scores that Barber created in Yokohama (Japan) in 2005. This previously unpublished series brings together the visual exercises and/or pastimes that the composer compiled in a small notebook as he worked on Pocket Naumaquia, the closing concert of the International Triennale of Contemporary Art (ITCA) in December 2005. For this publication Barber has used these graphic notations as inspiration to write 17 texts that, like a game, readers can link to any score they wish.
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PublisherLateral Addition2021
These little piano pieces are a selection of 27 of a large catalog of similar fragments that I have been collecting over the past couple of years. In January of 2020, I started to go through hundreds of hours I had amassed of mostly useless recordings of myself playing piano since I was a teenager. I was looking for bits of interesting music in this mass of recordings, which mostly consisted of learning simple songs or some rudimentary and often pretty silly improvisations. I have never really considered myself a piano player and these recordings document the large part of ...
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Beethoven’s deafness designates the lack where all signification is lodged: it appeals to a music not abstract or interior but endowed, one might say, with sensuous intelligibility, with an intelligibility somehow perceivable to the senses. This category is specifically revolutionary, inconceivable in terms of the old aesthetics; the oeuvre which accepts it cannot be received according to pure sensuality, which is always cultural, nor cultural according to an intelligible order which would be that of (rhetorical or thematic) development; without it, neither the modern text nor contemporary music can be accepted. (Roland Barthes, from “Musica Practica”) Ear │ Wave │ Event is ...
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PublisherEar | Wave | Event 2015
While we’ve applauded recent moves in art history and media studies challenging the hegemony of the visual, why does the waxing art world topicality of “listening” seem to be inversely proportional to sound practitioners’ waning interest in it? Does it really have to turn up on e-flux before people pay attention? Haven’t musicians, composers, and sound artists all over the world been thinking listening for centuries?… The contributors to Issue 2 face the immense material complexity of listening head on – physically, technically, formally, politically, socially. Their contributions continually orbit the question, ‘What is Listening?,’ all the while deftly dodging all ...
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PublisherEar | Wave | Event2017
Art is, has always been, as Bersani suggests, a kind of alternative to “sex,” another mode of modulating the most intimate relation between soma and psyche. And the stakes of that “other” mode, those “other relational fields,” would be toward the articulation of forms of life divorced from the literal and symbolic traces of white hetero-sexist patriarchy. Our contention is that musicians such as Oliveros, as well as authors featured in this issue, have inherently understood and been working on this all along. The current political moment demands that we not only perpetually recall the radical orientation of “the experimental” ...

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