Index of Titles Filed Under 'Process Music'

PublisherMego2014
Articulação sees avant-garde electronic musician Florian Hecker continuing the collaborative work he began with author/philosopher Reza Negarestani on the 2012 album Chimerization. The album’s three lengthy pieces see different manipulations and the electronic processing of human voices reading texts by Negarestani that explore themes of nature and the culture man creates around it, interrupted and often side-lined by Hecker’s blasts of digital noise and skittering, computer-generated mayhem. Opening track “Hinge” features two stereo-panned readings by noted poet and sound artist Joan La Barbara, known for her groundbreaking work with the human voice as instrument. A second, much noisier track breaks ...

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PublisherRadio Web Macba2009
The conversations which form the basis for this interview took place in March 2002 (email interview by Anna Ramos) and July 2008, during Yasunao Tone’s visit to Barcelona, coinciding with his performance at MACBA, and were continued by email with Tone, Fell, Hecker and Held during February-March 2009. Tone’s work has also been featured on issues 1 and 7 of the Ràdio Web MACBA programme Lines of Sight.

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Mark Fell, Joe Gilmore, Connie Treanor, et alFlorian Hecker, Ryoji Ikeda
PublisherRadio Web Macba2010
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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PublisherRadio Web Macba2009
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 This previously unpublished series brings together the visual exercises and/or pastimes that the composer compiled in a small notebook as he worked on Pocket Naumaquia, the closing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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PublisherEBM(T)2014
“Bifurcating a Resounding No!” compounds a variety of prepared acoustic situations, computer synthesis & 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) & 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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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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PublisherRadio Web Macba2014
Taking the term soundscape as a starting point, this essay by José Manuel Berenguer addresses a number of concerns relevant to understanding the listening experience within art and everyday life. Tackling questions such as phenomenology, cognition, new media, aesthetics and the overlap between art and science, Berenguer engages in a critical analysis of recent sound art practices, using both significant historical examples and his own experience. Intermedia artist, composer, teacher, curator… The many labels that can be applied to the career of José Manuel Berenguer (Barcelona, 1955) reflect the multidisciplinary drive that has always guided his professional activities. Aside from producing ...

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PublishersBuró—Buróelnicho2017
How to approach the accessibility of new music to new audiences? How to entice people to get closer and discover without preconceptions or reluctance—but rather as a new form of participation and natural listening experience, what is often perceived as difficult music? What is the relationship of this music, if any, with contemporary arts in a way that it may grasp the attention and active involvement of the spectator and/or listener? Sound and music seem to have been underwhelmingly part of contemporary museums. However, they are shyly making their way in the area of contemporary art, often via visual artists keen ...

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PublisherAvant Savant2005
From the systematic meltdown of Sabbath-like doom riffage to the relentless super deformation of Riley and Branca’s legacy, each track builds and clear cuts at the same time. New Humans is a hand silk-screened limited edition CD of 200 with custom insert. Recorded by Rob Laakso and mastered by Paul Gold. Currently available through Fusetron, Walker Art Center, and Printed Matter. Tracklist: You Must Be Free [play] White [play] Mandolin Song [play] E.E.E.E. Reverse Sabbath Ready Set Go Performed by: Danny Barria, Howie Chen, Eric Tsai, Nick Phillips, Mika Tajima

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PublisherRadio Web Macba2011
In this essay Dr Tony Myatt describes how processes and systems were applied in early experimental music, and contrasts two approaches to the use of systematic and algorithmic processes in experimental computer music. He distinguishes two practices, one based on the evolution of historical models which emphasize a rationalist position, and another more radical contemporary approach based on the material substance of computer sound and technological processes. Dr Tony Myatt is the Director of the Music Research Centre at the University of York, UK. He is the principle investigator of the UK Arts and Humanities Research Council’s New Aesthetics in Computer ...

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PublisherRadio Web Macba2010
“Radio Music” connects three examples from the history of the potential of the radio receiver as musical instrument, from its early beginnings in the twenties as captured on a comedy record, to formal art experiments in the forties and fifties, to its nostalgic presence in one of the very first song-based pop music collage albums, which heralded the now familiar practice of sampling. Since 1990, Jon Leidecker has performed appropriative collage music under the pseudonym Wobbly, improvising live with prerecordings to coax the harmonies out of the recorded sounds of individuals from disparate cultures. Previous and ongoing projects include the bands ...

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PublisherRadio Web Macba2011
In “The road to plunderphonia” Chris Cutler looks at the critical role of memory – on which both the origination and reproduction of music turns – and attempts to unpick to what extent the specific nature of a memory system shapes the music that it mediates, with reference, especially, to the third and newest of these systems: sound recording. Chris investigates how the fact and the practice of sound recording have transformed every aspect of production and reception in the field of organised sound, creating wholly new genres and understandings. If the medium is the message, this essay is an ...

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PublisherNew Images2014
Conceived as a series of structured improvisations, the album joins fiery drumming with titanic guitar abstraction for a collection of sharply focused sonic passages. It’s music with the harshest colors upfront, and in detail. Licht’s guitar is the torrential speech at hand, and its dynamic limits are bound only by the album’s timespan. The improvisatory epic “18:12” finds Chase teasing out overtones in his snare drum and tom toms that interface with the flood of harmonics that spill out of Licht’s dizzying runs. The searing ambient drone piece “Irreal/Erosion” is a mind-meld that uses the just intonation experiments of Chase’s solo ...

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