Para bailar…

|

Para bailar…

http://www.offaudio.com/

AUDIO DSB @ OFFA 18
autor: DESSBEN (España)
fecha: 20-02-2006
tipo: CDMIX
calidad: 256 kbps

temas:
1 Alprazolam – AntiTodo – Offaudio 08
2 Whay – Giakomo Rondinella – Offaudio 13
3 Sandwichera – Animatek – Offaudio 16
4 Millau – Banding! – Offaudio 15
5 Cafetera – Animatek – Offaudio 16
6 Despierta al computador – Banding! – Offaudio 11
7 Agitar antes de usar – Pablo Akaros – Offaudio 17
8 Conducta nocturna – Dessben – Offaudio 14
9 Tus aires de grandeza – Pablo Akaros – Offaudio 17
10 Negación – Ben Businovski – Offaudio 10
11 10:00 AM – Fat Fredy – Offaudio 08
12 Perdido y encontrado – Fat Fredy – Offaudio 08
13 Miedo a Robar – Dessben – Offaudio 14
14 Globalistic – Icy Brain – Offaudio 06

offaudio2.0.gif

Acetone Issue 9

|

Acetone Issue 9

http://www.acetonemagazine.org/

Llegamos un pelín tarde. pero acabo de ver este magacine y ahí os pongo un link.

En la saladestar había programación de este magazine hasta la semana pasada.

acetone.gif

turntablismo para todos

|

turntables.de : : : :

die plattenspieler im Netz

En este website podreis convertiros por un rato en un aclamado dj y hacer un poco de turntablismo desde casa a golpe de ratón y sin miedo a pifiarla demasiado . . . 

,)

turntablist.jpg

Blocks of Conciousness and The Unbroken Continuum [book+dvd]

|

Blocks of Conciousness and The Unbroken Continuum

Book + DVD.
Editors: Brian Marley and Mark Wastell.
Published by Sound 323. [link]
341 printed pages – full colour. Hardb
ack. ?50

What is the most significant development that has occurred in adventurous music during the last decade? It’s arguably neither a technique-driven development nor a technological one. Rather, it’s how we, musicians and audience alike, have opened our ears to the world and embraced its sounds as both a musical resource and as music itself. Blocks of Consciousness and The Unbroken Continuum explores the work and aesthetic of various cutting edge musicians, environmental/sound artists and noise-makers. As well as profiles of Richard Chartier, The Necks, John Wall and Sachiko M, the book contains explorations of the history and changing nature of free improvisation, of Cage’s iconoclastic 4’33″, and of where to draw the line (somewhat tentatively, to be sure) between improvisation and composition. There is, in addition, a series of personal statements by almost two dozen musicians, composers and sound artists, collected by Rhodri Davies; and in Out in the Field Bertrand Denzler and Jean-Luc Guionnet interview improvisers about their music and group the anonymised answers thematically. The authors of the principal chapters – David Toop, Clive Bell, Brian Marley, Dan Warburton, Andy Hamilton and Will Montgomery – are well-known and respected writers on music/sound. Machines, noise and improvisation are factors common to all of the chapters in the book. David Reid’s DVD selection of video performances also carries this theme. The performances, all filmed during the last five years and part of his growing archive, represent a diverse range of musicians and their musics. Note, however, that the DVD content is neither illustrative of nor subordinate to the written material in the book; it comprises a chapter in its own right. A feature of Blocks of Consciousness and The Unbroken Continuum that will be much remarked upon is Damien Beaton’s lavish design, which makes the book so much more than a mere receptacle for words.

CONTENTS:
Introduction by the editors. Brian Marley – John Cage: Qualities of Silence. Rhodri Davies – What are you doing with your music? Answers to this question supplied by Otomo Yoshihide / Phil Durrant / Annette Krebs / Graham Halliwell / Xavier Charles / Bernhard Günter / Andrea Neumann / Lee Patterson / Sean Meehan / Matt Davis / Mattin / Ruth Barberán / Burkhard Beins / Isabelle Duthoit / Jérôme Noetinger / Angharad Davies / Takehiro Nishide / Nikos Veliotis / James Saunders / Johan Berthling / Taku Unami / Steve Roden / Margarida Garcia. Clive Bell – Sachiko M: Ah, the Sweet Torture. Dan Warburton – Les Instants Composés. Andy Hamilton – The Necks. David Reid – Performances – video chapter (see below). Brian Marley – John Wall: The Rocky Road to cphon. Bertrand Denzler and Jean-Luc Guionnet – Out in the Field. Will Montgomery – On the Surface of Silence: Reticence in the Music of Richard Chartier. David Toop – The Feeling of Rooms.

DVD features live concert performances from: Keith Rowe, Evan Parker, Birdyak (Bob Cobbing, Lol Coxhill, Hugh Metcalfe, Jennifer Pike), John Tilbury, Anton Lukoszevieze & Eddie Prévost, Broken Consort (Matt Davis, Rhodri Davies, Mark Wastell), Jérôme Noetinger, John Butcher, Tetuzi Akiyama, Nmperign (Greg Kelley and Bhob Rainey).

blocksofconciousness.jpg

Fibreculture Journal #7 : Distributed Aesthetics

|

_ _ The Fibreculture Journal ///

| | | Issue 7  # Distributed Aesthetics 

http://journal.fibreculture.org/issue7/index.html 

Distributed Aesthetics edited by Lisa Gye, Anna Munster and Ingrid Richardson–Abstracts: …and Beyond: Anticipating Distributed Aesthetics by Darren Tofts; Theses on Distributed Aesthetics. Or, What a Network is Not by Anna Munster & Geert Lovink; Sharing Styles: New Media, Creative Communities and the Evidence of an Open Source Design Movement by Greg Turner-Rahman; Excerpts From ‘Portrait Of The VJ’ by Mark Amerika; Multiple Perspectives/Multiple Readings by Simon Biggs; Beyond the Museum Walls: Situating Art in Virtual Space (Polemic Overlay and Three Movements) by Vince Dzekian; Reshaping Spectatorship: Immersive and Distributed Aesthetics by Edwina Bartlem; Entropy And Digital Installation by Susan Ballard; Intimate Transactions: The Evolution of an Ecosophical Networked Practice by Keith Armstrong.

Finding new terminology for emerging art and cultural practices or for media and technological constellations is bound to be contentious.  On lists, blogs and during face-to-face forums and conferences we continue to debate what the term new media entails, let alone whether this provides an umbrella for wearable computing, smart materials, mobile phone movies or bioart. It is clear that computational culture is drifting, fragmenting and laterally expanding: terminals are no longer dedicated; cultural producers are now recurrent and mobile multi-taskers; art is online, on the street, on a screen and coming at you from a million different places, now.

Rather than try to define the terminology or taxonomy of distributed art theories and practices we have proposed instead a descriptor for the ‘aesthesia’ of contemporary networked encounters.  Distributed aesthetics, then, concerns experiences that are sensed, lived and produced in more than one place and time. This might equally be a sketch of reconsiderations of the operations of cultural memory or of phenomena such as endurance performances. But what we propose, through gathering together the disparate pieces in this fibreculture journal issue, is that techno-social networks are crucially constitutive of this distributed aesthesia.  In various ways, all the texts here take up the mode through which ‘the network’ – the juncture and disjunction of here and there, you and I, social and individuated – functions as the crucial operand in dispersing and contouring perception, art practice and aesthetics.  [...]

 Vía: networked_performance

fibreculture1.jpg

sCrAmBlEd?HaCkZ!

|

sCrAmBlEd?HaCkZ!
a Realtime-Mind-Music-Video-Re-De-Construction-Machine.

http://www.popmodernism.org/scrambledhackz/?c=1

It is a conceptual software which makes it possible to work with samples in a completely new way by making them available in a manner that does justice to their nature as concrete musical memories.

Conceptual Background

s?H! is the result of an effort to develop an artistic strategy that could shed some light on evident but very confusing problems of intellectual property. Intellectual property is a misconception deeply conflicting with the basic principles of any cultural production because it is completely negating its collaborative nature.
Nevertheless IP laws are continuously expanded as if romantic notions of geniality and originality would not have been put ad acta quite a while ago. At the very latest in todays society which is, to an ever increasing degree, shaped by digital networks und computers it is getting obvious what IP actually is: an instrument of power and censorship to secure economic interests.
Fascinated by the effects caused by a small program called Napster (and its successors) I wondered to what extent certain software could unfold discursive power in such a situation if that software would open up new technical possibilities for something which is already the (subconscious) desire of many.
Because of my interests in artistic strategies and social practises of appropriation – collage, montage, sampling and remix in general and plunderphonics, bastardpop and mashups in particular – the idea of a hypothetical mind music machine has evolved which, as a metaphor, helped the concept and the design of sCrAmBlEd?HaCkZ! to take shape.

http://www.popmodernism.org/scrambledhackz/?c=1

scrambled

SINSALradio, +conciertos

|

SINSALradio, nuevos conciertos

http://www.sinsalaudio.com/radio
Festival SINSAL #4

Ya se pueden escuchar los siguientes directos en la podcast radio de sinsalaudio.

Concerto de Za
O primeiro Salón Sinsal 2006 abriuse cos sons deste prometedor trío catalán, no MARCO de Vigo o sábado 25 de febreiro.
Web

Concerto de Yellow Swans
A longa xira europea deste dúo californiano deixounos unha mostra das súas experimentacións sonoras para o primeiro Salón Sinsal 2006, no MARCO de Vigo o 25 de febreiro.
Web

yellowswans sinsalaudio

Norbert Herbert Blog

|

http://blog.x-tet.com/

compositional strategies for non-linear sound

For the music & sounds of interactive art and media, static repetition is the equivalent of death by slow, painful torture. As a composer I aim to discover new possibilities; to create a new music where composition is in constant flux, arrangement is organic, and melody is emergent [...]

desired scape

|

http://www.desiredescape.net
an experiment in community building and storytelling.

Andrea, the creator of the website, is the fictional heroine of my upcoming film project ‘desiredescape.net.’ She starts the website as a means of escaping her life in a conservative Upstate New York town. In her own words:

I want this to be a website for all of us who wish to escape some part of our lives (our job, famly, relationship, political or economic situation, city, country world), where we can share stories about our current lives, as well as our plans, hopes and strategies for our desired escape.

japanese Hip-hop

|

http://web.mit.edu/condry/www/jhh/

“Japanese Hip Hop” by Ian Condry

In an age when the global flows of media and commodities, particularly from the U.S., are clearly influencing people around the world, an important question concerns what kinds of effects these flows have. For some, the presence of hip-hop implies a “loss of Japanese culture.” But what if hip-hop is used to express one’s Japaneseness? In this song clip, Kohei Japan plays on the idea of what it means to be Japanese by setting up contrasts with “Western” foods. He proclaims that he eats “rice, not bread, and fish, not meat” and so on, riffing on the notion that being hip-hop and being Japanese are mutually exclusive [...]