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

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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.

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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 . . . 

,)

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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).

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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

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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 […]

EXPERIENCIAS SONORAS at zemos98

La programación de música experimental en zemos98 viene siendo una constante desde casi los primeros años, algunos de los proyectos sonoros experimentales por la que han pasado: Scanner, Árbol, elcorsaldesastre, longina, Xabier Erkiza, Rec_Overflow, EVOL, Dj Spooky, @c+Lia, Coeval

En la próxima edición de zemos98 (lo siento soy un poco pesado ya lo sé) actuarán:

* RAZ MESINAI aka BADAWI, entre percusión étnica, notación contemporánea y electrónica. 15 de marzo en la Fundación Tres Culturas. Sevilla. Entrada Gratuita es necesario recoger invitación. www.razmesinai.com

* DJ AMSIA, en la sala ENDANZA, es uno de los representantes de la manipulación sónica en directo, grabaciones de campos y técnicas de dj imposible. 21:30h Jueves 16 de marzo. Entrada Libre en la SALA ENDANZA.

* PITA + JADE, en la sala ENDANZA, El proyecto audiovisual de PITA + JADE rellena la cuota de artistas internacionales que se presentan en la octava edición de zemos98. Definir el trabajo de estos dos artistas es tan sencillo como hacer una suma. A la pregunta ellos responden de la manera más simple posible “Pita trabaja el sonido y Jade se encarga de las imágenes”. 22h. Jueves 16 de marzo. Entrada Libre en la SALA ENDANZA. Este concierto está producido en colaboración con SinsalAudio.

¿Nos vemos en el zemos? ,)

Audiomulch 1.0

AudioMulch 1.0  !!! 

http://www.audiomulch.com/ 

Ross Bencina released AudioMulch 1.0 – software for electronic music performance, production and education. Of value to electronic music composers and musicians alike, AudioMulch brings together capabilities ranging from studio staple effects to extreme processing algorithms within a user interface that favours the dynamic flow of intuitive creation and improvised performance. The release marks the end of an extended public beta-testing period spanning almost nine years, which has resulted in robust software ready for the stage, studio and classroom. The software can be downloaded as a trial version from the internet at www.audiomulch.com. The full version is competitively priced at only $89 (USD). AudioMulch works on PCs running Microsoft’s Windows family of operating systems.

AudioMulch has played an influential role in the electronic music performance and production scene in recent years. The official AudioMulch discography lists over one  hundred and thirty recordings that make use of AudioMulch’s unique sonic qualities. Among the listed artists are electronica luminaries such as Fourtet and the Nine Inch Nails. Leonard Paul, soundtrack composer for The Corporation, Canada’s highest grossing documentary in history writes: “I simply wanted to say ‘thanks’ for such a great program and that it is truly great for film scoring.” The software is so easy to use it has even found its way into primary school teaching programmes in the U.K. where students have used it to compose “sonic postcards” from recordings of their environment.

Over the course of its development AudioMulch has attracted a diverse and welcoming internet community who have actively contributed to the software’s evolution. This release includes over forty new example files contributed by community members.

AudioMulch Interactive Music Studio is developed by Ross Bencina. Ross is a composer and performer of improvised electroacoustic music and a specialist software developer. He presents his work at academic conferences and symposia both nationally and internationally. He is the sole proprietor of Sonic Fritter Pty Ltd, which sells AudioMulch and offers consulting and software development services for desktop andembedded audio applications.

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Documental COPYRIGHT 2.0

Documental COPYRIGHT 2.0 

Literal [creative commons españa]

Ya esta disponible el documental Copyright 2.0, un proyecto de Daniel Muñoz y Ruth Ponce:

“Eva, Niki, Tomo y Ancor están formando un grupo de música, quieren tocar y emprender un proyecto: Root Café.

Desde la elección del nombre hasta los primeros conciertos, se encuentra en el momento de definirse en todos los planos, y para elegir el camino que más les conviene se entrevistaran con diferentes personas y entidades relacionadas con la industria musical y los derechos de autor, estudiando que opciones se adaptan más a su realidad y a las de un mercado que se está transformando con las nuevas tecnologías.”

El documental, que dura 32 min, está publicado con una licencia Creative Commons y se puede encontrar aquí.

También existe la posibilidad de asistir a un pase público el 28 de febrero en l’Antic Teatre de Barcelona.

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K-LITE MEGA CODEC PACK 1.51

K-LITE MEGA CODEC PACK 1.51
Lecollagiste.Vj nos informa de que ha salido el nuevo K-LITE MEGA CODEC PACK 1.51 un pack para “encoder, décoder audio et vidéo, utile et trés complet, avec le célèbre Quicktime Aternative et le Real Alternative intégrer dans le MEDIA PLAYER CLASSIC.

Features of K-Lite Mega Codec Pack 1.51 :

• Players:
- BSplayer [version 1.39.829]
- Media Player Classic [version 6.4.8.7]
• ffdshow:
- ffdshow [build 2006-01-27]
- extra plugins
- ffdshow VFW interface
• DirectShow video filters:
- XviD [version 1.1.0]
- DivX Pro [version 5.2.1]
- 3ivX Pro [version D4 4.5.1]
- CoreAVC [version 0.0.0.4]
- On2 VP6 [version 6.4.2.0]
- On2 VP7 [version 7.0.9.0]
- Cyberlink DVD decoder [version 6.0.0.2023]
- InterVideo DVD decoder [version 7.0.27.130]
- MPEG-1/2 (Ligos) [version 4.0.0.77]
- MPEG-1/2 (Gabest) [version 1.0.0.1]
• VFW video codecs:
- XviD [version 1.1.0]
- DivX Pro [version 6.1.1]
- 3ivX Pro [version D4 4.5.1]
- x264 [rev. 439]
- Windows Media 9 VCM [version 9.0.1.369]
- On2 VP3 [version 3.2.6.1 DT]
- On2 VP6 [version 6.4.2.0] [Encoding]
- On2 VP7 [version 7.0.9.0] [Encoding]
- Intel Indeo [version 5.2562.15.54]
- Intel Indeo [version 4.51.16.2]
- Intel Indeo [version 3.24.15.03]
- Intel I.263 [version 2.55.1.16]
- huffyuv [version 2.1.1 CCE Patch 0.2.5]
- MS MPEG-4 [version 4.1.0.3927]
- DivX ;) MPEG-4 Low and Fast motion [version 4.1.0.3927]
• QuickTime Alternative:
- QuickTime codecs [version 7.0.4.80]
- QuickTime plugin for Internet Explorer
- QuickTime plugin for Firefox/Mozilla/Netscape/Opera
- Extra QuickTime plugins
- QuickTime DirectShow filter
• Real Alternative:
- RealMedia codecs [version 6.0.12.1465]
- RealMedia plugin for Internet Explorer
- RealMedia plugin for Firefox/Mozilla/Netscape/Opera
- RealMedia DirectShow splitter [version 1.0.1.1]
• DirectShow audio filters:
- MP3 (Fraunhofer) [version 1.9.0.311]
- AC3/DTS/LPCM (AC3Filter) [version 1.01a rc5]
- AC3 (AC3Filter) [version 0.70b mod]
- AC3/DTS/LPCM (InterVideo) [version 7.0.27.130]
- Vorbis (CoreVorbis) [version 1.1.0.79]
- AAC (CoreAAC) [version 1.2.0.573]
- AAC (3ivX Pro) [version D4 4.5.1]
- MusePack [version 1.0.0.3]
- Monkey’s Audio [version 1.00]
- WavPack (CoreWavPack) [version 1.0.3]
- FLAC (illiminable) [version 0.70.0827]
- Voxware MetaSound [version 1.0.0.12]
- AAC encoder (3ivX Pro) [version D4 4.5.1]
• ACM audio codecs:
- MP3 (Fraunhofer) [version 3.3.2]
- MP3 (LAME) [version 3.97b2]
- AC3 (ffcHandler) [version 1.2]
- DivX ;) Audio [version 4.2.0.0]
• DirectShow source filters:
- MP4 splitter (Haali Media Splitter) [build 2006-01-29]
- Matroska splitter (Haali Media Splitter) [build 2006-01-29]
- Ogg splitter (Haali Media Splitter) [build 2006-01-29]
- Ogg splitter (OggDS) [version 0.9.9.5] and Ogg Vorbis DLLs [aoTuVb 4.51]
- MPEG demuxer (Elecard) [version 1.0.31.51211]
- MPEG demuxer (Gabest) [version 1.0.0.1]
- MPEG demuxer (Ligos) [version 4.0.0.77]
- SHOUTcast Source [version 1.0.0.1]
• DirectShow subtitle filter:
- DirectVobSub (a.k.a. VSFilter) [version 2.37]
- DirectVobSub (a.k.a. VSFilter) [version 2.33]
• DirectShow audio filters (general purpose):
- Matrix Mixer [version 0.30b]
- Morgan Multimedia Stream Switcher [version 0.9.9]
- DC-DSP Filter [version 1.03]
• Encoding tools:
- LAME CLI and DLL [version 3.97b2]
- LameDropXPd [version 3.97b2]
• Tools:
- GSpot Codec Information Appliance [version 2.52 beta 1 build 2004-09-15]
- Sherlock [version 2.0]
- VobSubStrip [version 0.11]
- GraphEdit [build 041201]
- MMCompView [version 1.10]
- AVI Fixed [version 2.0b1]
- FourCC Changer
- Bitrate Calculator

Descargar K-LITE MEGA CODEC PACK 1.51

SINSALradio, nuevos conciertos

SINSALradio, nuevos conciertos

http://www.sinsalaudio.com/radio

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

Concerto de Erick Messler
Suxerente aperitivo, só coa súa guitarra e a súa voz, para o concerto de Micah P. Hinson na sala Vademecwm o xoves 16 de febreiro de 2006.
Web

Concerto de Micah P. Hinson
Segunda aparición na sala Vademecwm deste carismático arista norteamericano, o xoves 16 de febreiro de 2006.
Web

sinsalradio