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google street[edit]

cbll=lat,lng; z=zoom; cbp=x,yaw,x,zoom,pitch

http://maps.google.com/maps?q=Karel+Doormanhof+45,+Deelgemeente+Centrum,+Rotterdam,+Nederland&hl=en&ll=51.918345,4.474354&spn=0.008444,0.01929&sll=48.145329,17.111217&sspn=0.001142,0.002411&oq=Karel+Doormanhof+45&hnear=Karel+Doormanhof+45,+Deelgemeente+Centrum,+Rotterdam,+Zuid-Holland,+The+Netherlands&t=m&z=16&layer=c&cbll=51.918247,4.474387&panoid=CYD94kZwgx3ql_j0N_0XRA&cbp=12,47.13,,0,1.99

RSS[edit]

Jon K Shaw, Theo Reeves-Evision (eds.): Fiction as Method (2017)

“See the world through the eyes of a search engine, if only for a millisecond; throw the workings of power into sharper relief by any media necessary; reveal access points to other worlds within our own. In the anthology Fiction as Method, a mixture of new and established names in the fields of contemporary art, media theory, philosophy, and speculative fiction explore the diverse ways fiction manifests, and provide insights into subjects ranging from the hive mind of the art collective 0rphan Drift to the protocols of online self-presentation. With an extended introduction by the editors, the book invites reflection on how fictions proliferate, take on flesh, and are carried by a wide variety of mediums—including, but not limited to, the written word. In each case, fiction is bound up with the production and modulation of desire, the enfolding of matter and meaning, and the blending of practices that cast the existing world in a new light with those that participate in the creation of new openings of the possible.”

Texts by Justin Barton, Tim Etchells, Matthew Fuller, David Garcia, Dora García, M. John Harrison, Simon O’Sullivan, Jon K Shaw and Theo Reeves-Evison, Delphi Carstens & Mer Roberts, Erica Scourti

Publisher Sternberg Press, Berlin, 2017
ISBN 3956793641, 9783956793646
365 pages

Publisher
WorldCat

PDF (49 MB)

Stefano Harney, Fred Moten: All Incomplete (2021)

“Building on the ideas Harney and Moten developed in The Undercommons, All Incomplete extends the critical investigation of logistics, individuation and sovereignty. It reflects their chances to travel, listen and deepen their commitment to and claim upon partiality.

All Incomplete studies the history of a preference for the force and ground and underground of social existence. Engaging a vibrant constellation of thought that includes the work of Amilcar Cabral, Erica Edwards, Denise Ferreira da Silva, Cedric Robinson, Walter Rodney, Hortense Spillers and many others, Harney and Moten seek to share and understand that preference.

In so doing, Moten and Harney hope to have forged what Manolo Callahan, echoing Ivan lllich, calls a convivial tool that — despite the temptation to improve and demand, develop and govern, separate and grasp — helps us renew our habits of assembly.”

Foreword by Denise Ferreira da Silva
Photos and Afterword by Zun Lee
Publisher Minor Compositions, Colchester, 2021
Open access
ISBN 9781570273780, 1570273782
178 pages

Publisher
WorldCat

PDF

Trevor Wishart: Audible Design: A Plain and Easy Introduction to Practical Sound Composition (1994)

“This book provides detailed description of the craft of sound transformation using software instruments, with non-mathematical explanations and recorded music examples of all processes.

Many of these processes (e.g. sound morphing, spectral stretching, waveset distortion, sound shredding, grain manipulation, moving harmonic field filters) were first developed by Trevor Wishart, either at IRCAM, or as part of the Composers Desktop Project.”

Publisher Orpheus the Pantomime, 1994
139 pages
via author, HT xgz

WorldCat

PDF, PDF
Appendices PDF, PDF (57 MB)
Audio examples: Chapters 1-3, Chapter 4-6, Chapter 7-10, Chapter 11-13 (Bandcamp)

Gordon Mumma: Cybersonic Arts: Adventures in American New Music (2015)

“A candid account of a broad artistic community by an active participant and observer

Composer, performer, instrument builder, teacher, and writer Gordon Mumma has left an indelible mark on the American contemporary music scene. A prolific composer and innovative French horn player, Mumma is recognized for integrating advanced electronic processes into musical structures, an approach he has termed “Cybersonics.”

Musicologist Michelle Fillion curates a collection of Mumma’s writings, presenting revised versions of his classic pieces as well as many unpublished works from every stage of his storied career. Here, through words and astonishing photos, is Mumma’s chronicle of seminal events in the musical world of the twentieth century: his cofounding the Cooperative Studio for Electronic Music; his role in organizing the historic ONCE Festivals of Contemporary Music; performances with the Sonic Arts Union; and working alongside John Cage and David Tudor as a composer-musician with the Merce Cunningham Dance Company. In addition, Mumma describes his collaborations with composers, performers, dancers, and visual artists ranging from Robert Ashley and Pauline Oliveros to Marcel Duchamp and Robert Rauschenberg.”

Edited with Commentary by Michelle Fillion
Foreword by Christian Wolff
Publisher University of Illinois Press, November 2015
ISBN 9780252039430, 0252039432
xxxiv+339 pages

Reviews: Eric Smigel (Intersections, 2015), Daniel Barbiero (Avant Music News, 2016), Aurelio Cianciotta (Neural, 2016).

Publisher
WorldCat

PDF

html5 video[edit]

headline in italic[edit]

headline[edit]

indent[edit]

"I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

sortable table[edit]

x y
a 10
b 19
c 8

columns[edit]

  • a
  • b
  • c
  • d
  • e
  • f
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grid[edit]

one

  • one
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two

I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

three

I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

four

I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

five

I should also say that I don’t see any contradictions at all between music and noise. Most so-called noises that have been used in the film have not been reproduced by means of noise instruments, but rather have been reproduced by musical means by real musical instruments.
The harmonium has played a huge role in this business: we can produce the sound of a dynamo-motor, taking, for example, an interval of a semitone in the low register.
The sound of the flight of an aeroplane..

twitter[edit]

infobox book[edit]

Soundings
Author Suzanne Delehanty
Publisher Neuberger Museum/State University of New York
City Purchase, NY
Year 1981
Pages 96
Format 21 x 14.85 cm
Fabrication Risograph
E-book PDF

monoskop log category listing[edit]

https://monoskop.org/log/?cat=887

https://monoskop.org/log/?cat=887&json=1

https://monoskop.org/log/?cat=887&json=1&count=40

https://monoskop.org/log/?cat=887&feed=rss2&count=40

Over Borders (2021)

“This collection began as an idea to share some of our own scores* connected to the act or effects of borders, which we then expanded to include work by others in our creative communities. Artists / composers were asked to send scores that, in some way, referenced borders; social, political, virtual, perceptual, environmental or between species.”

Curated by Jez riley French and Pheobe riley Law
Self-published, April 2021
[52] pages

Publisher

PDF (20 MB)

Henry Flynt: Blueprint for a Higher Civilization (1975)

Book collects the artist’s early philosophical writings on concept art (Flynt coined the term in 1961) and cognitive nihilism. Includes photographs by Jack Smith and Tony Conrad of Flynt’s anti-art demonstrations against MoMA and the Lincoln Center in 1963.

Edited by Germano Celant
Publisher Multhipla, Milan, October 1975
206 pages
via Nourathar

WorldCat

PDF (28 MB, broken link has been fixed on 2021-2-1)

Adam Pendleton: Black Dada: What Can Black Dada Do for Me Do for Me Black Dada, a Reader (2017)

Black Dada Reader is a collection of texts and documents that elucidates “Black Dada,” a term that acclaimed New York–based artist Adam Pendleton (born 1984) uses to define his artistic output. The Reader brings a diverse range of cultural figures into a shared conceptual space, including Hugo Ball, W.E.B. Du Bois, Stokely Carmichael, LeRoi Jones, Sun Ra, Adrian Piper, Joan Retallack, Harryette Mullen, Ron Silliman and Gertrude Stein, as well as artists from different generations such as Ad Reinhardt, Joan Jonas, William Pope.L, Thomas Hirschhorn and Stan Douglas. The Reader also includes essays on the concept of Black Dada and its historical implications from curators and critics including Adrienne Edwards (Walker Arts Center / Performa), Laura Hoptman (MoMA), Tom McDonough (Binghamton), Jenny Schlenzka (PS122) and Susan Thompson (Guggenheim).”

Edited by Stephen Squibb
Publisher Koenig Books, London, 2017
ISBN 9783960981053, 3960981058
331 pages
via tilda

Interviews with author: Jess Wilcox (Art in America, 2009), Karlynne Ejercito (Artforum, 2016), Awa Konaté (Third Text, 2020).

Reviews: Yaniya Lee (Flash Art, 2017), Terence Trouillot (ArtNet, 2017), Robin Pogrebin (New York Times, 2018).

WorldCat

PDF (64 MB)