Difference between revisions of "Sandbox"

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==RSS==
 
==RSS==
<rss max=2>http://monoskop.multiplace.org/log/?feed=rss2&tag=art</rss>
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<div class="dpl" style="-moz-column-count:2; -webkit-column-count:2; column-count:2; font-size: .9em">
 
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<rss max=4>https://monoskop.org/log/?feed=rss2</rss>
==wikitex==
+
</div>
<wikitex refresh dpi="144">
 
<nowiki>
 
\section*{Education}
 
\begin{itemize}
 
\item M.A. Media Design and Communication: Networked Media, Piet Zwart Institute, Willem de Kooning Academy, Rotterdam University, Netherlands, 2010--2012.
 
\item M.A. Information Technologies, Faculty of Economic Informatics, Economic University of Bratislava, Slovakia, 1997--2002.
 
\begin{itemize}
 
\item \textit{Dissertation:} Electronic Business (Online Market in the Mirror of Chaos Theory).
 
\end{itemize}
 
\item Mass Media Communication, Faculty of Mass Media Communication, University of Cyril and Method in Trnava, Slovakia, 1999--2001.
 
\end{itemize}
 
</nowiki>
 
</wikitex>
 
 
 
<wikitex>
 
Let $Q$ be any finite set, and $\mathcal B=2^Q$ be the collection of the subsets of
 
$Q$. Let $f:\mathcal B\rightarrow \mathbb R$ be a function assigning real numbers to
 
the subsets of $Q$ and suppose $f$ satisfies the following conditions:
 
:(i) $f(A)\ge 0$ for all $A\subseteq Q$, $f(\emptyset)=0$,
 
:(ii) $f$ is monotone, i.e. if $A\subseteq B\subseteq Q$ then $f(A)\le f(B)$,
 
:(iii) $f$ is submodular, i.e. if $A$ and $B$ are different subsets of $Q$ then
 
      $$f(A)+f(B)\ge f(A\cap B) + f(A\cup B).\eqno{(2)}$$
 
</wikitex>
 
 
 
 
 
 
 
<wikitex>
 
<math>\frac{1}{\displaystyle1+\frac{1}{\displaystyle 1+\sqrt{5}}}</math>
 
</wikitex>
 
  
 
==html5 video==
 
==html5 video==
{{#widget:Html5media|url=http://monoskop.multiplace.org/images/1/10/Ihnatowicz_Edward_1970_-_The_Senster.webm}}
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{{#widget:Html5media|url=http://monoskop.org/images/1/10/Ihnatowicz_Edward_1970_-_The_Senster.webm}}
 
 
==lua==
 
<lua who="{{PAGENAME}}">
 
function hello(s)
 
  return string.format("Hello, %s!", s)
 
end
 
 
print(hello(who))
 
</lua>
 
  
 
==''headline in italic''==
 
==''headline in italic''==
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* g
 
* g
 
</div>
 
</div>
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==grid==
 +
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{{ContentGrid
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|content =
 +
<!--
 +
nowiki markers are added so the first bullet in the list are rendered correctly!
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please don't remove those markers, thank you
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-->
 +
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{{InfoCard
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|heading = one
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|content =
 +
<nowiki></nowiki>
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* one
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* two
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* three
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}}
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{{InfoCard
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|heading = two
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|content =
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<nowiki></nowiki>
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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.</span><br><span></span>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.<br><span></span>The sound of the flight of an aeroplane..
 +
}}
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{{InfoCard
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|heading = three
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|content =
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<nowiki></nowiki>
 +
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.</span><br><span></span>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.<br><span></span>The sound of the flight of an aeroplane..
 +
}}
 +
 +
{{InfoCard
 +
|heading = four
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|content =
 +
<nowiki></nowiki>
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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.</span><br><span></span>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.<br><span></span>The sound of the flight of an aeroplane..
 +
}}
 +
 +
{{InfoCard
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|heading = five
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|content =
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<nowiki></nowiki>
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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.</span><br><span></span>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.<br><span></span>The sound of the flight of an aeroplane..
 +
}}
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 +
}}
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==twitter==
 +
<shtml keyname="admin" hash="a7f6175f333520c08178b8d86f6449a6fc53fd53bb80d7393e6ba5fd124c34f4"><a class="twitter-timeline" data-lang="en" data-width="258" data-height="700" data-link-color="#2B7BB9" href="https://twitter.com/monoskop?ref_src=twsrc%5Etfw">Tweets by monoskop</a> <script async src="https://platform.twitter.com/widgets.js" charset="utf-8"></script></shtml>
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==infobox book==
 +
{{Infobox book
 +
|name = Soundings
 +
|author = Suzanne Delehanty
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|image = Soundings_Neuberger_Museum_1981.jpg
 +
|image_size = 250px
 +
|publisher = Neuberger Museum/State University of New York
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|pub_city = Purchase, NY
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|pub_date = 1981
 +
|pages = 96
 +
|format = 21 x 14.85 cm
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|fabrication = Risograph
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|ebook = [https://monoskop.org/images/3/30/Soundings_Neuberger_Museum_1981.pdf PDF]
 +
}}
 +
 +
==monoskop log category listing==
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https://monoskop.org/log/?cat=887
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https://monoskop.org/log/?cat=887&json=1
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https://monoskop.org/log/?cat=887&json=1&count=40
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https://monoskop.org/log/?cat=887&feed=rss2&count=40
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<rss max=3>https://monoskop.org/log/?cat=887&feed=rss2&count=40</rss>

Latest revision as of 11:39, 27 June 2020

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]

Paul DeMarinis: Buried in Noise (2010) [English/German]

“This artist’s book is the first comprehensive monograph on sound and media artist Paul DeMarinis. DeMarinis has avidly followed the development of communication media, interested in discoveries being made in the realm of physical phenomena and the corresponding objects and devices that have been invented as well as in their cultural and social aspects. His works embody an aesthetic culture of invention permeated by a critical, yet humorous and poetic spirit. Buried in Noise is being published on the occasion of DeMarinis’s artist fellowship at the DAAD artists’ program in Berlin. The publication compiles documentation on Paul DeMarinis’s complete oeuvre since 1973 and the first published compendium of texts by the artist.”

Contributors include Gascia Ouzounian, Fred Turner, Erkki Huhtamo, Douglas Kahn, Bernd Schulz, Siegfried Zielinski, and Thomas Y. Levin.

Edited by Ingrid Beirer, Sabine Himmelsbach, and Carsten Seiffarth
Publisher Kehrer Verlag, Heidelberg/Berlin, 2010
ISBN 9783868281415, 386828141X
279 pages

Publisher
WorldCat

PDF (77 MB)

Robert Ashley: Music with Roots in the Aether (1975/2000)

Music with Roots in the Aether is a series of interviews with seven composers who seemed to me when I conceived the opera-for-television piece–and who still seem to me twenty-five years later–to be among the most important, influential and active members of the so-called avant-garde movement in American music, a movement that had its origins in the work of and in the stories about composers who started hearing things in a new way at least fifty years ago.” (from the Foreword)

With interviews with and essays about David Behrman, Philip Glass, Alvin Lucier, Gordon Mumma, Pauline Oliveros, Roger Reynolds, Terry Riley and Robert Ashley.

Publisher MusikTexte, Cologne, 2000
ISBN 3980315169, 9783980315166
244 pages

Opera reviews: Norbert Osterreich (Perspectives of New Music, 1977), Arthur J. Sabatini (MFJ, 2004).

Publisher
Distributor (Lovely Music), Video programme
WorldCat

PDF (76 MB)
Videos, MP3s (1975-1976, on Ubuweb)
Program brochure (1979)

Margit Rosen, et al. (eds.): A Little-Known Story About a Movement, a Magazine, and The Computer’s Arrival in Art: New Tendencies and Bit International, 1961-1973 (2011)

“When Zagreb was the epicenter of explorations into the aesthetic potential of the new “thinking machines.”

This book documents a short but intense artistic experiment that took place in Yugoslavia in the 1960s and 1970s but has been influential far beyond that time and place: the “little-known story” of the advent of computers in art. It was through the activities of the New Tendencies movement, begun in Zagreb in 1961, and its supporting institution the Galerija suvremene umjetnosti that the “thinking machine” was adopted as an artistic tool and medium. Pursuing the idea of “art as visual research,” the New Tendencies movement proceeded along a path that led from Concrete and Constructivist art, Op art, and Kinetic art to computer-generated graphics, film, and sculpture.

With their exhibitions and conferences and the 1968 launch of the multilingual, groundbreaking magazine Bit International, the New Tendencies transformed Zagreb—already one of the most vibrant artistic centers in Yugoslavia—into an international meeting place where artists, engineers, and scientists from both sides of the Iron Curtain gathered around the then-new technology. For a brief moment in time, Zagreb was the epicenter of explorations of the aesthetic, scientific, and political potential of the computer.

This volume documents that exhilarating period. It includes new essays by Jerko Denegri, Darko Fritz, Margit Rosen, and Peter Weibel; many texts that were first published in New Tendencies exhibition catalogs and Bit International magazine; and historic documents. More than 650 black-and-white and color illustrations testify to the astonishing diversity of the exhibited artworks and introduce the movement’s protagonists. Many of the historic photographs, translations, and documents are published here for the first time. Taken together, the images and texts offer the long overdue history of the New Tendencies experiment and its impact on the art of the twentieth century.”

Edited by Margit Rosen in collaboration with Peter Weibel, Darko Fritz, and Marija Gattin
Publisher ZKM Center for Art and Media, Karlsruhe, and MIT Press, Cambridge, MA, 2011
ISBN 9780262515818, 0262515814
576 pages

Reviews: Brian Reffin Smith (Leonardo, 2012), Joanna Inglot (Slavic Review, 2012), Greg Borman (ARLIS/NA, 2011).

Book website
Exhibition (ZKM, 2008)
Publisher
Publisher
WorldCat

PDF (102 MB)

See also New Tendencies and Bit International on Monoskop wiki.

George Antheil: Bad Boy of Music (1945–)

George Antheil (1900-1959) was a radical American composer active in the early part of 20th century. He was recognised by the Parisian avant-garde literary community as a musical spokesman for their ideas. In the late 1920s Antheil participated in the operatic renaissance in Germany, and, after his return to America in 1933, he attempted to synthesize an American musical idiom in his neoromantic film, symphonic, chamber, and operatic scores.

In his autobiography, Antheil gives a fascinating account of the creative activity in Berlin, Paris, Vienna, New York and Hollywood, discussing his encounters with Igor Stravinsky, Hedy Lamarr, James Joyce, Man Ray, Ezra Pound, Sylvia Beach, W.B. Yeats, Erik Satie, Pablo Picasso, Cecil B. DeMille, Fritz Lang, Salvador Dalí and others.

First published by Doubleday, Doran & Co., Garden City, NY, 1945
Published in the UK by Hurst & Blackett, London, 1947
Reprinted by National Book Association / Hutchinson & Co., London, 1949
295 pages
via Tom Whitwell

Reviews: Milfred Norton (Hollywood Quarterly, 1946), Linda Whitesitt (American Music, 1984).
Commentary: Guy Livingston (ABC Radio National, 2015).

WorldCat

PDF (12 MB)

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
  • g

grid[edit]

one

  • one
  • two
  • three

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)