Difference between revisions of "Sandbox"

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==RSS==
 
==RSS==
 
<div class="dpl" style="-moz-column-count:2; -webkit-column-count:2; column-count:2; font-size: .9em">
 
<div class="dpl" style="-moz-column-count:2; -webkit-column-count:2; column-count:2; font-size: .9em">
<rss max=4>https://monoskop.org/log/?feed=rss2&tag=art</rss>
+
<rss max=4>https://monoskop.org/log/?feed=rss2</rss>
 
</div>
 
</div>
 
==wikitex==
 
<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.org/images/1/10/Ihnatowicz_Edward_1970_-_The_Senster.webm}}
 
{{#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 =
 +
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 +
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 =
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<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>
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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
 +
|heading = four
 +
|content =
 +
<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 = 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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==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
 +
|image = Soundings_Neuberger_Museum_1981.jpg
 +
|image_size = 250px
 +
|publisher = Neuberger Museum/State University of New York
 +
|pub_city = Purchase, NY
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|pub_date = 1981
 +
|pages = 96
 +
|format = 21 x 14.85 cm
 +
|fabrication = Risograph
 +
|ebook = [https://monoskop.org/images/3/30/Soundings_Neuberger_Museum_1981.pdf PDF]
 +
}}
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==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]

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

Inke Arns, Marie Lechner (eds.): Computer Grrrls (2021) [German/English]

Computer Grrrls brings together 23 international artistic positions that negotiate the complex relationship between gender and technology in past and present. The book deals with the link between women and technology from the first human computers to the current revival of technofeminist movements. An illustrated timeline with over 200 entries covers these developments from the 18th century to the present day.

The publication presents artists, hackers, makers and researchers who are working on how to think differently about technology: by questioning the gender bias in big data and artificial intelligence, promoting an open and diversified Internet, and designing utopian technologies.

The perspectives presented here address a broad range of topics: electronic colonialism, the place of minorities on the Internet, the sexist bias of algorithms, the dangerous dominance of white men in the development of artificial intelligence and digital surveillance, but also ideas on how we can change our traditional ways of thinking.

Artists included: Morehshin Allahyari, Manetta Berends, Zach Blas & Jemima Wyman, Nadja Buttendorf, Elisabeth Caravella, Jennifer Chan, Aleksandra Domanović, Louise Drulhe, Elisa Giardina Papa, Darsha Hewitt, Lauren Huret, Hyphen-Labs, Dasha Ilina, Roberte la Rousse, Mary Maggic, Caroline Martel, Lauren Moffatt, Simone C. Niquille, Jenny Odell, Tabita Rezaire, Erica Scourti, Suzanne Treister, Lu Yang.”

Publisher Kettler, Dortmund, and HMKV, Dortmund, May 2021
Open access
ISSN 2629-2629
ISBN 9783862069071
191 pages
HT coco

Publisher
Publisher
Exhibition (HMKV, 2018-2019)

PDF (59 MB)

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)

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)