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Found 37 results

  1. New feature: Conversation with plunderphonic artist Vicki Bennett on her sound collection The following is a transcript of the email conversation with plunderphonic artist and sound collector Vicki Bennett, which took place in Summer 2013, as part of the research process for the podcast series MEMORABILIA. Collecting sounds with... Link: http://rwm.macba.cat/en/extra/conversation_vicki_bennett/capsula PDF: http://rwm.macba.cat/en/extra/conversation_vicki_bennett/capsula Vicki Bennett (b.1967) is been an influential figure in the field of audio visual collage, through her innovative sampling, appropriating and cutting up of found footage and archives. Using collage as her main form of expression, she creates audio recordings, films and radio shows that communicate a humorous, dark and often surreal view on life. These collages mix, manipulate and rework original sources from both the experimental and popular worlds of music, film, television and radio. An avid collector, Vicki operates under the moniker People Like Us and promotes an open access to archives for creative use. >>Vicki Bennett @Radio_Web_MACBA
  2. New podcast: INTERRUPTIONS #14. Mattergy, curated by Carl Michael von Hausswolff Link: http://rwm.macba.cat/en/curatorial/carl_michael_von_hausswolff_mattergy/capsula Playlist + related info: http://rwm.macba.cat/uploads/20130812/14interruptions_eng.pdf ‘If these should hold their peace, the stones would immediately cry out.’ (Luke 19:40). For most people energy means power, electricity, sunshine and food. It's a basic need for everyone and in a material world it seems unnecessary to go beyond those basics. You’re born, you live and you die. That’s it! There are also those who believe that energy is absolutely everything and that the enormous amounts of different frequencies and frequency combinations involved hold everything together in one large blob of infinite, intermingling details moving very slowly or very fast according to the circumstances, which is the memory of the past mirrored as the future. Memory is then preserved as energy and this energy might be sleeping, waiting to be activated and then de-activated again. The movement of this enormous blob and its content varies in duration and speed and interferes with the details, colouring them and changing them into evolutionary items we call new. It rotates spirally and touches and bounces off itself, and there are as many centres as there are details. Swedish visionary Emanuel Swedenborg sensed this and has written about these motions and forms in the appendix of his book 'De Cultu Et Amore Dei'. Now, in 2013, we could call it 'Mattergy'. You can find more theme-based mixes here: http://rwm.macba.cat/en/interruptions-tag/
  3. New podcast: MEMORABILIA. COLLECTING SOUNDS WITH... Kees Tazelaar. Part II. Music selected by Kees Tazelaar This mix, clocking in at over two hours, is a retrospective snapshot of the musical legacy of the Institute of Sonology. It alternates classic pieces, recent works and unreleased gems from the Sonology archive. Link: http://rwm.macba.cat/en/research/memorabilia_kees_tazelaar_collection/capsula Playlist: http://rwm.macba.cat/uploads/20130313/Memorabilia_kees_tazeelar_partII_eng.pdf The first electronic music studio in the Netherlands was founded in 1956 at Philips Research Laboratories in Eindhoven. This studio moved to the Utrecht University in November 1960, and was then called STEM (Studio voor elektronische muziek, but 'stem' also means 'voice'). Gottfried Michael Koenig became artistic director of STEM in 1964. Instead of just a studio, STEM became a large institution for production, research, education and preservation of electronic music that had a pioneering role in the development of voltage control techniques, algorithmic composition, digital sound synthesis and electronic composition theory. In 1967, STEM was named Institute of Sonology. Frits Weiland, who was a staff member at STEM practically from the beginning, immediately understood the importance of setting up an archive. This analogue tape archive now is one of the main archives of electronic music, and contains master tapes from compositions produced at Philips starting in 1956, until the late eighties, when analogue recording techniques gradually disappeared. Since I started to teach analogue studio techniques at the Institute of Sonology in 1993, I have felt a great responsibility for this archive. An important aspect of that responsibility is to have and maintain a set of top quality tape recorders that are capable to play back the material from the archive. Digital transfers and reconstructions of early electronic music compositions have led to remarkable CD-releases with works by composers such as Henk Badings, Dick Raaijmakers, Tom Dissevelt, Edgard Varèse, Gottfried Michael Koenig, Luctor Ponse, Ton de Leeuw and Jan Boerman. However, the music selection for contains many unreleased treasures from the archive too. Kees Tazelaar, February 2013 If you enjoy this mix, you may also be interested in our interview with Kees Tazeelar: MEMORABILIA. COLLECTING SOUNDS WITH... Kees Tazelaar. Part I http://rwm.macba.cat/en/research/memorabilia_kees_tazeelar/capsula You can find other installments of our series on sound collecting here: http://rwm.macba.cat/en/memorabilia_tag/
  4. New podcast: INTERRUPTIONS #13 The inhuman voice, curated by Genís Segarra Since the late eighteenth century, speech therapists, linguists, entrepreneurs, artists and musicians have nurtured the dream of emulating human speech. In this mix, Genís Segarra offers a personal overview of a subject that fascinates him, with the story of voice synthesis as a narrative thread. Link: http://rwm.macba.cat/en/curatorial/genis_segarra_inhuman_voice/capsula Text and playlist: http://rwm.macba.cat/uploads/20130626/13Interruptions_eng.0.pdf Summary There is a long history of mankind's attempts to build a machine capable of reproducing human speech. Some of the inventors who embarked on this quest where driven by curiosity – speech therapists and linguists interested for scientific purposes, for example –, while others were entrepreneurs with an eye to business opportunities. The first talking machines date from the late eighteenth century, and many theoretical advances were made during the nineteenth century. But the turning point came with the emergence of electronics in the twentieth century. You can hear an example at 20'35'' of this selection: a demonstration of the Voder (Voice Operator Demonstrator) at the 1939 New York World's Fair. The arrival of computers and microchips led to speech synthesis machines being marketed by companies like Bell Systems, Votrax, General Instrument, IBM and SAM, who developed them with the aim of replacing human beings in communications. At 27'38'' you can hear the first computer that ordered a pizza by phone. 'Domino? I want to order a pizza, a large pizza, pepperoni and mushrooms', the machine says. Although it is fair to point out that the experiment failed, given that the Domino employee hung up on the computer. At 31'17'' you can hear the first videogame that included a synthesised voice: an arcade shoot 'em up called Stratovox. The mix includes several examples of talking software and microchips, but I've also thrown in songs that have used similar technology creatively: from German group Kraftwerk to the Japanese phenomenon of virtual singers. You will also hear songs that use a vocoder, an instrument that does not generate a human voice but can analyse the harmonics of a voice and then modulate it in another sound. This means that it can make any source of sound 'talk' or 'sing'. The vocoder was invented with the same aim in mind: to synthesise the human voice. Although it has now been superseded by chips that can generate vowels and consonants, artists and musicians have developed and used the vocoder in order to stand in for human beings. One of the first machines that achieved this effect was the Sonovox, which Disney used in 1941 as the voice of Casey Jr., the train engine in Dumbo. In this mix you can hear Casey's cheery 'All aboard!' at 17'01'' and listen to him chant 'I think I can' as he struggles to climb uphill at 27'01''. The Sonovox was first used on a record in 1947, in the children's book Sparky's Magic Piano, in which a little boy discovers that his piano can talk and play itself. The voice of the piano was created with a Sonovox that transformed piano notes into a human voice. At 13'59'' you can hear the fragment in which Sparky discovers that his piano can talk. At the other extreme in terms of time and technology, the situation is much the same: at 13'18'' you can hear a grand piano being 'played' by a computer-controlled mechanical system which manages to make the piano recite the Declaration of the International Environmental Criminal Court, a work created by the composer Peter Ablinger with the help of a software programme that assigns vowels and consonants to different combinations of piano keys. Throughout the mix, you will hear vocoders and computers talking and singing. I've included several examples in which I've used vocoders or speech synthesisers in my own works with the groups Astrud and Hidrogenesse. There are also samples taken from a voice synthesiser competition held at the 2007 INTERSPEECH Conferences, in which participants had to make their programmes sing 'The Synthesizer Song'. Several universities and companies participated in the competition and demonstrated their systems. Previous installments of this series: http://rwm.macba.cat/en/interruptions-tag/
  5. New podcast: Probes #4.2. Auxiliaries. A musical selection curated by Chris Cutler Link: http://rwm.macba.cat/en/curatorial/probes4-2_chris_cutler_/capsula Playlist: http://rwm.macba.cat/uploads/20130708/Probes4_2_eng.pdf The PROBES Auxiliaries collect materials related to each episode that try to give a broader – and more immediate – impression of the field. They are a scan, not a deep listening vehicle; an indication of what further investigation might uncover and, for that reason, most are edited snapshots of longer pieces. We have tried to light the corners as well as the central arena, and to not privilege so-called serious over so-called popular genres. The fourth auxiliary continues to look sliding pitches, concentrating this time on their use in popular music, before moving on to wholly unpitched probes that begin to map the many aspects of differentiated noise. You can find the complete series here: http://rwm.macba.cat/en/probes_tag Enjoy!
  6. Most listened podcasts - June 2013 - Ràdio Web MACBA 1- COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #9.1 Two Discrete Generative Systems. Curated by Mark Fell and Joe Gilmore Mark Fell and Joe Gilmore wrap up this series on generative and process music with a piece created specifically for the occasion: 'Two Discrete Generative Systems'. Link: http://rwm.macba.cat/en/research/composingwithprocess_9_mark_fell_joe_gilmore/capsula Playlist: http://rwm.macba.cat/uploads/20130606/Composingwithprocess9_eng.pdf 2- EN CRISIS #2. Reflexiones sobre un momento crítico. Beatriz Preciado. Escenas eliminadas (Only available in Spanish) We dig up some unreleased fragments of an interview with the philosopher and activist Beatriz Preciado. Link: http://rwm.macba.cat/es/extra/beatriz_preciado_deleted/capsula 3- INTERRUPTIONS #12 Lost Techno-Pop Weekend in Rural Midwestern America. Curated by Terre Thaemlitz This show takes a listen to techno-pop of the seventies and early eighties as a brief yet deliberate interruption into the realms of pop, rock, soul and R&B. Link: http://rwm.macba.cat/en/curatorial/terre_thaemlitz_lost_techno_pop/capsula Playlist: http://rwm.macba.cat/uploads/20130529/12Interruptions_eng.pdf 4-PROBES #4. Curated by Chris Cutler This fourth programme looks at another dimension of portamenti, and moves on into early twentieth century ideas of colour, timbre and the contested territory of noise. Link: http://rwm.macba.cat/en/curatorial/probes4_chris_cutler_/capsula Playlist: http://rwm.macba.cat/uploads/20130619/Probes4_eng.pdf Transcript: http://rwm.macba.cat/uploads/20130527/04probes_transcript_eng.pdf 5- PROBES #1. Curated by Chris Cutler PROBES #1 sets the scene and investigates early reconsiderations of pitch: probes that postulate new scales to be constructed through the ever-greater subdivision of the inherited intervals of equal temperament. Link: http://rwm.macba.cat/en/curatorial/probes1_chris_cutler_/capsula Playlist: http://rwm.macba.cat/uploads/20121023/Probes1_eng.pdf Transcript: http://rwm.macba.cat/uploads/20120718/01probes_transcript_eng.pdf 6-EN CRISI #2 Reflections at a critical juncture: Valentín Roma, Beatriz Preciado and Olivier Schulbaum (Only available in Spanish) Overwhelmed by the institutionalised discourse of politics and economists, we invite artists, philosophers, researchers and poets to share their ideas about what is happening to us, to comment on the positive and negative implications of this structural crisis, and to imagine an uncertain future. Link: http://rwm.macba.cat/es/especials/encrisi2/capsula 7- COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #8.2. Exclusives by Keith Fullerton Whitman and Carl Michael von Hausswolff Each episode of this series is followed by a special accompaniment programme of exclusive music by some of the leading sound artists and composers working in the field. This show presents two process-led works by American composer Keith Fullerton Whitman and Swedish artist Carl Michael von Hausswolff. Link :http://rwm.macba.cat/en/research/composingwithprocess_exclusives_whitman_hausswolff/capsula Playlist: http://rwm.macba.cat/uploads/20130325/Composingwithprocess8.2_eng.pdf 8- MEMORABILIA. COLLECTING SOUNDS WITH... Kees Tazelaar. Part II This mix, clocking in at over two hours, is a retrospective snapshot of the musical legacy of the Institute of Sonology. It alternates classic pieces, recent works and unreleased gems from the Sonology archive. Link: http://rwm.macba.cat/en/research/memorabilia_kees_tazelaar_collection/capsula Playlist: http://rwm.macba.cat/uploads/20130313/Memorabilia_kees_tazeelar_partII_eng.pdf 9- COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #1.1 Continue. Curated by Mark Fell and Joe Gilmore. A range of sound works representing different periods, traditions and approaches to generative and systems based music. Link: http://rwm.macba.cat/en/research/composingwithprocess_1_mark_fell_joe_gilmore/capsula Transcrip: thttp://rwm.macba.cat/uploads/twitter/Composingwithprocess1_transcript_eng.pdf 10- FONS ÀUDIO #19 Eulàlia Grau (Only available in Catalan) A mig camí entre l'artista d'avantguarda i l'activista, Eulàlia Grau està considerada una de les veus més reivindicatives d’una generació que va impulsar profunds valors de canvi durant els darrers anys del franquisme i els primers de la transició. A partir d'imatges extretes dels mitjans de comunicació l’artista denuncia les perversions i les injustícies del sistema capitalista i els seus diferents mecanismes de control, repressió i pervivència. Link: http://rwm.macba.cat/ca/especials/eulalia_grau_fons/capsula
  7. New podcast: INTERRUPTIONS #12 Lost Techno-Pop Weekend in Rural Midwestern America, curated by Terre Thaemlitz A deliberate attempt to vindicate techno-pop as one of the most important genres of the last century. Link: http://rwm.macba.cat/en/curatorial/terre_thaemlitz_lost_techno_pop/capsula Related link: http://rwm.macba.cat/uploads/20130528/12Interruptions_eng.pdf By the time mainstream pop music really became electronically based in terms of synthesizer/sampler instrumentation and editing (first with R&B and hip-hop, then mainstream pop), the techno-pop synth sound would be utterly abandoned by both pop and underground electronic cultures (techno, house, etc.). In this sense, techno-pop constitutes an isolated and rarely discussed 'lost weekend' from standard pop practices. Techno-pop is most often dismissed as a shade of new romanticism, punk or electro. However, I believe its strict emphasis on electronics and critical rejection of rock culture (at least in the beginning) make techno-pop in and of itself one of the most important, albeit short-lived, genres of the last century. Then again, my views are admittedly warped by an upbringing in the rural Midwestern US, where electronic music was not only scarce, but phobically abhored by most people. Terre Thaemlitz, 2013 More features with Terre Thaemlitz: http://rwm.macba.cat/en/research/composingwithprocess_exclusives_laurie_spiegel_terre_thaemlitz/capsula
  8. New podcast: COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #9.1, by Mark Fell and Joe Gilmore Mark Fell and Joe Gilmore wrap up this series on generative and process music with a piece created specifically for the occasion: 'Two Discrete Generative Systems'. Link: http://rwm.macba.cat/en/research/composingwithprocess_9_mark_fell_joe_gilmore/capsula Related info: http://rwm.macba.cat/uploads/20130606/Composingwithprocess9_eng.pdf The focus of the ninth episode in this series is a project entitled 'Two Discrete Generative Systems' by Mark Fell and Joe Gilmore. The works referred to in the title were developed separately and first heard together at Enjoy ArtSpace, Leeds, UK, on 29 April 2013. The recording presented here is an ambisonic room recording of the event which was open to the public. It is hoped that the works and their combination respond to some of the key themes addressed throughout the series. Gilmore's piece, presented on four loudspeakers, explores behaviours generated by a flocking algorithm. These behaviours are used to control the frequency and amplitude of four oscillators. The piece is presented as a series of 'studies' of fixed duration followed by one minute of silence. In each study the conditions of the flock are predetermined. Flocking is a description of the group bahaviour of living things such as birds, fish and bacteria. In flock simulations, the motion of each agent is dependent on the conditions governing the overall behaviour of the flock, and also on the interaction between autonomous agents. The three main conditions governing movement are avoidance, alignment, and coherence. Although flocking exhibits somewhat chaotic motion, in reality there is a complex set of behavioural interaction occuring between individuals in the flock. While Gilmore's piece explores tonality with multiple loudspeakers, Fell's contribution by contrast uses a single speaker, centrally placed, playing rhythmic structures with a percussive single sound principally derived from the Linn kick drum. Among the arrangement of speakers a computer is placed on a plinth, this displays a collection of sliders that are used to generate and change the rhythm that is played. Audience members take it in turns to change the sliders and make patterns. The algorithm used to produce to rhythmic structures is based around groupings of durations and repetitions of temporal intervals. This simple structure generates a number of distinct patterns. You can find the complete series here: http://rwm.macba.cat/en/composingwithprocess_tag If you enjoyed this series, you may also be into PROBES, by Chris Cutler: http://rwm.macba.cat/en/probes_tag
  9. New podcast: PROBES #3.2. Auxiliaries, a music selection by Chris Cutler Link: http://rwm.macba.cat/en/curatorial/probes3-2_chris_cutler_/capsula Playlist: http://rwm.macba.cat/uploads/20130506/Probes3_2_eng.pdf The PROBES Auxiliaries collect materials related to each episode that try to give a broader – and more immediate – impression of the field. They are a scan, not a deep listening vehicle; an indication of what further investigation might uncover and, for that reason, most are edited snapshots of longer pieces. We have tried to light the corners as well as the central arena, and to not privilege so-called serious over so-called popular genres. This music selection continues to explore probes into pitch, this time through its effective obliteration through ceaseless movement, sliding tones, and radical portamenti which defy all quantization. Previous episodes: http://rwm.macba.cat/en/probes_tag
  10. New podcast: COMPOSING WITH PROCESS: PERSPECTIVES ON GENERATIVE AND SYSTEMS MUSIC #8.2. Exclusive works by Keith Fullerton Whitman and Carl Michael von Hausswolff Curated by Mark Fell and Joe Gilmore. Narrated by Connie Treanor. Link: http://rwm.macba.cat/en/research/composingwithprocess_exclusives_whitman_hausswolff/capsula Each episode of this series is followed by a special accompaniment programme of exclusive music by some of the leading sound artists and composers working in the field. This show presents two process-led works by American composer Keith Fullerton Whitman and Swedish artist Carl Michael von Hausswolff. More info: http://rwm.macba.cat/uploads/20130325/Composingwithprocess8.2_eng.pdf 00:01:11 Keith Fullerton Whitman 'Nadra Phalanx', 2012 (77'44'') 01:18:55 Carl Michael von Hausswolff 'Cairo IV (undone)', 2010 (28'13'') Previous episodes: http://rwm.macba.cat/en/composingwithprocess_tag
  11. New podcast: PROBES #3. Curated by Chris Cutler This is where pitch becomes weightless and all that is solid melts into air: futurism, noise, electricity, ecstasy and uncertainty. We look at the lure and power of sliding tones. Link: http://rwm.macba.cat/en/curatorial/probes3_chris_cutler_/capsula Playlist: http://rwm.macba.cat/uploads/20130221/Probes3_eng.pdf In the late nineteenth century two facts conspired to change the face of music: the collapse of common practice tonality (which overturned the certainties underpinning the world of Art music), and the invention of a revolutionary new form of memory, sound recording (which redefined and greatly empowered the world of popular music). A tidal wave of probes and experiments into new musical resources and new organisational practices ploughed through both disciplines, bringing parts of each onto shared terrain before rolling on to underpin a new aesthetics able to follow sound and its manipulations beyond the narrow confines of 'music'. This series tries analytically to trace and explain these developments, and to show how, and why, both musical and post-musical genres take the forms they do. PROBES #3 continues to explore probes into pitch, this time through its effective obliteration through ceaseless movement, sliding tones, and radical portamenti which defy all quantisation. Transcript (PDF): http://rwm.macba.cat/uploads/20130206/03probes_transcript_eng.pdf You can find the previous installments of this series here: http://rwm.macba.cat/en/probes_tag
  12. New podcast: PROBES #2.2. Auxiliaries. Curated by Chris Cutler Link: http://rwm.macba.cat/en/curatorial/probes2-2_chris_cutler_/capsula Playlist: http://rwm.macba.cat/en/curatorial/probes2-2_chris_cutler_/capsula The PROBES Auxiliaries collect materials related to each episode that try to give a broader – and more immediate – impression of the field. They are a scan, not a deep listening vehicle; an indication of what further investigation might uncover and, for that reason, most are edited snapshots of longer pieces. We have tried to light the corners as well as the central arena, and to not privilege so-called serious over so-called popular genres. In this installment we look further at microtonal divisons based on equal temperament. In this instalment we look further at alternative tuning systems based on the naturally occurring harmonic series, opening up a potentially infinite series of customised Just Intonation scales. You can find the previous instalment here: PROBES #2 PROBES #2 Transcript Follow us at: http://twitter.com/Radio_Web_MACBA
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