Benzonatate Albuterol

Autechre - "Quaristice" and "Quaristice. Quadrange. Ep"

L'unica certezza riguardo agli Autechre è ciò che ci si aspetta da loro...linee-guida verso nuovi orizzonti dell'IDM. E' grazie alle prime tre releases -"Incunabula" (vero e proprio manuale di architettura elettronica), "Amber", "Tri Repetae" -, which presented themselves as masters Autechre dell'IDM more sophisticated and bizarre. It was the '93 with "Incunabula", '94 and '95 with "Amber" and "TriRepetae" certain territories and sound were a world yet to be discovered, the IDM is still evolving. From '98 to "LP5" and "Confield" in 2001-until "Untilted" (2005) -, there was instead a gradual turnaround compared to the glorious start of Ae. This change of trend is not an involution (as many reviews claim), but a definite desire to adhere to a standard composition by itself own making: what is often criticized for not dare Autechre fact is most of the time "Incunabula" and "Amber" , not to try more new design solutions, not to look for more innovation; of these criticisms is not spared even the new "Quaristice" . (By the way, within this trend emerges in all its sound power "Draft 7.30" ). If according to many this is a serious lack of Ae, is not in my opinion: As the inventor of a style, you are free to join indefinitely ... it's their style, their trade mark, its key composition. Apparently Rob Brown Sean Booth and has not been said all within this key style and there is still another pier to express in this space designed by themselves. When the time comes to a close to open another season, we are sure that many will be made of stone in the new possibilities for innovation costudite as a duo Autechre. Probably "Quaristice" not represent the guidelines and the quantum shift nell'IDM / electronics of the future, certainly not on the stylistic dares not seek the solution or approach ipercompositivo complex, but follows a trail already laid by Autechre same: the IDM is fine as always, the texture smooth, linear composition, the minimalist approach that has always characterized the Ae flows that evolve through the various releases to the compositional sophistication and automation of the last works. Stands fact played the confidence and full adherence to style Ae "is the ambient abysmal in evolution, the flow of the pads and the differentiation of synths, the beat deconstructions and rearrangements of fact, Instant rewind and rhythm, recognize the sounds of vintage drum dear to Autechre (TR and TR606 all), the composition through software modules. But overall it gives way to empty the atmosphere and ambient music, many more tracks in the absence of beats and a composizione minimalista caratterizzata dalla ciclicità ed un andamento "ad avvolgimento". E' soprattutto con il nuovo "Quaristice.Quadrange.ep" che le composizioni prendono una più specifica direzione e sono più riconoscibili gli intenti originari, cominciati in "Quaristice". "Quadrange.ep" è infatti il nuovo EP, uscito a maggio in formato scaricabile dal sito Bleep.com (definito Ep ma contentente 13 tracce -versioni alternative di quelle uscite in "Quaristice"-, per una durata di oltre 2 ore). STRUTTURA E SUONO. "Quaristice" è composto di 20 tracce ed una struttura circolare: si apre and closes with two tracks environmental "Altibzz" and "Outh9X" . Inside there are 20 "micro" of great beauty, which has the merit to crystallize perfectly un'IDM valuable, very valuable. Inside are all the characteristics of sound Autechre (the ones we have already seen many reviews to be a limit, but for me the great honor of the duo) and their intent has always been expressed through music / non-music, made of digital pulses, glitches, residual cut-up sound and developed, constructed through a meticulous artisan electronics. In "Quaristice" e "Quaristice.Quadrange.ep" c'è infatti un approccio assolutamente perfetto al glitch; ci sono nuove esplorazioni all'interno di questo, attraverso la degradazione del suono certamente, ma anche la costruzione per moduli, risaltano le sonorità costruite con architettura FM e l "exploitazione" outboard, ma soprattutto c'è un lavoro sulla "asimmetria del suono" , un decentramento verso la parte del suono che inevitabilmente "glitcha" e "clippa", una ricerca verso quelle onde residuali ed i sedimenti che si pongono "ai lati" del suono . In "Quaristice.Quadrange.ep" questo lavoro si estende ad ogni ambito della costruzione sonora ed il risultato è, variabilmente, a volte morbido, talvolta assolutamente e volontariamente sporco, reverberato, acquatico. Si percepisce in maniera esaustiva nelle composizioni "technotiche" in cui al 4/4 corrisponde una asimmetria ed una sconnessione data dal residuo sonoro ; esempi sono "The PLC" , "Tankakern" e la versione "Tkankaren" in "Quadrange.ep". C'è poi lo schema quadrato dell'elettronica di "fxzE" e l'oscura spirale glitch/dub di "rale" , il marasma di entries humanoid "I" , disconnections of "plyPhon" and all versions of "Perlence" , the noises of battle "SIMMM" and waves digital "Parallel Suns" and "SonDEremawe" . If one thing should be paid attention in "Quaristice" and "Quaristice.Quadrange.ep" is, beyond the composition itself, the beauty of sound: FM sounds metal, scrap glitchanti bass, reverb and the cool abstract digital atmospheres. At the sound of much more concrete "Untilted" With its complexity of listening and mutilation of the beat, in "Quaristice.Quadrange" a return match and even a new momentum for an abstract composition. Metaelectronica Research save this project and recommends plenty of Autechre 2008.

I nputs:

• Autechre
• Autechre.ws
• "Quaristice (Warpmart)

Gold Future January 2010 Symbol

Perceptual Correspondences of Abstract Animation and Synthetic Sound

IN. is proposed here that this is the thesis "Perceptual Correspondences of Abstract Animation and Synthetic Sound "(1988) with which Abbado has a Master of Science at the MIT Media Laboratory . Italian researcher, has extensively explored the expressive possibilities of audio-visual and although dated 1988, the thesis explores in a very current nature of the objects interacting sound and image. In addition to Media Arts, Abbado has studied electronic music composition at the Conservatory of Milan, has designed and wrote the software 'Ab strategic' , for the creation of abstract sequences, with whom he made the digital animation 'fluid' ; search for Abbado has always aimed at testing in digital audio-visual, taking forward the work of "correspondence" sound-image, and creating abstract images through the exploration of imaginary digital worlds.

DIGITAL STILNOVO. Among other things, is to report the project 'Digital Stilnovo' , screening program for projects on digital media, presented at BizArt Art Center in December 2005. "The object that Abbado has followed for more than a decade and ' display of sound events that were related with cognitive research, which is widely applied also in courses on the psychology of perception. Samson Revisited Wonokromo and are the first with the sound without the other ascetic, both beautiful abstract digital animations [...] Digital Stilnovo and 'part intergrante Italian Experimental Cinema of a project that includes work in film, video and in digital media who look at potential 'of thought through different cinematic approaches and occasionally looking back to the origins of cinema when the potential' of the pickup device and the projection began to be investigated. "

WONOKROMO, 2004 - DVD, b / w, 6 '. "Wonokromo animation is abstract, an investigation into the visual noise divided into two sections. I created the first synthetic hair animation section and changing various parameters such as their thickness, the ricciosità, rigidity, severity, and more. The best sequences were assembled and then combined. The second section is more complex to create. As a first step I have mapped some types of noise chosen by me on a synthetic surface flat, and so I created several different sequences by changing the parameters of each sound. In this way I obtained 66 sequences of interest for me. I then combined all the footage and I have selected the best, creating a new tier of 116 sequences. This process was particularly long, since for every sequence have been tried all combinations with the others. In addition, each combination was tested using different transfer modes: Darken, Multiply, Linear Burn, color burn, add, lighten, screen, linear dodge, color dodge, overlay, soft light, hard light, vivid light, pin light, difference, exclusion . then again I chose the 60 most interesting results and I combined them together again, always trying too different transfer modes. I have derived as a second level of approximately 230 new sequences. At that point it was difficult for me to navigate through the Ulitmate animations produced. For this reason I decided to rank them and to create an archive containing different parameters for each sequence, ie the animation itself, its title, category, quality, durability, speed, density, and maximum overall brightness. The last two parameters, the overall brightness and maximum, were obtained by analyzing software on the first frame of each sequence. I got other parameters automatically, as the average intensity, contrast medium, the third time, the smoothness, uniformity and entropy. Although interesting, these parameters were then utilizzati.Questo process helped me choose each time the animation more appropriate to be included in the assembly of the second section, for which I chose 40 sequences by taking into account class, quality, density, and brightness globale.Una you finish all the animation, I analyzed its overall brightness and I decided to cut certain parts of the second section to improve the fluidity of the final. "(A. Abbado)

SAMSON REVISITED, 2003 - DVD, color, music by Dino Ghezzo, 9 '. An animation commissioned by the composer Dino Ghezzo for a performance that was held at Merkin Concert Hall , New York. In the words of Dino Ghezzo, the piece is un'estenzione of music written for Samson Agonistes by John Milton, for a commission of the theater company of Nancy Bogen. It was written with an eye the musical styles of the time Milton amalgamated with the electronic arsenal today. Samson Revisited, is my vision of a combination of the late Renaissance and early Baroque music is running through the mind and the ear of a composer of the twentieth or twenty-first century "(A. Abbado)

Perceptual Correspondences ABSTRACT OF ANIMATION AND SOUND SYNTHTEIC. STAMP, AND SUMMARY ANALYSIS: NEW ARCHITECTURE AUDIO VISUAL AND CORRESPONDENCE. "A sound can be thought of as a" sound object ", something that can be complex, but has a distinct identity. This identity is defined by the spectrum of sound, his energy. Similarly, the visual events can also be considered as independent objects. The form and type of surface define the identity of a visual object. The stamp in the sound field and shape attributes to surface in the images are the most powerful audio-visual perception of objects. Their correspondence would, in my opinion, form the basis of a new audiovisual language. With these words begins the 2nd chapter Attributes stamp / form-surface ". Abbado This part examines the role of the stamp in the Western and Eastern musical traditions: the first is whether fondamentalmente basata sull'altezza dei suoni ed il ritmo, nella seconda il timbro ha sempre avuto un ruolo di pari importanza rispetto agli altri elementi. E' infatti nel '900 che il timbro ha cominciato ad acquisire una sua specifica importanza all'interno della gestione compositiva, grazie al contributo di Arnold Schönberg, il quale coniò il termine 'Klangfarbenmelodie' (melodie di timbri). Schönberg scrisse: "Penso che il suono riveli sé stesso per mezzo del timbro e che l'altezza non sia che una dimensione del timbro. Il timbro è quindi il tutto, l'altezza è parte di questo tutto, o meglio, l'altezza non è altro che il timbro misurato solo in una dimensione" (A. Schönberg, "Manuale Harmony "). Besides Schoenberg's Edgar Varèse, who piloted within the noise and dissonance, was the first to create compositions based entirely on the stamp. And 'through these paths that the stamp becomes one of major areas of research in contemporary music and the revolution of computers and computer music is entering a new era: in addition to the infinite possibilities determined by the synthesis of new sounds, dramatically increasing the number of sounds available to the composer, then it becomes possible control of the stamp previously unimaginable through sound analysis and synthesis, allowing them to articulate the compositions on the basis of tonal variation instead of height. It is this control over the timbre of computational matrix that might lead to new structures and architectures of sound. The complexity of the new stamps can not be managed and analyzed as to the stamps of the past and the visual representation intervenes to help in the analysis, managing the organization of musical composition (the project "Dynamics of Abbado is just part of this path between the synthetic sound and timbre, investigating the possibilities of visual language connected to composition based on the stamp instead of height). In the area of \u200b\u200bthe visual, if the shape is probably the attribute that best defines an object, this alone can not cover però la complessità percettiva e la ricchezza dei timbri. Si rende quindi necessario l'impiego di altre proprietà, quali il colore, l'illuminazione, la variazione di riflessione speculare della superficie, in modo da aggiungere espressivistà ad un oggetto visivo rappresentante un timbro. Il processo di associazione di una forma a un timbro richiede anche una corrispondenza tra gli attributi che si mettono in relazione, entrando così nel campo della soggettività (ad esempio: suoni armonici-forme morbide, suoni inarmoci-forme spigolose). A questo punto viene in aiuto Vasilij Vasil'evič Kandinskij, che in "Lo Spirituale nell'Arte" ("Concerning the Spiritual in Art") scrive: "In genere i colori pungenti sono adatti for cutting shapes (like a yellow triangle), and the soft colors and shapes are suitable for deep round (like a blue circle) [...]. The yellow, if looked firmly in each geometric shape has an influence of noise, color and reveals a persistent and aggressive nature "(Kandinsky," Concerning the Spiritual in Art "). Because of the subjectivity of the criteria is its extremely complex suggests a formalization and automation of the process of matching items auditory and visual objects, coming into play a multitude of factors of uncertainty, such as intuition or psychic legacy (subconscious) of each. If automatization of this process is difficult , it is true that a strict matching method is likely to lead to a drift mechanism, which limits the creative process, with an inevitable reflected in the finished project.

TEXTS: Perceptual Correspondences of Abstract Animation and Synthetic Sound , MIT Media Lab - Inglese. HERE ' the Italian version.

E THIS is an excellent thesis on Laura Liotti Abbado (in English or )

I nputs:

• Digital Stilnovo - BizArt Art Center
• On the relationship between image and music
• Abbado.com
• Digital Explorations

Bower T-mount Camera Adapter

Process Music, generative systems. Metaphysical art, concept art and experience 'Web Stalker' (I / O / D) -software/net.art-

INTRO: VISUAL AESTHETICS IN EARLY COMPUTING " .

" I used the computer as if it were a new type of piano, I 'played' to produce visual effects with the intention to disclose periodic harmonic phenomena, as opposed inharmonic phenomena; per generare tensioni e rarefazioni, per formare strutture ritmiche partendo da configurazioni dinamiche, ripetitive e ordinate; per creare armonie dinamiche che l’occhio umano può percepire e godere […] posso affermare che le mie opere sono più vicine alla musica che al cinema, ciò che il mio lavoro ha in comune con la musica è questa configurazione ritmica di fenomeni periodici […] queste immagini possono suggerire come si stia concretizzando il parallelismo fra la grafica in movimento e i fenomeni armonici della musica. Esse sono un’indicazione di come una forma visiva possa essere concretizzata in elementi periodici per la costruzione, sia temporale sia spaziale, degli elementi visivi dinamici di una nuova arte astratta focused on the pace. "

So in a 1971 speech by John Whitney explained his experimental work of searching for harmony, in balance between musical composition and abstract animation. In 1970, Whitney realized 'Matrix' , a digital animation project produced by the California Institute of Technology in collaboration with the 'IBM . Considered by many the father of computer graphics, in fact, his work represents a point of union between the different fields of electronic forms of expression, including musical composition, experimental film, digital animation. In 1960 he founded the Motion Graphics Inc., where for the first Once a computer was used analog-to-Whitney invented by the same video footage. In 1970, Whitney reached a peak in his research on the synthesis of digital sounds and images, completed in 1975 'Arabesque' , a seven-minute movie about music Manoocheler Sadeghi, whose technique goes back directly to the compositions of Schönberg . Whitney's work arises at the time the machine was still very hard to establish itself as a medium for artistic mediation of thought and 'Arabesque' in a sense act as a driver for a new vision on processing as a means for ' artistic expression, in this solid but complex balance between science and art. In esso infatti vi è una perfetta sintesi tra il flusso musicale dodecafonico e il vortice di forme astratte che si evolvono in un flusso fortemente psichedelico.

ALGORITMI, CODICI E PROCESSI ARTISTICI. 'WEB STALKER', DECOSTRUZIONI DEL BROWSER E PROTO-NET ART: UNA RIFLESSIONE SULLA REALTA' E LA MATRICE DI PROGRAMMAZIONE. Il testo che segue è in parte una riflessione ed un sunto del testo di 'Software Art' (di Florian Cramer e Ulrike Gabriel). Oggi, è cosa frequente vedere artisti dediti alla creazione di installazioni ed opere multimediali costruire da sè propri ensamble e software. Ma non sempre si tiene presente che per arrivare a questo si è passato attraverso un grande salto nella concezione stessa di intendere un processo estetico. Fino ad una decina di anni fa, il software, gli algoritmi e i codici di programmazione, non erano considerati materia o strumento per la produzione artistica. La 'software art' contiene in sè un enorme percorso di ricerca e sperimentazione sui sistemi e i processi dedicati alla produzione estetica. Nel 1997 il progetto londinese di arte digitale 'I/O/D' assemblò un browser fortemente sperimentale per il World Wide Web : 'Web Stalker' . Considerato un perfetto esempio di opera Net Art, 'Web Stalker', è anche uno dei primissimi esempi di software art. Invece di mostrare pagine regolarmente formattate, il browser eseguiva una visualizzazione decomposta e confusa dei siti web, mostrando i loro codici di controllo e la struttura di link. Il risultato era ovviamente un web illeggibile in quanto a funzionalità intrinseca del web. Ma a questa funzione veniva sostituita una diversa forma di consapevolezza ed un mezzo per raggiungerla: la visibilità dei codici infatti costituiva un ponte essenziale tra questo ed il segno digitale. In poche parole veniva disvelata una struttura portante, lo scheletro essenziale del World Wide Web: il segno digitale che appare sullo schermo è sempre e comunque legato ad una struttura di codici di programmazione e a formati di algoritmi ad esso legati. 'Web Stalker' si pone quindi come un'opera multimediale, proto-Net-Art che analizza il proprio mezzo artistico, e software art che instaura una riflessione su una questione molto, molto più estesa: la realtà è modellata dal software su una struttura celata nella subsuperficie. In anticipo sulle riflessioni visionarie, ad esempio della trilogia di "Matrix" dei fratelli Wachowsky, tali questioni si riverberano in un'estensione non sempre espressa ed analizzata nelle sue pieghe più complesse.

SOFTWARE ART- MINIMALISMO- PROCESS MUSIC- CONCEPT ART. La software art non rimane un espressione chiusa all'interno del suo strumento e del suo mezzo, ma si connette, esattamente come le riflessioni che solleva nella sua progettualità, con le altre forme expressed within the "ars electronica." Just as net.at meets in the software art and visual arts, so they come together within the composition and electronic music. The generative music is a clear example of this interdisciplinary and multimedia, through building codes and automated processes which provide executive orders, creating an enforcement mechanism and a "generative system or self-generative" ( generative music and electronic minimalism . Flows structural and exploration environment. (ssbd V.02 - and applications IXI Audio) ). And 'in fact minimalism that identifies the antecedents of a sistematizzazione dei meccanismi generativi e, automaticamente, nel minimalismo che si individuano gli antecedenti della software art applicata alla composizione musicale. La 'Composizione 1961 No.1, January 1' di La Monte Young, compositore minimalista ed ex-Fluxus ( Minimalismo e sperimentazione post-cageana. Confluenza e superamento del serialismo - "Un percorso verso la scoperta del minimo, esponente al massimo" ), è da molti considerata una delle prime composizioni del minimalismo e al tempo stesso opera seminale di software art, per via delle istruzioni formali per l'esecuzione della performance di Fluxus ("Draw a straight line and follow it" ["Disegna una linea diritta e seguila"]). The extremes of the compositional process- music and the evolution of dronology , are the first germ in minimalism, and the simple outline of a circular music - repetitive music - is a complexity expressed in ' conceptual art (Concept Art) , in which the Idea as the matter of the art project. Regarding the composition of La Monte Young, Florian Cramer writes and Ulrike Gabriel in 'Software Art' in catalog Art Festival Transmediale01 Berlin:

"This piece can be considered the seminal work of software art because its instructions are formal. At the same time, it is extremist in its aesthetic consequences, such efforts to cross an infinite space and time. Unlike most music-based notation and wrote the theater, his notation is visually separated from the performance. But if it becomes practically impossible to physically perform the notation, it becomes a meta-physical, conceptual, epistemological, conceptual. As such, the work could be done as a paradigm for the definition given in 1961 by Henry Flint of concept art as' art in the field are the concepts, such as the matter for example are the sounds of music '. By connecting the art of the idea [concept art] formalism to art as the twelve-tone music, Flynt argues that the structure or idea [concept] of this work is taken for itself, more aesthetically interesting than the product of their execution
physics. By analogy, the software art can be defined as an art whose material is the software. "

continue in "Software Art" Florian Cramer and Ulrike Gabriel:

"Writing code is a deeply personal. Code can be diaries, poetic, dark, ironic or subversive, anachronistic or not, can simulate and hide, a rhetoric and style, can be a point of view. Such attributes can give the impression of contradicting the fact that the generative artistic control over iterations of the code of the machine is limited, the software has been written by the artist or not. Unlike artists in the '60s followed the footsteps of John Cage, artists of software that we have looked at seem to conceive of the generative systems not as a denial of
intentionality, but as a balance of randomness and control. The program code then becomes a material with which the artist consciously works. Far from being simply art for the machines, software art is deeply linked to the artistic subjectivity and the way it reflects and extends generative systems.

I nputs:

• beyond. interface
• the Web Stalker (Wapedia)
• 'Arabesque'-John Whitney (video)

Press Release Sample For New Business

EMS Synthi A Virtual Synthesizer. Emulating analog modular

The Synthi AKS is version portable (suitcase) of Synthi A , analog modular synthesizer English in 1972. With regard to functions and internal design is similar to VCS3 . As is well known EMS has made the history of electronic music, having a leading role in testing the extreme waveforms and the generation of sound. E 'for some years (2004) that appeared emulation Synthi A, met with good success among the fans of more experimental sounds retro, offering an accurate representation of the functional behavior of the corresponding analog EMS is in fact a licensed version the EMS itself. Obviously it's a vst that lends itself to a specific use, just like his historical consideration: progressions sound harsh and "square", sounds raw and at first glance "dated". And it is right in the "dated" that hides the emulation. The appropriate use therefore lies in the strong sound experimentation and research on a particular automation. Also because you have to be motivated to use this vst .... 350 euro! Honestly too many to a virtual synth, while being an excellent synthesis of the two worlds, virtual and analog, and bringing some additional features. ( HERE you can check prices EMS). E 'can still try the demo version. The Synthi A VS can be used both as VST-Instrument both as VST effect -insert-through the triggering of audio, running the sound modulation esterno attraverso l'AVS. Dal sito emsrehberg.de:

"It's not the same, it's just the best of two worlds. Here is the very special sound of the Synthi A with its unique 256 modulation - matrix and its unique EMS-Filter now available as a VST-instrument! The complete feature range and frequency dual-knobs give you extremely fine control to recreate all those classical Synthi A sounds.... and let you make lots of new ones, too! Additional features: Full MIDI-implementation such as loading and saving sounds with all parameters, Automation of all knobs, pins and the joystick via MIDI-Sysex-data in realtime, patching the full range of MIDI-controllers to the modulation-matrix to play your Synthi Avs via MIDI-keyboard or MIDI-Sequencer".

Developement and design: Peter Dewald, factory-sounds: Ludwig Rehberg, betatest: Kai Schliekelmann. Version 1.0: 04/04/2004 - PRICE: 350 EURO / System requirements: PC - 1GHz or higher, 1024x768 optimized, Win 98 SE or Win XP; Asio Soundcard recommended; VST application (sequencer or audio software)

Inputs:

• Synthi A Virtual Synthesizer-
• EMS-Electronic Music Studios (product range '69-'79)

Isabelle And Milena Velba

net.label Frozen Elephants Music - "The Map is Not the Territory" (2k5) / minimal, glitch, electroacustica

This post is launching a space dedicated to the reporting of some good indie / scene net.label glitch / electro-acoustic. Inizio con il segnalare una raccolta various artists del 2005: "The Map is not the Territory", dell'allora neonata 'Frozen Elephants Music', net label tedesca molto interessante, che raccoglie musicmakers di varie nazionalità. Dal sito:

"FROZEN ELEPHANTS MUSIC is a non-profit collection of audio works focusing on new and dedicated approaches of electronic composition, improvisation and listening experiences, featuring an internatonal range of artists. Frozen Elephants Music is an online platform for the presentation and diffusion of these works, also hosting a concert series. We think, musical experimentation,
analog and/or digital, is they way to explore future paths of music and sound making. We are also interested in closing the gap between electronic music and electroacoustic composition, since their production techniques are becoming more and more approximate to each other".

Dalla presentazione di "The Map is not the Territory" sul sito FEM:

"By the end of 2005 free electronic music on the Internet has reached a peak point of abstraction and metaphor, presenting a remarkable range of open sound archives led by Artist-identities barely visible, gigabytes of fragmentary ideas and sketches, spliced, compiled and assembled into works of strange beauty. the territory of creative potential is nearly impossible to mark, neither to define and picture considering the number of artists and concepts. The first compilation by frozenelephantsmusic.com therefore aims to simply start an ongoing presentation of compositions from this wide field, presenting individual artist personalities and their work, considering the artistic process and its manifestation.For "The Map is not the Territory" F.E.M. gathered 11 pieces by artists from the UK, France, Sweden, Ireland, Germany, USA and Japan. The collection includes minimal, computer-based aesthetics, sensitive undulations of sound, natural reverberations, organic structures and fragile sonic architecture. To hear is not to listen".

Rilasciato sulla Rete nel dicembre 2005, "The Map is not the Territory" rappresenta quindi l'esordio di 'Frozen Elephants Music', tracciando in qualche modo un possibile "manifesto" per le future releases and as a type of approach to composition. FE001 is a collection that investigates the dimensions of the soundscape, so introspective, with very deep inroads into environmental sounds: dripping, hissing sounds of rain and nature are being tested the ability of the audible sound clips, and dilated plan "Exploit" on a guitar in classical style electro-glitch. And it is the glitch in the composition of textures and, finally, found the mail in search of the noise, clicks of extemporaneous improvisation on the instrument, into the openings of environmental pads, in endless drones that make up the carpet weaving effects and noises. A collection to be reported then, that on the one hand, probably does not add much to the experimental glitch / noise, manifested by another interesting sound solutions in key absolutely minimal, in which redundancy and harmonic richness replacing the search for the minimum . The steps, in my opinion, the best in the collection are the sounds of acoustic string instruments "Flotsam and Jetsam" (Jodi Cave), alienating the rest of the minimal sequence of clicks and cuts on piano of "Teas" (Fromage), the distant reverberations and the uninterrupted flow of the composition of Eric Bollam in "001", the work and minimal spectral Moritz Fehr in "Dead Space", which in 4 minutes and 30 seconds makes a dizzying descent into the glitch and electroacoustic experimentation obscure and alienating, opening up the excellent environmental Prautzsch Peter (the song is "Hello"), carried out on a single note long overlaps between different instruments. To download, waiting for a boring rainy day, set the drops flying the window sill to slide over the crossing and listen in deep meditation)

"The Map is Not the Territory" (Frozen Elephants Music):

• Download compilation (11 TRACKS / ZIP / MP3 / 192 KBPS / playlist / + + 84.6 MB)
  

Tracklist:

• 01 Jodi Cave - Flotsam and Jetsam (9:28 min)
• 02 Tisane - Fromage (3:35 min)
• 03 Hulk - Elephant Memory (4:43 min)
• 04 Krabatof Philharmonic Orchestra - Needle pleasure (6:12 min)
• 05 Moritz Fehr - Dead Space (4:30 min)
• 06 Nim - Humboldt Session (5:16 min)
• 07 Yusuke Kamijima - Evil Sinks Devils Stink (8:59 min)
• 08 Seltsam & Strahler - Tankerin in Seenot (3:58 min)
• 09 Lars Nagler/Prism - Clank (6:57 min)
• 10 Eric Bollman - 001 (6:42 min)
• 11 Peter Prautzsch (Palac) - Hello (6:16 min)

Inputs:

• Frozen Elephants Music -website
• FE001- "The Map is not the Territory"

Kate's Playgroun Wiki

Ars Electronica. Festival for Art, Technology and Society. Linz, Thu 4 - Tue 9 September 2008

Ars Electronica is inviting artists, network nomads, theoreticians, technologists and legal scholars from all over the world to convene in Linz September 4-9, 2008. Their artistic and scientific findings will be presented at symposia, exhibitions, performances and interventions staged in settings that go beyond classical conference spaces and cultural venues to permeate the cityscape at large. And as a final test-run before Linz’s European Capital of Culture year in 2009, this production will heavily emphasize the interaction of our local network of cultural facilities and educational institutions.


A NEW CULTURAL ECONOMY. When Intellectual Property Runs Up against Its Limits. (Linz, April 24, 2008) In 2008, the Ars Electronica Festival is scrutinizing the value of intellectual property and thereby facing one of the core issues of our modern knowledgebased society: that of freedom of information vs. copyright protection, big profit-making opportunities vs. the vision of an open knowledge-based society that seeks to build its new economy on the basis of creativity and innovation. And beyond that, we want to hammer out practical, workable rules to govern this new reality. The 2008 Ars Electronica Festival . September 4 to 9. In Linz. www.aec.at/culturaleconomy

[first statement] Ars Electronica 2008 - A New Cultural Economy: The Limits of Intellectual Property. The age of copyright and intellectual property has reached its expiration date. A development that already manifested itself in the technical fundamentals of the Internet has reared its head in the actual practices of a young generation of users and is bringing forth a new economy of sharing and open access. With this provocative formulation, Ars Electronica is placing one of the core issues of modern knowledge-based society at the focal point of this year's festival program. What’s at stake: the value of intellectual property, freedom of information and copyright protection, big profit-making opportunities and the vision of an open knowledge-based society that seeks to build its new economy on the basis of creativity and innovation. The crux of the matter is that we still lack practical, workable rules and regulations governing this new reality and—of no small importance—that the task of coming up with them ought not to be left up to lawyers and MBAs alone.After all, regardless of the perspective from which one approaches this issue—that of the Internet pirates, the inventors of a new information commons, the pioneers of a sharing economy or the apologists of the creative industries—one thing remains true: if knowledge and content actually are to be the new capital of postindustrial society, then they have to circulate and be accessible by all.

[curatorial statement] Computers and the Internet has lowered the cost of communication and the creation and distribution of information so much that many fundamental notions of organizations, economics and property have completely changed or require major upgrades. There is a new generation of youth across the globe which lead the charge into this changing world, modifying their basic behaviors to adapt to technology as it develops. Some businesses and artists have been able to keep up with these trends while other struggle and fail. The much slower to adapt legal system is being pushed to its limits with organizations on all sides of the issues trying very hard to adapt outdated laws. Most of the new behaviors and organizations creating value have a completely different notion property. Intellectual property, while key to the post-industrial revolution nature of the firm, is more of an encumbrance than an asset to the sharing oriented mode of creation now central to the Internet. This year, we will bring together the users, artists, businesses, policy makers and academics involved intentionally or beyond their control in this change to understand this new world and to try to adapt to it. [Joichi Ito]

INPUTS:

• 2008 Ars Electronica Festival
• Ars Electronica

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2008: two micro-synth-table comparison: Access Virus TI Snow & Waldorf Blofeld

Due micro-table-synths teutonici di cui si è molto parlato ultimamente: Virus TI Snow e Blofeld . Il primo della mythical Access , the second Waldorf . Both desktop small and affordable. Virus All models have always been synonymous with power sound, deep bass sounds and fatty acids, of great versatility, playing at home with the sounds of techno / acid, and nu-skool d'n'b. E 'sound in these environments, in fact, that the Access Virus gives its best, still unbeaten, still by far the best synth in this use. For some time now, Total Virus Integration has also brought a step further by common virtual-analog synths, delivering a higher gear this towards the total integration with DAW e la programmazione digitale. Premettendo che non sono mai stato un grande fan della Waldorf, c'è da dire invece che il Blofeld è un ottimo table-synth, da impiegare nella costruzione di pad evolutivi e textures, dando il proprio meglio nei suoni "sottili" e nelle sonorità ambient.

Virus TI Snow è il nuovo modello di synth della linea Total Integration di Access Music. Più di 1000 suoni (64 performance multi, 512 patch RAM e 512 patch ROM) accessibili mediante il pannello di controllo. I controlli in real-time sono ovviamente limitati: per molti può essere un limite, per molti altri (me compreso) un vantaggio. Per synth come il Virus infatti è molto più comodo -per assurdo!- l'assegnazione del shared multi-function knob. The editing of the sound it goes through several steps, all easily be recalled in that classic "work rhythm" of typing & tweaking the knobs. The 3 programmable knobs in fact guarantee full control on the main parameters of the patch (such as filters and envelope) without entering the menu of programming. The editing can also be handled by the plug-in 'Virus Control', available in VST, AU and RTAS. The Virus TI Snow is different from the previous Virus TI (desktop, keyboard, and Polar) for the reduced price, but is 100% compatible with all patches created for the TI series, being able to freely access the multitude of good libraries available on the Net The oscillator models include virtual analog, HyperSaw, wavetable and graintable. It has a multitibricità to 4 parts and maximum polyphony of 50 voices. Through the FX section, you have access simultaneously to the effects of reverb, delay, EQ, distortion, lo-fi, bass boost, phaser and chorus / flanger. The filter section is equipped with an emulation style Moog to 1-4 poles with self-oscillation. The rear panel contains a pair of stereo analog inputs and outputs, MIDI inputs and outputs, along with free USB for connecting to your computer, giving them the Total Integration technology. That technology is certified for the following host software: Apple Logic 8, Steinberg Cubase 4, Ableton Live 7, Digidesign Pro Tools 7.4, Cakewalk Sonar 7, ImageLine- FL Studio 7.4 .

• Sistema Dual DSP con polifonia fino a 50 voci (in relazione alla complessità delle patch).
• 512 patch RAM e 512 patch ROM, 64 multi-patch con multitimbricità a 4 parti.
• L’oscillatore include i modelli Classic Virtual Analog, HyperSaw™, WaveTable, Graintable e Formant.
• 2 filtri multi modo (HP, LP, BP, BS) e 1 filtro analogico (su modello del leggendario filtro del MiniMoog™) a 1-4 poli.
• Delay e reverb indipendenti per ciascuna the parties to the multi.
• Effects of reverb and delay, chorus, phaser, ring modulator, distortion, lo-fi, 3 band EQ and Analog Boost bass enhancer.
• Adaptive control smoothing for modulation distortion-free on the most important parameters.
• Arpeggiator programmable 32-step.
• Using input and output audio / MIDI interface in order to use as a sequencer.
• 2 analog balanced +4 dB D / A Converter 24bit / 192KHz.
• 2 analog inputs with A / D 24bit.
• 3 pairs of stereo outputs, plug-in virtual mode. 1 pair of I / O MIDI.
• trim, and white LED display. Front panel in mahogany. 6 knobs, 21 buttons, 18 LEDs.
• Compatible with USB 2.0, USB and High-Speed \u200b\u200bUSB.

Waldorf Blofeld is a module technology Virtual Analog and WaveTable (based on technology PPG), 16-part multitimbral with 25 voices, 3 oscillators per voice, arpeggiator and USB connection . The sound is typical of Waldorf synths, ranging from powerful and rich sound for great pads of evolution. Features del Blofeld sono molto simili a quelle del MicroQ , con aggiunta le wavetable derivanti dal MicroWave , una buona sezione filtri e modulazione, display grafico e porta USB per il MIDI in e out. Fondamentalmente appare come una revisitazione dei noti synth Waldorf, racchiusi in un piccolissimo e portabilissimo chassis, con pannello frontale intuitivo e knobs multi-funzione; e ovviamente un ottimo prezzo che si aggira intorno ai 350-400 euro. L'editing del suono risulta molto semplice, grazie ai parametri più significativi gestibili attraverso le manopole sul pannello frontale. La gestione infatti è basata tutta sulla digitazione, i knobs e una griglia dei parametri. Il display grafico offre un ottimo feedback per la gestione e la visualizzazione del proprio lavoro, del routing del segnale e molto altro, oltre all'intuitivo arpeggiatore, liberamente programmabile. Il sistema di sintesi basato sullo storico PPG Wave (wavetable synthesizer) garantisce una timbrica particolare, ben riconoscibile, dal tratto cristallino.

• Unbeatable price tag
• sturdy Metal Enclosure
• 7 endless stainless steel Dial
• Graphic Display 128 x 64 pixels, b/w, white background LED
• more than 1000 Sounds
• 3 Oscillators per voice
• Frequency Modulation between the Oscillators
• All Q Oscillator Models
• All Microwave II/XT/XTk Wavetables
• 2 independent Multi Mode Filters per voice
• Filter FM
• 2 Drive stages per voice with selectable Drive Curves
• 3 fast LFOs per voice
• 4 fast Envelopes per voice
• freely programmable Arpeggiator Pattern with up to 16 Steps per Sound
• up to 25 Voices
• 16 part multi timbral
• USB Connector for MIDI In / Out
  

Inputs:

• Virus TI Snow - Quickstart manual
• Blofeld - Specifications & Demo