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