[ot] [!nt] \n2+0\
integer at www.god-emil.dk
integer at www.god-emil.dk
Tue Mar 28 02:33:08 CEST 2000
>hi nn!
allo
>sorry for the delay!
>nice to hear from you!
>
>we don't yet have the concepts in english. and even the german versions are
>not well formed yet....but!
>if you're really interested we could send you a short version of two of our
>concepts. the first has something to do with little robots that can be
>controlled via a mobile telephone, the other is a so called "lowres -
>cinema"!
>we didn't yet calculate our concepts, but we'll have to do that within the
>next weeks. surely both ideas won't be cheap.
expensive = beautiful [+ elasktik]
>it would be great if you have lab where we could work on our own, or
>together with other people in that field. or just enough money...
money = sanitary + elasktik + mobile [2jours]
>still interested?
please submit for review detailed proposals + relevant cv.info data
via digitalle protokol - das.kapital at m9ndfukc.com
deutsch \ englisch.
if problematik may submit informal proposals initially.
which shall facilitate one spontaneous selektion \ diskrimination
>and who the fukc is god-emil?
god-emil = fhs-hagenberg = austria
i.e. - isp = kountry
>greetings,
>spnn and jö.-
nn
\\
d!fferent!al d.ka! on 0+1 dezolate plane ov debr!z
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!nhab!td w!th !mmater!al 4rmz enkloz!ng
komplecx !nternl referentz
ccccel-konzeptual!szd 4mat!onz dzat =
flatl! abrogate object!v anal!s!z.
okz!dent-- \ h!ght denz!t! kolon!
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relat!v!zt!kc effektz bg!n zett!ng !n
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alternat!v h!ztor!ez + parallel un!versez
- art!kl nummer 0+28. anti[KM]m9ndfukc.com
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ma!ntenant - dze !mpotent \ !mpover!schd m9nd akt!v!t! + vokabular!
ov 0+1 tekkno bubl gum korporat male zerf elemnt Bernhard Loibner.
>"Theory Music" is comprised of sonic treatments of texts spoken by their
>authors, and of found voice material from radio and other sources. The
>voices were chosen first, the musical compositions were built around
>this material. I used various strategies to make the speech musical.
>
>The title describes what this project is about--that is the fusion of
>'theory' and 'music'. In the tracks of this CD, these normally discrete
>entities work with, within and against each other. After more than 4
>years of work with these voices and sounds it has become impossible for
>me to distinguish between the 'theory' and the 'music' within these
>tracks. This blurring of normally separate domains was one of the goals
>of the project.
>
>The placement of the word 'theory' in front of 'music' should be read as
>a sign that music, despite its abstract nature, can and does reflect
>certain political, social or economic issues. This is certainly the case
>for electronic or digital music, which deals necessarily and elastically
>with the frenzy of constantly evolving hardware and software.
>
>During the course of this project's development, it has become
>increasingly obvious that the emerging, maturing techno-culture has
>defined itself as an ideology-free zone. "Theory Music" exists in the
>divide between a fun-loving culture (as understood by those who live it)
>and the reflections of a somewhat distant intellectual community that
>writes volumes of essays attempting to interpret this cultural
>phenomenon. My own work oscillates between these poles. I am fascinated
>by the beats of the techno-culture but feel the need for observation and
>analysis of this culture's substance. There is no better demonstration
>of the rapid, massive change caused by new technologies in our
>increasingly disintegrated societies. This music, my choice of sonic
>modifications--the techniques I use to manipulate the source
>material--delivers thoughts about this culture.
>
>Consumption seems to be the common denominator in this disjointed world.
>This is certainly true for a techno-culture being commercialized at
>breath-taking speed. What began as just an expression of a 'moderately'
>different way of life has quickly ended up being the marching orders for
>various techno 'parades'. The ideology-free zone gets stuffed with
>products which ideally exist within a certain "semantic fuzziness
>between its slogan and the projected image" (1), amplified by a
>marketing cult which leads to a "quasi religious devotion to certain
>products or product groups" (2).
>
>Jaques Attali shows (3) that tracing the social and economic status of
>music through history enables us to observe general changes that develop
>in other parts of society later on. Mass production; the decreasing
>significance of a product itself in favor of distribution and marketing;
>the transformation of counter- and protest culture into mass culture;
>the metamorphosis of cultural diversity into easy-to-consume uniformity:
>the music and entertainment industry has shown us the way...
>
>In the emerging digital economy, music is again the avant garde. Since
>the introduction of the Compact Disk in the early 1980's, music has been
>more purely digital than any other commodity. It is no surprise that
>music is the test pilot for the new forms of on-line distribution and
>consumption.
>
>"Theory Music" is not designed to render a consistent, analytical
>picture of these complex socio-economic changes. It is a stack of
>descriptions from different worlds, writing and speaking, and sound and
>music. It is a dialogue between modes of perception and nodes of
>communication. In this era of mediated culture the contemporary artist
>has an essential role to play, as an observer, commentator and
>transformer. It is always important to pay attention to how artists
>respond to new technologies, to listen to what they say when they deal
>with change, to watch how they sometimes retreat into traditional
>territory, and how they claim new media as their field of operation.
>This is what "Theory Music" is about.
This is what "Theory Music" is about.
what zkool grade are you Bernhard Loibner +?
pre.konssept!¯n
meeTz ver!f1kat!¯n.
-
Netochka Nezvanova
f3.MASCHIN3NKUNST
ecdysone at eusocial.com
17.hzV.tRL.478
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