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Körperpartituren

Tolle Arbeiten von Jacopo Baboni Schilingi.
(Jetzt noch die Porno-Version..)

http://baboni-schilingi.com/index.php/works/14-works/12-partition-sur-corps?tmpl=modal

Lexikon der Wikipedia-unwürdigen Künstler

Every day, people on Wikipedia nominate articles for deletion and discuss whether they should remain in the encyclopedia or not. This is done on a sub page called “Articles for deletion”. A frequent reason for exclusion of an entry is “non-notability”.

After I had a look at those discussions, the article about my own person (Gregor Weichbrodt) ironically became nominated for deletion from the German Wikipedia, too. The anonymous person that put me on the list wrote “Completely misses notability criteria for ‘authors’. Unsatisfying notability criteria for artists too.”

I wrote a Python script to download the contents of every “articles for deletion”-page from the past ten years and filter the results by artistic occupation. I saw that I wasn’t alone in my fate and that there were many more non-notable artists in this world who also failed to meet the notability criteria. This book is dedicated to these artists.

This is a Frohmann Verlag and 0x0a project, released on Sep 29, 2016.

http://ggor.de/wp-content/uploads/2016/09/Dictionary_of_non-notable_Artists.pdf

http://ggor.de/en/project/dictionary-of-non-notable-artists/

Musizierende Tiere (im Mittelalter)(19)

Bohemian Rhapsody, atonal’d

Franz Liszts Ungarische Rhapsodie Nr.2 als Baustellensoundtrack

Paradebeispiel für die Industrialisierung der Romantik.
(Und für die Semantisierung von Klang.)

Früher auf Kulturtechno:
Franz Liszts Ungarische Rhapsodie #2 in amerikanischen Zeichentrickfilmen

Prunkkopfhörer

Für Prunkmusik.
Veredelt oder versaut der Kopfhörer nun das Hören? Oder den/die Hörende?

(via Kusum)

Trump vs. Mic

Mein Hörspiel „Listomania“ heute auf HR2-Kultur

Heute abend um 23.03h sendet HR2-Kultur mein neues und erstes Hörspiel – „Listomania“.

http://www.hr-online.de/website/radio/hr2/index.jsp?rubrik=53529&key=standard_document_60941436&xtmc=kreidler&mtype=d&xtcr=1

Jedem Begriff liegt eine Liste zugrunde. Ideen von Listen, Listen von Ideen; eine Theorie des Konzeptualismus und der Unendlichkeit.

Eine Idee ist das ‚kleinste mögliche Ganze‘ (Robert Musil), unteilbar, aber endlos multiplizierbar. Es gibt immer Varianten, an jeder Stelle Unendlichkeit. Varianten lassen eine dahinterstehende Idee erkennen – ohne dass diese selber ausgesprochen würde. ‚Was Sie jetzt nicht sehen können‘ heißt es entsprechend immer wieder: das unbenannt Dahinterstehende, das nur in Beispielen auftritt, aber selber unausgesprochen bleibt, unaussprechbar bleibt. Aus der Masse der Beispiele ein Konzept abstrahieren, das gleichfalls ungreifbar bleibt: von einer Unendlichkeit in die andere, es sind der Unendlichkeiten unendlich viele, selbst am Ende, im Tod.

Mit Johannes Kreidler, Arno Lücker, Esther Kochte und O-Tönen aus den ARD-Archiven

Livestream:
http://www.hr-online.de/website/static/streaming_popup/mp3streamer.jsp?client=hr2

Das vielleicht älteste Tonbandmusikstück der Welt (1944)

… natürlich Definitionssache. Gemeint ist Magnettonband. Schon 1930 gibt es erste Stücke für Lichttonband. Diese kann man aber vielleicht noch nicht der „Musik“ zurechnen.

This is possibly the earliest piece of electronic music ever composed, or more specifically, the first piece of electronic tape music, also known as „musique concrete“ or „electroacoustic“ music.

Halim El-Dabh, then a student at Cairo, Egypt, produced this music piece using samples taken from an ancient Egyptian „Zar“ ceremony. He edited, manipulated and arranged these sounds to create the earliest piece of electronic tape music. He first presented his piece at an art gallery event in 1944, predating Pierre Schaeffer’s musique concrete recordings by four years.

Having borrowed a wire recorder from the offices of Middle East Radio, El-Dabh took it to the streets to capture outside sounds, specifically an ancient zaar ceremony. Intrigued by the possibilities of manipulating recorded sound for musical purposes, he believed it could open up the raw audio content of the zaar ceremony to further investigation into „the inner sound“ contained within.

According to El-Dabh, „I just started playing around with the equipment at the station, including reverberation, echo chambers, voltage controls, and a re-recording room that had movable walls to create different kinds and amounts of reverb.“ He further explains: „I concentrated on those high tones that reverberated and had different beats and clashes, and started eliminating the fundamental tones, isolating the high overtones so that in the finished recording, the voices are not really recognizable any more, only the high overtones, with their beats and clashes, may be heard.“ His final 20-25 minute piece was recorded onto magnetic tape and called The Expression of Zaar, which was publicly presented in 1944 at an art gallery event in Cairo.

This version is a 2 minute sample of the original 20-25 minute piece.

(via Malte)

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