12k: between two points

2001 ◽  
Vol 6 (3) ◽  
pp. 171-176 ◽  
Author(s):  
Philip Sherburne
Keyword(s):  
Electronic Music ◽  
Concrete Poetry ◽  
Graphic Designer ◽  
The World

K-k-k-k-k-k. Boof. Chhhhhhh. Hiss, whirr, pfing: 12k's is an onomatopoeic music. The audio equivalent of concrete poetry perhaps, where the sign (there, a letter or a word; here, a click or thud or tone) is elephantised, blown out of proportion, simultaneously stripped of reference and fraught with multivalent meaning. (Is it any coincidence that 12k founder Taylor Deupree is a graphic designer? You can almost hear the flip of a serif in 12k's grainy whoosh, or the nuzzling of kiss-kerned type in the cool brush of two bleeps.) In the releases of this Brooklyn label, notes, pulses, textures bear no immediate relation to the world around them, to a language of melody or tonal narrative, but in their careful melding of pulse and grain, they sketch an abstracted narrative of the development of several phenomena: electronic music, desktop DIY, and -especially -minimalism.

Regarding Electronic Music

Tempo ◽  
1966 ◽  
pp. 2-11 ◽  
Author(s):  
Aurelio de la Vega
Keyword(s):  
Twentieth Century ◽  
Electronic Music ◽  
Aesthetic Experience ◽  
The Other ◽  
Musical Composition ◽  
Electronic Medium ◽  
The Public ◽  
The World ◽  
Twentieth Century Music ◽  
Long Time

For a long time now—long when we consider the quick, changing time-scale of our days—electronic music has been with us. The public at large usually remains cold, confused or merely dazed when faced with any new aesthetic experience. Critics, musicologists and the like still seem, as usual, to be unable to predict what will happen to this peculiar, mysterious and often anathematized way of handling musical composition, while many traditionally-minded composers consider it a degrading destruction of the art of music. On the other hand, the electronic medium seems to attract a long, motley caravan of young, inexperienced and often unprepared ‘beatnik type’ self-titled composers, who believe that the world began yesterday and that you only have to push buttons and prepare IBM cards to obtain magical results. Probably not since Schoenberg proclaimed the equal value of the twelve semitones of our sacred but by now obsolete tempered scale has twentieth-century music been faced with such a bewilderment.

Electronic music and life

2004 ◽  
Vol 9 (1) ◽  
pp. 3-6 ◽  
Author(s):  
JOEL CHADABE
Keyword(s):  
Electronic Music ◽  
The World ◽  
History Of ◽  
Dominant Paradigm ◽  
The Way

At any moment in the history of a particular culture, there exists a dominant paradigm, an idea in the air, that expresses the way the world works. These paradigms are general and their manifestations are interdisciplinary, first expressed as structures, relationships and processes in the avant gardes of all fields, then gradually accepted as a norm by almost everyone.

scholarly journals Arte y videojuegos. Reflexiones sobre lo lúdico, el arte y la tecnología en Asturias

Liño ◽  
2017 ◽  
Vol 23 (23) ◽  
pp. 175
Author(s):  
Marcelino García Sedano
Keyword(s):  
Video Games ◽  
Visual Arts ◽  
Electronic Music ◽  
Digital Art ◽  
Music Festival ◽  
The World ◽  
The Relationship

RESUMEN:La apertura de LABoral Centro de Arte y Creación Industrial y el lanzamiento del primer festival sobre música electrónica experimental y artes visuales LEV Festival en el año 2007, coloca a Gijón y al Principado de Asturias en los puestos de cabeza de la reflexión y exhibición de las cuestiones relacionadas con la tecnocreatividad. Semejante despliegue institucional, arranca con fuerza y con propuestas arriesgadas, entre ellas, la programación de varias grandes exposiciones sobre la relación del videojuego y la cultura en el corto periodo de dos años. Lo que podría considerarse un debate pertinente aunque arriesgado, devino en muestras históricas, discusiones importantes y la presencia no sólo de grandes artistas, programadores y diseñadores de videojuegos, sino también de grandes teóricos del medio. Este artículo pretende ahondar en la profundidad compleja del videojuego como manifestación artística y cómo esta disciplina se relacionó con los sucesos artísticos de la región asturiana.PALABRAS CLAVE:Nuevos Medios, videojuegos, Asturias, interactividad, arte digital.ABSTRACT:The opening of LABoral Centro de Arte y Creación Industrial and the launching of the first experimental electronic music festival and visual arts, LEV festival, in the year 2007, places Gijon and the Principado de Asturias in the top of the rankings in exhibition and reflexion about techno-creativity. This huge display of institutional efforts, begins with a bang and innovative proposals; among them, the programming of a couple of big exhibitions on the relationship between video games and culture in just a short two-year period. What could be considered a pertinent but risky debate, turned into historical exhibitions, important discussions and the presence of not only important artists, programmers, videogame designers, but key theorist specialized in the field, placing this way, Asturias and LABoral in the top of the world rankings on the debates about artgame. This article aims to explore the complexity of the videogame as an artistic manifestation and the ways in which it got linked to artistic events in Asturias.KEYWORDS:New media, videogames, Asturias, interactivity, digital art.

COMPARATIVE ANALYSIS OF PEDAGOGICAL TECHNOLOGIES OF PROFESSIONAL TRAINING OF GRAPHIC DESIGNERS IN UNIVERSITIES OF LEADING COUNTRIES OF THE WORLD

2019 ◽  
pp. 71-83
Author(s):  
Inna Bykhovets
Keyword(s):  
Graphic Design ◽  
Interaction Design ◽  
Information Technologies ◽  
Professional Training ◽  
Rapid Development ◽  
Exhibition Design ◽  
Educational Institutions ◽  
Visual Systems ◽  
Graphic Designer ◽  
The World

The worldwide trend in education is to train a professional who is able to respond quickly to the rapid development of information technologies that extend the graphic designer from the master of illustration, visual systems, advertising, and exhibition design to such areas of graphic design as moving graphics, interaction design, design animation, interactive design. The study found that the peculiarity of such training is the collaboration of educational institutions with enterprises, firms and institutions to make sure that the educational programs offered for students training meet the needs of production, and students really acquire the necessary knowledge, skills and competencies that are modern requirements for competitive graphic design specialist.

Poems Shaped Like Maps: (Di)Versifying the Teaching of Geography, II

2000 ◽  
pp. 66-91 ◽  
Author(s):  
Adele J. Haft
Keyword(s):  
Twentieth Century ◽  
Visual Poetry ◽  
Ancient Greek ◽  
Concrete Poetry ◽  
Graphic Form ◽  
The World ◽  
History Of

This paper is about poems shaped like maps. It presents a brief history of visual poetry, beginning with the ancient Greek technopaignia and culminating in the concrete and experimental map-poems of the latter half of the twentieth century. After outlining some resemblances between concrete poetry and maps generally, the paper focuses on nine works spanning nearly forty years: from “Geographica Europa” by Eugen Gomringer, a founder of concrete poetry (1960), to “Manhattan” by Howard Horowitz, a professional geographer and poet (1997). Because these poems are maps, and because visual poetry resembles cartography in its graphic form, these playful map-poems offer a delightfully eccentric way to teach how maps—like/as poems—are generalized, simplified, and selective views of the world. This paper will tell their stories.

The Electronic Music Foundation

1997 ◽  
Vol 2 (1) ◽  
pp. 25-27
Author(s):  
JOEL CHADABE
Keyword(s):  
World Wide Web ◽  
Electronic Music ◽  
World Wide ◽  
The World ◽  
The Creation

The background to the creation of an international resource organisation is discussed. The author goes on to describe various activities of the Foundation, including the provision of hard-to-obtain CDs and access to other materials of interest to the electroacoustic community. The Foundation maintains a substantial presence on the World Wide Web: http://www.emf.org

Sonification and the Mysticism of Negation

2014 ◽  
Vol 19 (3) ◽  
pp. 304-309 ◽  
Author(s):  
Kristina Wolfe
Keyword(s):  
Data Analysis ◽  
Auditory Feedback ◽  
Electronic Music ◽  
Historical Background ◽  
Frames Of Reference ◽  
Sources Of Information ◽  
The World ◽  
Auditory Sense ◽  
Scientific Terms ◽  
Types Of Information

Sonification has become a commonly used tool for data analysis, auditory feedback and compositional inspiration. It is often described in scientific terms as a means of uncovering previously unknown patterns in information or data through the use of the auditory sense. This goal seems to be objective, but the results and methodologies can be highly subjective. Moreover, the techniques and sources of information are strikingly similar to those used in mysticism, especially mysticisms of negation, even though the frames of reference and underlying perceptions of the world are markedly different. Both practitioners of sonification and apophatic mystics believe that certain types of information are incomprehensible through traditional analytic means and can only be understood through experience. In this way, sonification can be thought of as a source of mystical information.In this paper, I will discuss the similarities between sonification and apophatic mysticism, or the mysticism of negation. I will argue that the practice of sonification, as a source of mystical information, is ideally suited for creative contemplation, particularly in electronic music. I will start by providing some historical background on the mysticism of negation. I will then present several ways in which sonified knowledge (sound) is often imagined, discussed and perceived akin to a mystical object. Finally, I will discuss specific ways in which sonification exemplifies apophatic mysticism and reveals mystical information. This information – whatever its nature – can be used for creative contemplation and is a potentially invaluable source of compositional and spiritual inspiration.

scholarly journals UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL

10.23856/4301 ◽  
2021 ◽  
Vol 43 (6) ◽  
pp. 9-15
Author(s):  
Andriy Bondarenko
Keyword(s):  
National Identity ◽  
Electronic Music ◽  
World Culture ◽  
Music Culture ◽  
Stages Of Development ◽  
Musical Culture ◽  
The World ◽  
The Republic ◽  
The Aesthetic ◽  
The Impact

The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.

‘There is Music in It, But It is Not Music’: A Reception History ofMusique Concrètein Britain

2018 ◽  
Vol 15 (2) ◽  
pp. 211-230
Author(s):  
LOUIS NIEBUR
Keyword(s):  
Electronic Music ◽  
Contemporary Music ◽  
Reception History ◽  
The Other ◽  
Musical Cultures ◽  
The World ◽  
The 1950S ◽  
The One ◽  
Musique Concrete ◽  
Hostile Attitude

AbstractThe traditional narrative of the development ofmusique concrèteandelektronische Musiktells a story of esoteric, academic branches of musical modernism emerging out of Paris and Cologne in the 1950s. But this narrative clouds our understanding of the unique ways this music developed in Britain, largely filtered through the BBC, as a relatively populist, accessible iteration of Continental techniques. This article explores how British reactions to contemporary music and, in particular,musique concrèteandelektronische Musik, reflected on the one hand continued suspicion towards Continental music and on the other a deep insecurity about Britain's musical position in the world. The predominantly hostile attitude towards electronic music from within establishment musical cultures betray profound concerns about trends that were seen to exert a harmful influence on British musical society.

COMPARATIVE ANALYSIS OF PEDAGOGICAL TECHNOLOGIES OF PROFESSIONAL TRAINING OF GRAPHIC DESIGNERS IN UNIVERSITIES OF LEADING COUNTRIES OF THE WORLD

2019 ◽  
pp. 71-83
Author(s):  
Inna Bykhovets
Keyword(s):  
Graphic Design ◽  
Interaction Design ◽  
Information Technologies ◽  
Professional Training ◽  
Rapid Development ◽  
Exhibition Design ◽  
Educational Institutions ◽  
Visual Systems ◽  
Graphic Designer ◽  
The World

The worldwide trend in education is to train a professional who is able to respond quickly to the rapid development of information technologies that extend the graphic designer from the master of illustration, visual systems, advertising, and exhibition design to such areas of graphic design as moving graphics, interaction design, design animation, interactive design. The study found that the peculiarity of such training is the collaboration of educational institutions with enterprises, firms and institutions to make sure that the educational programs offered for students training meet the needs of production, and students really acquire the necessary knowledge, skills and competencies that are modern requirements for competitive graphic design specialist.

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