Great soundscapes! Realy enjoyed it Chris. •j•

Noir Telos

NYUP live at Speicherstadt Hamburg (1989)
J. Brockmann - voice
Jochen Arbeit_ guitar 
Hopek Quirin - guitar
lyrics by Kenneth Patchen

NYUP live at Speicherstadt Hamburg (Brockmann, Arbeit, Quirin)

Primer episodio de una serie de podcasts en 15/15\15 - Revista para una nueva civilización. En colaboración con el artista Oscar Martín, os presentamos 2020: The Walk, proyecto de arte y activismo en el que caminamos de Granada a Helsinki para concienciar sobre el no-volar y ayudar a difundir el movimiento social internacional Extinction Rebellion.

2020: The Walk [Episode 01]

- we will be the broken singers - 

performed by: U N K N O W N + B E H + K U N S F + T H R E A D E D . D R E A M S™ for UNHEIMLICH UNHEIMLICH un, deux, tois.. 
at TrXXXtR Berlin, DE.

Instruments: Computer, Laser, MIDI controllers & Solar Microphones.

- we will be the broken singers - (improv) at TrXXXtR on 15.09.2022, Berlin, DE

Live @ Inter[lab]net noise jam emitted from emitter19
25-3-2011
http://creadoreslibres.net/interlabnet/

Christoph Limbach - prepared drums
Pierce Warnecke  - Laptop & Objects

Pierce Warnecke & Christoph Limbach live @ Inter[lab]net noise jam 2011

2004
wood, plastic laminate, powered speakers, steel, playback system, cabling.
18″ x 18″ x 18″
Installation view

DRUMMING

Concert given March 2012 in Berlin at the Nomadics Festival

Mosaique live @ AADKmigrationen, Nomadics Festival

por los caminos voy, me reconozco en los demás. me reconozco en los que quedaran, en los amigos abrigos, locos por la justicia y en lindos bichos voladores de la belleza; en vagos y mal entretenidos que andan por ahí y por ahí seguirán, como seguirán las estrellas de la noche y las olas del mar. entonces, cuando me reconozco en ellos, yo soy aire aprendiendo a saberme mover al ritmo del viento. a veces el viento cambia de aire y cuando yo ya no este, el viento estará, seguirá estando...
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><
I go through the roads, I recognize myself in others. I recognize myself in those who remain, in friends coats, crazy for justice and in cute flying creatures of beauty; in vague and badly entertained that go around and there will continue, as will follow the stars of the night and the waves of the sea. Then, when I recognize myself in them, I am learning to know how to move in the rhythm of the wind. Sometimes the wind changes air and when I am no longer there, the wind will be, it will continue to be ...

@ois-agver @tur-cois @ssomma @disoundsof @caraflotante @caraflotanteii @Rever-sa @user-695023911

ELEVACIÓN

Aire y viento

Hardcore is cancelled.
All that remains is The Void.

Source: https://www.youtube.com/watch?v=d1pj9Vmn-q4

Scotter - I Want You To Stream (Streaming Into The Void Mix)

This is the first part of a long interview with Paul Davis, founder and lead developer of Ardour, free/libre digital audio workstation.

We covered many subjects throught the interview: how much sense the source code freedom has for end-users vs. extensibility via scripts a-la Reaper, how happy Paul is with the outcome of the long Ardour rewrite, how well the project is doing financially, why Ardour continues dropping GTK for UI toolkit, and whether there's usability testing on the horizon for the project.

00:00:00 Intro
00:01:50 Greetings
00:02:55 Free and open source vs. deep extensibility
00:06:14 Using FAUST for DSP
00:08:59 The 2.5 years long rewrite outcome
00:17:16 Pressure from users during the rewrite
00:20:50 Project financials
00:23:31 The GTK exodus
00:34:19 Best technology stack for a DAW in 2020
00:38:22 Usability testing
00:41:43 Outro

Edited transcription is available at http://libregraphicsworld.org/blog/entry/podcast-ep-002-paul-davis-on-the-deep-rewrite-of-ardour-daw

You can support me on Patreon, Liberapay, or do a one-time donation: http://libregraphicsworld.org/donate

Circular As Our Way

002 - Paul Davis on the deep rewrite of Ardour DAW

Cosponsored by the MIT Cool Japan Project.

Noise, an underground music made through an amalgam of feedback, distortion, and electronic effects, first emerged in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe and North America. With its cultivated obscurity, ear-shattering sound, and over-the-top performances, Noise captured the imagination of a small but passionate transnational audience, despite remaining deeply underground. How did the submergent circulations of Noise become such a compelling metaphor for the complexities of globalization, intercultural exchange and participatory media at the turn of the millennium? In this talk, I trace the "cultural feedback" of Noise through the productive distortions of its mediated networks: its recorded forms, technologies of live performance, and into the lives and creative practices of musicians and listeners.

David Novak teaches in the Music Department at the University of California, Santa Barbara. His work deals with the globalization of popular music, media technologies, experimental culture, and social practices of listening. He is the author of recent essays in Public Culture, Cultural Anthropology, and Popular Music, as well as the book Japanoise: Music at the Edge of Circulation (Duke University Press).

David Novak, "The Cultural Feedback of Noise"

kris limbach co - curates the emitter micro festival and releases sound and visual projects frequently.


Pierce Warnecke & Christoph Limbach live @ Inter[lab]net noise jam 2011

kris limbach

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