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Editorial content |
Submitted by admin on Friday, 23 May, 2008 - 16:56
Simon Yuill In the 1960s and '70s musicians devised innovative forms of notation and protocol to liberate themselves from aesthetic and social conventions. Today's digital devotees of code based production and improvisation are continuing this tradition, argues Simon Yuill* subject: Anarchist | Art | Conceptual | Improv | Music | New Media Art | Politics | Relational Aesthetics
Editorial content |
Submitted by mute on Wednesday, 12 March, 2008 - 15:07
London Musicians' Collective Twenty Five Years from Scratch, ed. Michael Parsons, London: London Musician's Collective, 1994.
Editorial content |
Submitted by mute on Thursday, 7 February, 2008 - 01:57
subject: Conceptual | Improv | Music
Editorial content |
Submitted by mute on Thursday, 7 February, 2008 - 01:42
subject: Conceptual | Improv
Editorial content |
Submitted by mute on Wednesday, 6 February, 2008 - 18:36
Simon Yuill If relational aesthetics and open source were always commercial, can the musical score provide a way of thinking through different relationships between creativity and code? The return to improvisation in 'livecoding' draws parallels with experimental practices developed by maverick musicians, programmers and educators from Sun Ra, The Art Ensemble of Chicago and the Scratch Orchestra to Seymour Papert. Simon Yuill argues that these 'di subject: Anarchist | Art | Conceptual | Improv | Music | New Media Art | Performance | Politics | Relational Aesthetics
Editorial content |
Submitted by mute on Wednesday, 7 February, 2007 - 14:27
Howard Slater
During a career spent in virtual obscurity, Ghedalia Tazartès whittled away at the coherence of musical identity, moving through modes of articulation as a guttural nomad. Now a box-set collates his multiple voices. Howard Slater raps uvular, in prose and notation
subject: Art | Avant-Garde | Improv | Libertarian | Music | Music theory | Politics | Race | Theory & Philosophy
Editorial content |
Submitted by mute on Thursday, 12 October, 2006 - 19:58
Paul Helliwell Free improvisation guitarist and theorist Derek Bailey could be described as the Samuel Beckett of post-war music. Bailey moved nohow-onward by means of a continually repeated negation of the familiar, eschewing the idiomatic for the (almost) uncommodifiably new. Ben Watson’s biography of Bailey, published earlier this year, celebrates the life and unfinishable works of an avant garde anti-artist. But, asks Paul Helliwell, do Bailey and Watson throw too much musical baby out with the tonal bathwater? subject: AntiCapitalist | Art | Avant-Garde | Improv | Intellectual Property | Marxist | Music | Music theory | Politics | Relational Aesthetics | Theory & Philosophy
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