Jaap blonk


Although it took days to program a simple electronic arpeggio lasting three seconds, artists persisted. Sten Hanson and åke hodell used the facilities to produce memorable work that we heard during the festival. Much of it turned out to be quite controversial and political, and that tendency is reinforced in the sound poems of Lily Greenham, born in Austria but later adopting Danish citizenships. None of these three are with us any longer, but their work lives on among a few cognoscenti, among which you may now count yourself. Our Scandinavian contingent included a brilliant visual poet Ottar Ormstad, who performed with Russian-born American composer Taras Mashtalir. Their duo, ottaras, is a contraction their first two names, and their video projections of alphabets in motion are dazzling in their intensity. We also hosted two jazz improvisers—keyboard player Sten Sandell and vocalist Tone Åse—who brought decades of musical experience to their work in sound poetry. By the 1970s, new sonic possibilities emerged in the form of live electronic manipulation.

decade that included our guests Clark coolidge, anne waldman, and Aram Saroyan. They reveled in the sound of language as poetic material, as did the beat poets, including Michael McClure, who were inspired by jazz improvisation, buddhism and a rejection of bourgeois culture. McClure, at 85, was with us as our elder statesman during this years festival, reading some of his famous. Ghost Tantras in beast language. Following World War ii, the introduction of the magnetic tape recorder poetry gave artists entirely new possibilities. The French writers, including Henri Chopin and Bernard heidsieck, began to explore how flexible they could make language—speeding it up, slowing it down, and even guiding taped sounds over the playback head by hand to distort the human voice beyond recognition. Heidsieck went on to add radiophonic elements to his work—ambient sounds of his beloved Paris, for example—in. La poinçonneuse —a touching recollection of an uncomfortable encounter with a female employee of the metro. Digital technology emerged with the advent of mainframe computers, such as the one used by the fylkingen composers at the Swedish Radio in the late 1960s.

Our recent Other Minds cd release, composer-Critics of the new York herald Tribune, contains the historical first recording of this work with wegkrijgen the composer at the piano, released by columbia records back in 1953. After Darius Milhaud employed speech chorus and percussion effects in his 1915 orchestral stage work. Les Choéphores, composers began to embrace spoken, rather than sung, language as a new musical material. In 1930, at a concert of Grammophon Musik in vienna, ernst Toch premiered his. Gesprochene musik (Spoken Word suite with singers speaking rattennest text in carefully-arranged counterpoint. Geographical Fugue was the most memorable of the works three movements because the other two were lost in the rush of Jewish artists like toch to escape the horrors of nazism. He gave up a burgeoning career in Austria and fled to America where he languished in Los Angeles—a fish out of water—relegated to composing film scores and accepting the occasional teaching position. His famous writer grandson Lawrence weschler has been instrumental in revising interest in his work and even has composed an alternative. Geographical Fugue with medical terms in place of Trinidad, mississippi, and yokohama. Thanks to him the revised version of the. Suite received its.

Jaap, blonk s, website


Since 1993 Other Minds has made a practice of bringing an unpredictable cohort of independent-minded mavericks to san Francisco to convene at its annual music festival. This year our focus was the zijden practice of sound poetry, and our composers were joined by poets and writers in the field of experimental literature. As became apparent, there is a rich variety of approaches to the intermedium between poetry and music, and the practice has been over 100 years in the making. The activities of the futurists and Dadaists, dating from the first two decades of the 20th Century, inspired subsequent generations to rethink the potential of poetic expression. Our thanks to special guests Enzo minarelli from Italy and jaap Blonk from Holland, two of the most virtuosic figures now active in contemporary sound poetry, for recreating some of those early works by fortunato depero, filippo tommaso marinetti, hugo ball, and Kurt Schwitters. In 1917, gertrude Stein wrote, capital Capitals, a mini-drama with its whimsical lines of conversation distributed among four speaking characters. Ten years later, virgil Thomson set the piece to music for four men and a piano, developing a compositional system that allowed his singers to recite with utmost clarity the complex phraseology of the text against a spare and witty musical accompaniment. The resulting breakthrough enabled him later blijdorp to compose two of our most significant American operas, four saints in Three acts, and, the mother of Us All, also on texts of Stein.

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Jaap, blonk with bolt at the smfa saturday, november 23, 2013. Jaap, blonk (voice, electronics) with bolt a vocalist, jaap, blonk is known. virtuoso vocalists performing the groundbreaking work are dutch improviser. Jaap, blonk and New York-based vocal pioneer joan la barbara. alto saxophone jaap Blonk - voice, alto tenor saxophones Lorand Sarna - electric acoustic guitars Jacko schoonderwoerd - bass Panc. Curated by jaap Blonk this is volume 15 in the leonardo music journal cd series. Jaap Blonk (born 1953 in woerden, holland) is a self-taught composer, performer and poet. masterful Dutch vocal artist jaap Blonk teams up with Elastic Arts regulars Lonberg-Holm and daisy on a new collaborative project. Jaap Blonk (born 1953 in woerden, holland) is a self-taught composer, voice performer and sound poet.

The Ursonography performance is typeset in Sabon (1964 by jan Tschichold, an updated version of the typeface which Tschichold used to design the original printing of Schwitters' Ursonate in 1932. Project keywords: Audiovisual performance, ursonate, kurt Schwitters, jaap Blonk, golan levin, live cinema, live typography, dynamic typography, computational typography, expressive type, real-time subtitles, interactive text, conrete poetry, computer graphics, software art, computer vision, machine vision, speech hoeveel visualization, speech recognition, voice analysis, prosodics. High-resolution images of Ursonography are available in this Flickr photoset. Images (click to enlarge) Video ursonography Introduction (10.03 MB) Explanatory overview only 720x480. Mp4, 0'43 right-click to download Ursonography performance, 2005 (101.07 MB) Complete Ars Electronica premiere, 4 September 2005 480x384. Mp4, 22'10 right-click to download.

Mp3 ke stazeni zdarma, gastric mp3 zdarma, mp3,mp3 ke stažení, mp3s, hudba, stazeni zdarma, hudba zdarma, texty, videoklipy. hlasový rabiját, jaap, blonk (1953) se už na svém Kontransu popasoval s kdekým od Matse gustafssona a michaela zeranga přes Ingara zacha. Vinyl / 12 Album Thirsty ears. Jaap, blonk terrie. Zjistěte více nebo se podívejte na další ze statisíců hudebních a filmových. from Italy, jaap, blonk from Holland, Sten Sandell from Sweden, tone Åse and Ottar Ormstad from Norway, and Taras Mashtalir from Russia. ursonography, jaap, blonk e golan levin ripropongono una interpretazione audio e visuale della Ursonate (1922-1932) di kurt Schwitters.

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(Premiere) Artefact Festival, leuven, belgium, 2/2007. The artists are indebted to gerfried Stocker of the Ars recepten Electronica center, and Horst Hörtner of the Ars Electronica futurelab, linz, for commissioning, supporting and hosting the development of this performance project. We thank tom Holley of the Ultrasound Festival, and pieter-paul Mortier of the Artefact Festival, for hosting the performance in Huddersfield and leuven. We also express our gratitude to Andrew Wilson (Wil) Howitt, for his critically informative phD thesis, "Automatic Syllable detection for Vowel Landmarks and. Isabel Schulz of the kurt und Ernst Schwitters Stiftung, Sprengel Museum Hannover, for her kind permissions to allow reproduction of our performance of Schwitters' poem. The software for Ursonography was developed in openFrameworks. Documentation video of the leuven concert was edited by michael Pisano.

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The following 6'15" video at, and. Vimeo shows excerpts of toppenbiljart the, ursonography performance from its premiere at the Ars Electronica festival, september 2005 in Linz. The same video can be downloaded in better quality at the bottom of this page. It is essential to note that the poem's text was not added in post-production of this video: all dynamic typography in this concert was generated automatically, in real-time during the live performance, using custom software that responded to the timing and dynamics of Blonk's speech. Close synchronization of the text with the performer's voice was achieved by linking a score follower to a real-time syllable detector. The 7'34" video below (also available. Vimeo and, ) presents excerpts from a different performance. Ursonography, at the Artefact Festival in leuven, belgium on 18 February, 2007: Complete (half-hour) documentation videos of this performance are viewable and downloadable from Vimeo for two performance dates: Ars Electronica festival, linz, austria, 9/2005.

Poeta sonoro e virtuoso vocalist olandese, jaap Blonk ha eseguito la quasi mezzora della. Ursonate ormai più di mille volte. In questa versione lesecuzione di Blonk viene arricchita di una nuova forma espressiva semplice ma elegante, i "sottotitoli intelligenti" in tempo reale prodotti con lausilio di una tecnologia legata alla partitura basata su un riconoscitore vocale computerizzato. I sottotitoli proiettati sono strettamente legati al tempo e al timbro della voce di Blonk, e presentati in una varietà di trasformazioni tipografiche dinamiche che rivelano nuove dimensioni della sua struttura poetica. Ursonography was commissioned by the 2005 Ars Electronica festival; developed with the support of a residency at the Ars Electronica futurelab; and has been performed at: Ars Electronica festival, linz, austria, 9/4/2005; Ultrasound Festival, huddersfield, England, 11/2005; The game is up! Festival, vooruit, gent, belgium, 2/16/2007; and. Artefact Festival, stuk kunstencentrum, leuven, belgium, 2/18/2007. Video documentation of the. Ursonography performance has also been screened at: Digital Transit: Austria at arco, madrid, Spain, 2/2006; The wsoa digital soiree, johannesburg, south Africa, 2/2006; NetCultureSpace, vienna, 7/2008; baby and, il Gesto del suono, bolzano, 6/2009.

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2005 jaap Blonk and Golan levin. Ursonography (2005: jaap Blonk and, golan levin ) is a new audiovisual interpretation of Kurt Schwitters. Ursonate, a masterpiece of 20th fase Century concrete poetry in which speech is reduced to its most abstract and musical elements. Dutch sound poet and virtuoso vocalist jaap Blonk has performed the half-hour. Ursonate more than a thousand times; in this presentation, Blonks performance is augmented with a modest but elegant new form of expressive, real-time, intelligent subtitles. With the help of computer-based speech recognition and score-following technologies, projected subtitles are tightly locked to the timing and timbre of Blonks voice, and brought forth with a variety of dynamic typographic transformations that reveal new dimensions of the poems structure. Italiano In, ursonography, jaap Blonk e golan levin ripropongono una interpretazione audio e visuale della. Ursonate (1922-1932) di kurt Schwitters, un capolavoro di poesia concreta del xx secolo nel quale il linguaggio viene ridotto ai suoi elementi più astratti e musicali.

Jaap blonk
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