Sony Soundville

Seydisfjordur / Iceland
Holy wow...

3000

"The central thesis of this work is a void. Its wording is based on a discovery William Gibson could have done: in favour of their technologically supported practices cultural avant-garde groups of society are internalizing futuristic phantasmata of historical forerunners which can be investigated in literature and the history of the media. A hybrid mixture of actions, reflections and outlines of technoculture arise when these internalizations are converted into fantasies. While one brings this interlinking on the year 3000, the next future epoch of incision, the absurdity of the project, to research on technoculture at all, becomes clear. Technoculture is to be examined in its dynamic cultural transformations according to socio-iconografic items, but it also becomes an object trouve by Unschaerferelation, as well as a driving force for an analysis assimilated to itself. The resulting presumption can be countered by instrumental Serendipity, which would be not an effect here but a used method: Finding instead of searching. The relatively new writing/reading medium Hypertext is predestined for this. Hypertext is in principle unfinished. In this case it follows working rules known since the early 1990ies online-diaries and the early 2000 years weblogs (World Wide Web Logbooks): notes, found text (analog to found footage), citations, fragments, essays. In short: all-day scientific production is a-systemized and weaved by means of criteria of order - less archived than collected. A sort of second hand theory occurs." (http://kobra.bibliothek.uni-kassel.de/")

http://www.n0name.de/3000/

Liebestänze

"300 Seiten Roman. 300 Vorleser. 300 Videos. Täglich drei neue Filme. Autor Rainer Schmidt hat wochenlang in der ganzen Republik 300 Vorleser für die 300 Seiten seines Romans „Liebestänze“ gefilmt. Pro Seite ein Vorleser, also pro Seite ein Video. Er hat DJs vor die Kamera geholt, Musiker, Schriftsteller, Rentner, Werber, Auszubildende, Raver, Passanten, Tänzer, Trinker, Kinder, Autoren, Filmemacher, Künstler, Angehörige. Jeden Tag gibt es hier auf MySpace drei neue Videos zu sehen - bis das ganze Buch im Netz steht. In 300 Videos."

http://www.myspace.com/liebestaenze

bbc radio1 essential mixes

download every single bbc radio1 essential mix from 1993 to 2007 here: http://futuremusic.com/blog/?p=3464

via/thx to kraftfuttermischwerk.

[german] Netlabels Buch

"Das Phänomen Netaudio wird erstmals aus ethnologischer Sicht untersucht. Anhand ihres vielfältigen empirischen Materials stellt Antina Michels anschaulich dar, auf welche Art und Weise Netaudio produziert, wofür Netlabels genutzt werden und wie deren Akteure in lokalen und transnationalen Netzwerken kommunizieren und kooperieren. Die Studie verdeutlicht an zwei prägnanten Fallbeispielen – den nicht-profitorientierten Netlabeln Pentagonik und Pulsar -, wie alternative Modelle zur konventionellen Musikindustrie entstehen. Musiker, Künstler, Netlabelbetreiber und Veranstalter schließen sich europa- und zunehmend auch weltweit in sozialen Netzwerken zusammen. Sie leben und erproben so zeitgemäße Formen von On- und Offline-Vergemeinschaftung. Diese Pionierarbeit zeigt auf, wie die Netaudio-Szene das Netzwerk nutzt, um ihre Ideen und Ideale erfolgreich umzusetzen. Durch die zahlreichen in diesem Buch enthaltenen Interviewpassagen, Bilder und Beschreibungen bekommt der Leser einen tiefen Einblick in den Alltag der Akteure."

Inhaltsverzeichnis

1.0 Einleitung 11
1.1 Forschungsfeld und Fragestellung 13
1.2 Forschungsstand zu Netlabels 20
1.3 Quellendiskussion 28
2.0 Theorie und Methoden 31
2.1 Theoretische Konzepte 32
2.1.1 ‹ Community ›‚ ‹ Gemeinschaft › und ‹ Netzwerk › 32
2.1.2 Szene und Netzwerksozialität 37
2.1.3 Soziokulturelle Praxen in ‹ Communities of Practice › und in Netzwerken 46
2.2 Methoden und Vorgehensweise 56
3.0 Ethnografie der Netaudio-Szene 63
3.1 Was sind Netlabels? 64
3.2 Netaudio-Szene in Berlin 71
3.2.1 Pentagonik 73
3.2.2 Pulsar 87
3.3 Praxis und Performance 94
3.3.1 Praxis der Musikproduktion 94
3.3.2 Netaudio-Veranstaltungen: Netlag 100
3.3.3 Live Act als Performance 109
3.3.4 DJ-Techniken 115
3.4 Konzeptualisierung und Lizenzierung von Netaudio 119
3.4.1 Ökonomie der Aufmerksamkeit 121
3.4.2 Reputation eines Netlabels 124
3.4.3 Lizenzierung über Creative Commons 128
4.0 Soziale Netze On – und Off line 133
4.1 Kommunikationswege und -praxis 134
4.2 Vergemeinschaftung On- und Offline 138
4.2.1 Darstellung der Mental Maps 138
4.2.2 Vergemeinschaftung bei Pulsar 141
4.2.3 Constellations of Practice bei Pentagonik 147
4.2.4 Professionalisierung in einer ‹ Community of Practice › 152
4.3 Die ‹ Netaudio-Szene › als translokale Szene 155
4.4 Networking und Kooperation in der Netaudio-Szene 165
5.0 Schlussbetrachtung 177
Report zum Netaudio Festival London 2006 von Andi Studer, cenatus.org 187
Extended Abstract in English 210
Literatur 214
Zeitungs- und Internetartikel 222
Websites 223
Anhang 226
Glossar 226
Verzeichnis der Interview- und Gesprächspartner 229
Kommunikationsverzeichnis 234
Bildnachweis 235
Danksagung 236

http://www.netaudioberlin.de/publications/

DOWNLOAD (.pdf / 9mb)

Interview Mag: Björk

http://www.interviewmagazine.com/music/bjork

Techno Programming Language

"Haskell is a 20-year old advanced, open-source purely functional programming language. It’s designed to allow rapid development of robust and concise software.

Why is this interesting? Well Alex McLean has hacked Haskell enough to create a techno programming language. Commands for sounds, rhythms and rests are programmed from the command line, and the software plays a techno-based loop based on the input.

It sort of reminds me of tracker software, but a little more cut down, and somehow much more cool. I actually like the groove that the music gets into."


(via synthgear / Original Post)

WOW !!!

We Call It Techno!

A definitely huge documentary on the evolution of german techno scene / movement from the beginning... Absolutely recommendable and kept in english!


http://www.sensemusic.de/

the day i discovered bulgaria

if there was a world map of electronica, i would now begin to put some needles on BULGARIA.

first needle: http://artmospheric.org/
- a festival of different styles of electronic music, taking place once a year in bulgaria. although the page is kept in bulgarian language, do your best to get to the download-area. it's definitely worth it!

needles 2 and 3: the artists kliment (myspace) and cinnamint. especially the following mixes are recommendable:

1. Kliment live @ OUIM 5 years party #minimal #deep #psy
2. Artmospheric Sessions #1 - Cinnamint #ambient #minimal #dub

needle 4: http://ouim.net/
- a netlabel featuring a huge amount of downloadable releases, tracks, sets and mixes of different artists and different styles! you HAVE to check out!

greetz from sofia ;)

phu2

[supplement]

there is in fact a language switch on the upper right of the page. haha, i didn't see that... all focussed on that beautiful sound! ;) thx to anonymous

Urban Golf

Golden Rules

#1 SHOW RESPECT

Respect your neighbors' privacy and property. Pick your course away from populated areas. If the police ask you to leave a certain area, do so. Avoid altercations and do not give Urban Golf a bad reputation.

Vandalism, destruction of property and general rude behavior are for punk-ass kids and do not belong in this sport.

DON'T SCREW THIS UP FOR THE REST OF US.

#2 EVERYBODY SUCKS

The worse you play, the more fun you have. And that's what this game is about. Having fun, not winning. Leave your competitiveness on the PGA tour. Boasting and other petty bullshit does not belong on the urban course.

If you can't check yourself, put on your plaid pants, hop in your SUV and take it to Pebble Beach.

#3 DON'T BE A CONTROL FREAK

There is no one person in charge. You are not the leader of the group. Get over yourself. All decisions and adjustments to the game should be agreed upon by the golfers present.

If you have a god complex, move to the mountains, start a cult, and stay the hell out of the way.

from: http://www.urbangolf.org/