Jesse Kriss, who created an interactive visualization on the history of sampling, is back with a new project that translates live turntable scratching into computer visuals: Visual Scratch.
BBC produz mini documentário sobre dubstep
A emissora inglesa acaba de disponibilizar um vídeo com depoimentos de DJs, produtores e entusiastas de destaque que fazem o gênero acontecer.
The Psychology of Music
DEUTSCH, Diana. Academic, 1998.
The aim of the psychology of music is to understand musical phenomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since the First Edition of The Psychology of Music was published the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology due to several factors. The opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but rather is available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the First Edition was written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues.
The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables.
Perception And Cognition Of Music
DELEIGE, Irene. Psychology, 1997.
This book comprises a series of "state-of-the-art" reviews on work relating music and mind. It offers a uniquely broad range of approaches within a single volume, ranging from the psychological, through the computational, to the musicological. Authors were selected from presenters at the Third International Conference on Music Perception and Cognition (Liege, 1994) to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music.
The book is divided into four sections, each illustrating a different approach to the topic. Section 1, Musicological Approaches, illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behavior. Section 2, Developmental Approaches, charts what is known about the acquisition of musical competence, from pre-birth through to the expert performer. Section 3, Biological Approaches, examines the evidence now accumulating about specific areas of the brain which control musical thinking and behavior. Section 4, Acoustical and Computational Approaches, examine how neurological, behavioral and artificial intelligence approaches are converging to shed light on fundamental processes in auditory perception. Finally, Section 5, Structural Approaches, highlights important developments in how we conceptualize the way in which musical structures are represented in the mind.
This book provides an up-to-date entry into major preoccupations of current music psychology, suitable for advanced undergraduates, graduate students, and researchers in the field.
The Musical Mind : The Cognitive Psychology of Music
SLOBODA, John. Oxford, 1986.
In this survey of our current knowledge concerning the cognitive psychology of music, the author--a psychologist and practicing musician--examines the mental processes involved in composing, performing, listening to, and "understanding" music, and shows how such skills are acquired.
The Music Cognition Group (MCG) is part of the Department of Musicology and the Institute for Logic, Language and Computation (ILLC) of the University of Amsterdam (UvA). This site, online since 1994, contains articles on music performance and perception (using empirical and computational methods) with sound examples, QuickTime movies, demonstrations, and other material.
Music Cognition approaches the study of music as a product of human minds/brains.
The field involves psychologists, music theorists, systematic musicologists, ethnomusicologists, cognitive scientists, and philosophers interested in comprehending human music-making and musicality.
The Ambient Century : From Mahler to Moby
The Evolution of Sound in the Electronic Age
PRENDERGAST, Mark. Bloomsbury, 2003.
Just as anything evolves when its setting changes, 20th-century music mutated as it moved beyond the confines of concert halls and into listeners' everyday environs. Thanks to car stereos, headphones, even computers, people now move within their own soundtracks. In this chronology of compositional innovations, Prendergast, an internationally published music writer, details the widening of sonic possibilities with advancements in recording, amplification and electronic instruments, and with the creative talents of hundreds of bold, brilliant composers. He credits Mahler with first evoking the hypnotic "ambient experience of landscape and emotion," kicking off the century of "repetitive conceptual music." Prendergast describes how, after a four-day fast, the sound of a single piano tone proved revelatory for Karlheinz Stockhausen; how sitarist Ravi Shankar influenced everyone from minimalist Philip Glass to the Beatles; how Donna Summer "merged Germanicity with black music's long history"; and how scores of house and techno artists have "moved the focus of the music away from its creators towards the listener." Organized by artist, the book provides suggested "Listenings" for each one, as well as a list of the "Essential 100 Recordings," which recommends ambient guru John Cage's "In a Landscape," megastar Bowie's absorbing "Low" and Goldie's "Timeless," a debut that brought ambient jungle/drum and bass into the mainstream. Talking Heads' producer Brian Eno, a maverick whose own music heavily influenced New Age and ambient house music, gives the book his stamp of approval in his foreword. B&w photos. Agent, Simon Trewin of Drury House, London.
Impossible Dance: Club Culture and Queer World-Making
BUCKLAND, Fiona. Wesleyan University, 2002.
Charting the significance of gay and lesbian clubs in the formation of personal identity and community, Buckland, a senior editor at Amazon.co.uk, constructs a history of gay night spaces in Manhattan and uses performance theory and queer theory to explicate their importance. Structuring her argument around the joint propositions that "our lives are defined by the limits of our imagination" and that dancing "is a vertical expression of a horizontal desire," Buckland mixes first-person narratives of club goers with social and cultural theory (from Jergen Habermas, Walter Benjamin and Edward Soja, among others) to look at how the existence and "social production" of queer clubs resist what theorist Michael Warner calls "heteronormativity." Less about a specific identity or community politic, the clubs do what she describes as "world making" "a production in the moment of a space of creative, expressive, and transformative possibilities, which remain fluid and moving by means of the dancing body." Drawing upon a wide range of venues, from the AIDS organization Body Positive's T-Dance for HIV-positive men to Latino dance clubs in Astoria, Queens, Buckland presents a broad cross-section of queer life. Counterpointing this material with critiques of gay demimonde nightlife (by Rudolph Giuliani and conservative homosexuals Andrew Sullivan and Bruce Bawer, among others), Buckland exposes the cultural tensions that both attack and reinforce the need for such gathering places. (Jan.) Forecast: Written in a dense postmodern jargon, Buckland's insightful book will appeal mostly to queer theorists and other academics, but not those looking for exuberant firsthand descriptions of club experience, though Buckland does present her experiences and those of her informants with energy. With Giuliani's term ended, a resurgence in New York underground nightlife is in the air, but this is one for the stacks rather than the club goer's knapsack.
Club Cultures and Female Subjectivity : The Move from Home to House
PINI, Maria. Palgrave Macmillan, 2001.
This book explores the significance which contemporary club cultures can come to have for women living through a time of radical sexual-political change. The book focuses upon the experiential accounts of different "raving" and clubbing women by illustrating how new, and more appropriate, fictions of femininity are generated within these accounts. Focus upon these aspects reveals the limitations of reading today's club cultures as indicators of a sexual-political regression.
Rave America: New School Dancescapes
SILCOTT, Mireille. ECW, 1999.
Rave America begins with a whirlwind tour of North American club culture in the 70s and 80s, then plunges into the diverse sounds, sights, and histories of some of the most vital rave territories: the deafening walls of sound of DJ Frankie Bones's earliest New York Storm raves; the acid-fuelled dreams of San Francisco's hippiefied Full Moon beach parties; Florida's DJ Icey and his factions of teenage breakdancers on Ecstasy; the dark Satanic techno rituals of the Midwest's Drop Bass Network; the twelve-hour post-aids "muscle raves" of the cross-country gay circuit parties. Rave America examines both the dreams and nightmares of a pre-millennium continent after dark.
This Is Not a Rave: In the Shadow of a Subculture
McCALL, Tara. Thunder's Mouth, 2002.
McCall's introduction to the rave scene is replete with splashy graphics, pictures that throb with authenticity (i.e., they're blurry), and pithy boxed pull-quotes from stoned teens that just scream out to a similarly youthful audience. McCall doesn't just parse the whys and wherefores of raves. She describes their history and the phenomenon of ennui among veteran ravers, bored and more than a little dismissive of the current state of the, uh, art. Her own devotion to the subject may be inferred from the tenor of the pull-quotes striving to define vibe and rave, explain such phenomena as "the lure of Ecstasy," and describe "why and how dancing is important." One Captain Nutmeg's definition of rave stands out: "It's not what it used to [be] . . . it now just means bad, cheesy parties," which suggests that raves aren't very different from, say, discos and rock festivals. Informative for nascent ravers and their parents; and for armchair dilettantes, a graphic thrill ride into the pulsating light show of rave.
Inside Clubbing : Sensual Experiments in the Art of Being Human
JACKSON, Phil. Berg, 2004.
Inside Clubbing puts the spotlight on club culture--in all its sweaty, visceral, and seductive glory. Jackson guides us through the huge spectrum of the club experience, moving from hip-hop clubs to fetish events via queer, trance, Asian, techno, drum 'n' bass, and sex clubs. Drawing on interviews with clubbers from a variety of backgrounds, he dispels myths and offers new insights into the contemporary clubbing scene. Contrary to popular perception, clubbing is not just for youths: the clubbers in Inside Clubbing range from their mid-twenties to mid-fifties. Many have been on the scene for years and offer a historical perspective on changes over the last decade. Jackson explores the real practice of clubbing first-hand and offers the most balanced and sophisticated understanding of the club scene to date.
Trance Formation: The Spiritual and Religious Dimensions of Global Rave Culture
SYLVAN, Robin Sylvan. Routledge, 2005.
Over the course of nearly two decades, the rave scene has evolved into much more than simply an electronic dance music party. For thousands of people around the world, it has become an important source of spirituality and the closest thing they have to a religion. Trance Formation is the first book to comprehensively explore the spiritual and religious dimensions of global rave culture.
Robin Sylvan combines colorful firsthand accounts, extensive interviews with ravers, and cutting edge scholarly analysis to paint a compelling portrait of global rave culture as an important new religious and spiritual phenomenon that also serves as a template for mapping the future evolution of new forms of religion and spirituality in the twenty-first century.
DJ Dance and Rave Culture : Examining Pop Culture
GREEN, Jared. Greenhaven, 2005.
DJ, Dance and Rave Culture examines the underground dance gatherings, or raves, that initially emerged as a fringe form of youth culture in the 1980s and 1990s. Particular attention is paid to the history of electronic music, the controversy over club drugs, the role of the DJ in popular culture, and the experience of the dancers that continue to keep the beat alive.
The Rasterbator is a web service which creates huge, rasterized images from any picture. The rasterized images can be printed and assembled into extremely cool looking posters up to 20 meters in size.
New Media as Remix Culture
The "language" of new media - or, more precisely, numerous separate "languages" - are always hybrids, incorporating memories, expertise, and techniques of already well established cultural forms such as cinema, theatre, printed books, and so on, as well as new more recent techniques which come from the new engine of global information society - digital networked computer. Every section of my book, The Language of New Media, therefore takes up a particular dimension of new media and examines it as a meeting ground - a field of struggle, competition, and creative tension - between the energies of the past and present.
A few years ago such an approach appeared strange to some participants and observes of cyberculture. Why dig the references to the old culture when Internet was supposed to bring us all into the new brave world as painted in Wired and similar publications? Yet today this perspective that positioned new media in a longer historical context looks already quite natural. Our culture is undergoing computerization, and every one of its layers is changing as a result - but these changes can take a very long time to become visible. (Geological metaphors are not out of place in this respect). Think for instance of a culture which accompanied the development of new industrial society in the nineteenth century. If we time the beginning of this society to the introduction of engine in the first decades of the nineteenth century, we see that it took about one hundred years for the cultural super-structure to catch up.
It was only in the 1920s when artists, designers, and architects have clearly formulated new set of aesthetic forms and principles that together formed new twentieth century culture of "industrial modernism": spaces made of geometric forms devoid of ornament, aggressive use of type, compositions made from simple abstract elements, new color schemes, and so on. I do have a strong sense that many cultural phenomena and styles which surround us today are equivalents of academic painting or architectural eclecticism of the nineteenth century - something which does not at all belong to the twenty first century and which one day, when we will find proper cultural responses to a new global information society, will look hopeless irrelevant. Yet today it is not easy to say which current impulses are messages from the future, and which are simply here through inertia.
It is my strong feeling that the emerging "information aesthetics" (i.e., the new culture of information society different from the old culture of industrial society which I am trying to map out in the new book I am currently completing) has or will have a very different logic from "industrial modernism." The later was driven by a strong desire to erase the old, visible as much in the avant-garde artists' (particularly the futurists) statements that museums should be burned, and in the dramatic erasure of all social and spiritual realities of many of people in Russia after the 1917 revolution, and in other countries after they became Soviet satellites after 1945. Culture and ideology of industrial modernism wanted to start with "tabula rasa," radically distancing themselves from the past. It was only in the 1960s that this move started to feel inappropriate, as manifested both in loosening of ideology in communist countries and the beginnings of new post-modern sensibility in the West. "Learning from Las Vegas," to quote the title of a famous book by Robert Venturi and et al (published in 1972, it was the first systematic manifestation of new sensibility) was to admit that real, organically developing culture had a very different rhythm and logic than Bauhaus-grown "international style" which was still practiced by architects world-wide at that time. We can say that in 1990 when Soviet Empire collapsed post-modernism has won world over.
Today we have a very real danger of being imprisoned by new "international style" - something which we can "global international." The cultural globalization, of which cheap international flights and Internet are just two among other carriers, erases certain cultural specificity with the energy and speed impossible for modernism. Yet we also witness today a different logic at work: the desire to creatively place together old and new in various combinations. It is this logic, for instance, which in many ways made a city such as Barcelona. All over the city, architectural styles of many past centuries co-exist with new "cool" spaces of bars, hotels, museums, and so on. Medieval meets multi-national, Gaudy meets Dolce and Gabana, Mediterranean time meets Internet time. The result is the incredible sense of energy which one feels physically just walking along the street. It is this hybrid energy, which characterizes in my view the most successful cultural phenomena today. This book then is a systematic investigation of a particular slice of contemporary culture driven by this hybrid aesthetics: the slice where the logic of digital networked computer intersects the numerous logics of already established cultural forms.
In conclusion let me offer you a different metaphor to think with about this cultural slice which we also call "new media." This metaphor is that of "remix." I often look at contemporary culture in terms of three key processes - three different kinds of remixes. The first remix is what already for a few decades we referred to as "post-modernism"- the remixing of previous cultural contents and forms within a given media or cultural form (most visible today in music, architecture, and fashion). The second type of remixing is that of national cultural traditions, characters, and sensibilities intermingling both between themselves and also interacting with a new "global international" style. In short, this is the remix of "globalization." "New media" then can be thought alongside these two types of remixes as the third type. It is the remix between the interfaces of various cultural forms and the new software techniques - in short, the remix between culture and computers. Its cultural logic is new not because this is "modernist new" which tried to erase the past - on the contrary, it is new because of the scale of the remix process at work, its speed, and the components themselves involved. Some of the results, which are being generated, are trivial, some are OK, and some are brilliant. While computer is a very powerful remix instrument, what comes out from it is ultimately up to the creative individuals who are at the controls of the computers - you.
Welcome to the hybrid!
Lev Manovich
May 2004
San Diego
The Monome is a new music interface with LCD-backlit pads, a USB interface that transmits OSC and MIDI data to a computer, and — here’s the unusual part — open source, hackable firmware and software interface.
The Cognitive Neuroscience of Music
PERETZ, Isabelle & ZATORRE, Robert. Oxford, 2003.
This volume brings together an outstanding collection of international authorities-from the fields of music, sueroscience, psychology and neurology to describe the amazig advances being made in understanding the complex relationship between music and the brain
Music and Memory: An Introduction
SNYDER, Bob. MIT, 2001.
This far-ranging book shows how human memory influences the organization of music. The book is divided into two parts. The first part presents basic ideas about memory and perception from cognitive psychology and, to some extent, cognitive linguistics. Topics include auditory processing, perception, and recognition. The second part describes in detail how the concepts from the first part are exemplified in music. The presentation is based on three levels of musical experience: event fusion (the formation of single musical events from acoustical vibrations in the air, on a time scale too small to exhibit rhythm), melody and rhythm, and form. The focus in the latter is on the psychological conditions necessary for making large-scale--that is, formal--boundaries clear in music rather than on traditional musical forms. The book also discusses the idea that much of the language used to describe musical structures and processes is metaphorical. It encourages readers to consider the possibility that the process of musical composition can be "a metaphorical transformation of their own experience into sound."
The book also touches on unresolved debates about psychological musical universals, information theory, and the operation of neurons. It requires no formal musical training and contains a glossary and an appendix of listening examples.
Scratching & video: two good things in one package.
DJ GKUT & Brendan Dawes of Manchester, UK, based
outfit magneticNorth run mN’s video-control-by-vinyl
tools through their paces at FACT in Liverpool.
More than neat.
A Religião das Máquinas: Ensaios sobre o Imaginário da Cibercultura
FELINTO, ERICK. Sulina, 2005.
Computadores, tecnologias digitais, redes de informação e a Internet vêm se tornando, rapidamente, realidades corriqueiras de nossa vida cotidiana. Já se afirma que vivemos hoje em uma "cibercultura", em boa parte constituída e determinada por esses novos aparatos de comunicação e informação. Em A Religião das Máquinas, Erick Felinto investiga as peculiares mitologias e o "folclore" que cercam o universo das velozes e ubíquas tecnologias digitais. Na análise de filmes como Matrix e de estudos críticos sobre a cibercultura, Felinto identifica uma convergência entre saber teórico e imaginário ficcional. Nunca antes o domínio das tecnologias e da ciência esteve tão penetrado pela retórica dos mitos e pela lógica das alegorias e metáforas. Em seus ensaios, este livro apresenta uma primeira exploração sistemática do que poderíamos chamar de "imaginário tecnológico" contemporâneo, com sua obsessão pelas figuras dos ciborgues, andróides, pós-humanos e anjos virtuais do ciberespaço. São textos breves, mas densos, nos quais se revela esse obscuro e surpreendente mundo das mitologias ciberculturais.
Corpo & Mídia
LYRA, Bernadette. Arte & Ciência, 2004.
Coletânea de textos sobre a relação corpo e mídia configurando-se numa visão panorâmica sobre os relacionamentos, intercâmbios e ajustes que ocorrem no teritóriio da pesquisa. Trata de questões que envolvem a cibercultura, materialização e desmaterialização dos corpos na atualidade; erotismo, sedução, afetividade e seus laços com a cultura e a sociedade abordados pelas mais diversas mídias.
Música - Entre o audível e o visível
CAZNOK, Yara. UNESP, 2004.
Existe uma dimensão visual na música? Para responder a essa pergunta, a autora retoma aspectos históricos e estéticos que relacionam o sonoro ao visual, as relações dos sons com as cores, com o espaço e com as imagens. Debruça-se sobre o compositor húngaro György Ligeti (1923), que realiza trabalhos que aproximam as obras musicais contemporâneas de um público não especializado e oferece uma experiência do que poderia vir a ser uma audição multissensorial na qual mesmo as pessoas não habituadas ao repertório contemporâneo se sintam incluídas. A autora relaciona a filosofia e a psicologia com a estética e a história, mostrando como as obras de arte auditivas ou visuais podem ser fruídas com prazer.
Mapping Benjamin: The Work of Art in the Digital Age
GUMBRECHT, Hans & MARRINAN, Michael. Stanford University, 2003.
Since its publication in 1936, Walter Benjamin’s "Artwork" essay has become a canonical text about the status and place of the fine arts in modern mass culture. Benjamin was especially concerned with the ability of new technologies—notably film, sound recording, and photography—to reproduce works of art in great number. Benjamin could not have foreseen the explosion of imagery and media that has occurred during the past fifty years.
Does Benjamin’s famous essay still speak to this new situation? That is the question posed by the editors of this book to a wide range of leading scholars and thinkers across a spectrum of disciplines in the humanities. The essays gathered here do not hazard a univocal reply to that question; rather they offer a rich, wide-ranging critique of Benjamin’s position that refracts and reflects contemporary thinking about the ethical, political, and aesthetic implications of life in the digital age.
Cristoteca louva a Deus em plena balada
A missa termina, e é a senha para a festa começar e se estender até as 6h. Mas, nas quatro horas seguintes (sim, a missa terminou às 2h), nada de drogas, bebida ou cigarros. O lugar é a Cristoteca, e os DJs que assumem o controle são os do Electrocristo, que há quatro anos realizam o que definem como "evangelização noturna através da música eletrônica".
Da capa dos CDs lançados pelo grupo -"A Festa by Electrocristo", de 2005, e o recém-concluído "A Festa Continua"- às camisetas usadas pelos seis integrantes do projeto, à venda na internet, tudo transparece modernidade. O tom, entretanto, é de pregação, no discurso do grupo e nos vocais das músicas. No primeiro CD, o tom é mais explícito, numa espécie de "dance music" católica; no segundo, é mais insinuado, entre batidas eletrônicas, com toques de estilos como electro e trance.
"Se sentimos que a pista perde a comunhão com Deus, paramos e rezamos um pouco. Ou lemos um trecho da Bíblia", diz Leonardo Ferreira Souto Guimarães, 28, DJ há oito anos e integrante do grupo. "Tocamos em Foz do Iguaçu, por exemplo, e um cara fez uma bexiga com camisinha e começou a brincar com ela. Isso não pode."
Entre os ensinamentos aos que querem ser DJs católicos (o Electrocristo dá aulas) um dos principais é exatamente prestar atenção no comportamento da pista. "Observe se a pista está louvando ao Senhor. O DJ pode levar a pista para o céu e também para o inferno, reflita sobre isso", lê-se no www.electrocristo.com.
Pioneiro
O Electrocristo é um dos primeiros grupos a seguir no Brasil os passos de DJs americanos e europeus que misturam música eletrônica e religião. Léo, por exemplo, tocava em casas noturnas paulistas convencionais. Católico, como os outros integrantes, resolveu misturar fé e música. "Passamos a ter necessidade de um ambiente bacana, onde seja possível dançar, mas sem drogas."
Um dos integrantes do Electrocristo, o DJ Leoni, é um dos fundadores do movimento de música eletrônica católica no país.
O primeiro CD do grupo vendeu 5.000 cópias. O segundo, lançado pela gravadora Paulinas-Comep, terá uma tiragem inicial de 6.000. Estará disponível nas lojas a partir de 1º de maio.
Além da Cristoteca, "residência do Electrocristo", como diz Léo, o grupo toca em casas noturnas mais conhecidas, como Moinho Santo Antônio e Credicard Hall. Também viaja pelo país. Eles pensam agora na possibilidade de realizar a primeira "rave cristã", na represa de Guarapiranga (SP).
Cristodrink's
A Cristoteca é um galpão localizado no Brás, centro de SP, cedido pela comunidade Aliança de Misericórdia, onde o Electrocristo toca todas às sextas-feiras para até 1.500 freqüentadores.
Os DJs estão o tempo todo atentos para evitar excessos, mas a preparação para que não se perca o controle sobre a festa começa antes, quando geralmente entra em cena um padre convidado. No caso da sexta retrasada, o padre Alexandre Júnior, 25. "A Cristoteca é uma iniciativa que permite ao jovem experimentar Deus dentro de sua realidade de vida", elogia.
Padre há três meses, ele entra cantando e dançando junto com a banda que inicia a noite na Cristoteca, por volta das 23h30. Ao longo da missa, entretanto, o tom muda. "Se você quer passar a noite aqui só para descobrir alguma menina santinha para se aproveitar, saiba que na sua cabeça só tem cupim", adverte, aplaudido.
Durante toda a noite, uma capela fica aberta em um espaço anexo para que os freqüentadores possam fazer orações. E há uma espécie de bar improvisado, nomeado "Cristodrink"s", onde as bebidas disponíveis para venda são vitaminas, sucos e refrigerantes.
Maeli Prado
Folha de São Paulo
9 de abril de 2006
Corpo: Pistas para estudos indisciplinares
GREINER, Christine. Annablume, 2005.
Este livro é voltado para auxiliar aqueles que iniciam seus estudos sobre o corpo. Conciso e objetivo, apresenta uma completa e atualizada série de referências sobre o assunto, fugindo da obviedade irritante da qual padece boa parte das introduções temáticas. Christine Greiner, professora de pós-graduação da PUC/SP, mapeia desde as pioneiras obras com enfoque filosófico e histórico até as tendências recentes dos chamados estudos culturais (cross-cultural studies). Também apresenta os debates voltados à estética e à política do corpo, às experiências artísticas e questões ligadas à saúde (cirurgia plástica, próteses e distúrbios da alimentação), entre outros tópicos discutidos em disciplinas específicas como antropologia e sociologia. Enfim, traz um panorama que certamente instigará o leitor a prosseguir em seus estudos sobre o corpo, tema tão caro às diversas culturas da humanidade.
Sinestesia, Arte e Tecnologia - Fundamentos da Cromossonia
BASBAUM, Sérgio. Annablume, 2002.
Interações entre o som e a cor fazem parte da cultura dos povos desde datas imemoriais. Desde o século XVIII, porém, artistas, cientistas e pesquisadores vêm investigando a tradutibilidade de sons em cores - esbarrando por três séculos em limitações tecnológicas, até a chegada do digital. Este trabalho desenvolve o tema a partir de três enfoques: pesquisas recentes em neurologia a respeito de percepção sinestésica; artistas que buscaram a tradução intersensorial, em diversos campos da arte; e uma proposta do autor para uma linguagem particular de cores e sons, a Cromossomia. Professores, pesquisadores e artistas interessados em tradução intersemiótica, nas relações entre arte e tecnologia, na multimídia e nos conceitos de imersão e sinestesia encontrarão nas informações apresentadas e nas conclusões daí derivadas um ponto de vista original, estimulante e enriquecedor.
ReMembering the Body: Body and Movement in the 20th
KITTLER, Friedrich et alli. Hatje Cantz Publishers, 2000.
This text and picture book designed by Bruce Mau reflects the myriad issues surrounding representations and concepts of the body, focusing on the body in movement. ReMembering the Body is dedicated to dance, the experimental territory par excellence of the moving body, and explores a variety of topics such as choreography in the cinema, choreography and spatial concepts, the aesthetics of violence and subversion in both the sciences and the arts, and notions of the body as a machine and as an animalistic organism. Texts by cultural critics such as Fredrich Kittler and Mau's picture essay combine to present fragments of the pictorial dismemberment of the body as a vivid history of movement. Arrestingly and uniquely designed, ReMembering the Body is an ideal and thoroughly indexed reference work as well as an important cultural document.
Embodiment and Experience : The Existential Ground of Culture and Self
CSORDAS, Thomas. Cambridge University Press, 1994.
Students of culture have been increasingly concerned with the ways in which cultural values are inscribed on the body. The unifying theme of these essays is that the body is at once a fount of symbols and the instrument of experience. This more complex and dynamic view is applied by the contributors to a variety of topics, including dietary customs, the expression of emotion, the experience of pain, and political violence. Their purpose is to contribute to a phenomenological theory of culture and self.
Cinema e a invenção da vida moderna
CHARNEY, Leo. Cosac & Naify, 2004.
Coletânea de ensaios que analisa as formas e funções do olhar e da representação típicas à vida urbana entre 1848 e 1920, examinando a questão da pintura, da fotografia, das exposições em museus, das novas formas do jornalismo de 'sensações', das estratégias de propaganda e comércio, e mesmo a presença de formas literárias que expressam a modernidade.
Electronic and Computer Music
MANNING, Peter. Oxford University Press, 2004.
In this revised and expanded third edition of the classic text on the history and evolution of electronic and computer music, Peter Manning provides the definitive account of the medium from its birth to the present day.
After explaining the antecedents of electronic music from the turn of the century to the Second World War, Manning discusses the emergence of early "classical" studios of the 1950s. He goes on to chronicle the upsurge of creative activity during the 1960s and 70s in the analog domain, as well as with live electronic music and the early use of electronics in rock and pop music. This edition contains new information about software innovations, digital media and the essential features of digital and audio control, the MIDI synthesizer and its many derivatives, and the evolution of computer workstations and multimedia personal computers.
Manning offers a critical perspective of the medium both in terms of its musical output and the philosophical and technical features that have shaped its growth. Emphasizing the functional characteristics of emerging technologies and their influence on the creative development of the medium, Manning covers key developments in both commercial and the non-commercial sectors to provide readers with the most comprehensive resource available on this ever-evolving subject.
Música Eletrônica - A Textura da Máquina
RODRIGUES, Rodrigo. Annablume, 2005.
Evitando tanto a adesão irrefletida quanto a 'tecnofobia', que muitas vezes perpassam as análises sobre a música eletrônica, o livro propõe a seus leitores uma visão renovada do encontro entre a tradição musical do Ocidente e as possibilidades e perigos acarretados pelos novos recursos tecnológicos que se ofereceram à experimentação estético-musical, a partir do início do século XX. Apenas a reconstituição histórica que, partindo das poéticas musicais do alto modernismo, atravessa a música acadêmica concreta e eletroacústica, e deságua na música pop eletrônica e nos procedimentos dos 'djs' de estúdio, que fazem música sem disporem de uma formação musical típica, já justificaria o interesse neste trabalho pioneiro no rompimento de fronteiras entre as músicas eruditas e pop.
Brit duo Addictive TV have made history by being the first VJs to produce an audiovisual remix for Hollywood. Their official remix for 'Take The Lead' marks the start of a new dawn for VJing and audiovisual remixing
Generation Ecstasy : Into the World of Techno and Rave Culture
REYNOLDS, Simon. Routledge, 1999.
"I finally grasped viscerally why the music was made the way it was; how certain tingly textures goosepimpled your skin and particular oscillator riffs triggered the E-rush.... Finally, I understood ecstasy as a sonic science. And it became even clearer that the audience was the star." British-born Spin magazine senior editor Reynolds (Blissed Out; coauthor, The Sex Revolts) offers a revved-up, detailed and passionate history and analysis of the throbbing transcontinental set of musics and cultures known as rave, covering its brightly morphing family tree from Detroit techno and Chicago house to Britain's 1988 "summer of love," on through London jungle and the German avant-garde to the current warehouse parties and turntables of Europe and America. One chapter explains, cogently, the pleasures and effects of the drug Ecstasy (MDMA, or "E"), without which rave would never have evolved; others describe the roles of the DJ, the remix and pirate radio, the "trance" and "ambient" trends of the early 1990s, the rise and fall of would-be stars, the impact of other drugs and the proliferation of current club "subsubgenres." Assuming no prior knowledge in his readers, Reynolds mixes social history, interviews with participants and scene-makers and his own analyses of the sounds, saturating his prose with the names of key places, tracks, groups, scenes and artists. Reynolds prefers and champions the less intellectual, more anonymous and dance-crazed parts of the rave galaxy, "from the most machinic forms of house... through... bleep-and-bass, breakbeat house, Belgian hardcore, jungle, gabba, street garage and big beat." If you don't know what those terms mean, here's how to find out.
O som e o sentido. Uma outra história das músicas.
WINSNIK, José. Companhia das Letras, 1989.
Este livro pode ser 'algo como um órgão de igreja com muitos registros, ou um canivete suíço com inúmeras lâminas', escreve o crítico Lorenzo Mammì. Pode ser lido 'como um guia - perfeitamente compreensível ao leigo como uma história sem nomes ou datas, constantemente apoiada em dois elementos básicos - o recurso à experiência acústica concreta e a comparação com as outras estruturas produtoras de sentido (a língua, o mito, a sociedade)'.
Looking for the Perfect Beat : The Art and Culture of the DJ
REIGHLEY, Kurt. MTV, 2000.
They are music's vanguard. The reshape today's sounds -- house, techno, hip-hop, rock -- direct our feet on the floor, and influence the way music is represented in our culture.
From the rapid-fire editing of MTV videos, to underground parties and world-famous clubs, DJs have altered the course of music and video, moved into new media, and turned our generation on its ear -- literally.
Meet these creative artists -- many of them celebrities in their own right -- who line up the most infectious beats, mix and program them, and make us dance talk and think about music -- and the world -- in entirely different ways.
Discover how they select their gear and choose tunes -- and pick up tips on how to mix.
Last Night a Dj Saved My Life: The History of the Disc Jockey
BREWSTER, Bill & BROUGHTON, Frank. Grove Press, 2000.
From the first time a record was played over the airwaves in 1906, to a modern club economy that totals $3 billion annually in New York City alone, the DJ has been at the center of popular music. Starting as little more than a talking jukebox, the DJ is now a premier entertainer, producer, businessman, and musician in his own right. Superstar DJs, from Junior Vasquez to Sasha and Digweed, command worship and adoration from millions, flying around the globe to earn tens of thousands of dollars for one night's work. Increasingly, they are replacing live musicians as the central figures of the music industry. In Last Night a DJ Saved My Life, music journalists Bill Brewster and Frank Broughton have written the first comprehensive history of the mysterious and charismatic figure behind the turntables -- part obsessive record collector, part mad scientist, part intuitive psychologist of the party groove. From England's rabid Northern Soul scene to the birth of disco in New York, from the sound systems of Jamaica to the scratch wars of early hip-hop in the Bronx, from Chicago house to Detroit techno to London rave, DJs are responsible for most of the significant changes in music over the past forty years. Drawing on in-depth interviews with DJs, critics, musicians, record executives, and the revelers at some of the century's most legendary parties, Last Night a DJ Saved My Life is nothing less than the life story of dance music.
Modulations: A History of Electronic Music: Throbbing Words on Sound
SHAPIRO, Peter. Charles Rivers Publishing, 2000.
In this expansive history of electronic music, Shapiro (The Rough Guide to Drum 'n' Bass) chronicles the creative moment of generating sound through sampling, mixing, and manipulation. Written by musicians and aficionados, the articles assembled here form a fascinating account of innovators from John Cage to Miles Davis, thoroughly exploring this sprawling genre and its musical offshoots. Densely packed and meticulously detailed, the book makes some startling geographic and stylistic leaps in an effort to trace the comprehensive history of electronic music. Through interviews, vivid pictures, and crisp commentary, it illustrates how electronic music is now at work in the majority of today's musical styles. This work, a tie-in to Iara Lee's 1998 film of the same name, explores in greater detail some of the same ground covered in J.M. Kelly's The Rough Guide to Techno Music (2000). An essential tool for anyone interested in this music, whether mildly or deeply.
Welcome to triggerMotion.com the home of ecin and a portal for sharing and trading of Flash visuals. Check out the fileshare section for a glimpse at the wide variety of clips available for download.
Los Angeles native James Cui aka VJ Fader has released his first Audio/Video track – a wonderfully campy asian gangsta-boy hip hop track called “Who’s That Asian Boy?”
Plaid finaliza o "Greedy Baby" e integra o Warp Moves
Seminal dupla do Reino Unido vai lançar DVD com o VJ Bob Jaroc e participa da estréia do projeto de dança da gravadora
The iDJ2 features a fresh and innovative new iPod docking system that allows users to play two songs simultaneously from a single iPod, without the need of a computer. Users can also hook up multiple mass storage devices including additional iPod’s™, Memory Sticks™, and external USB hard drives through rear panel USB ports. In addition to USB connectivity, the iDJ2 comes complete with line inputs for any audio source including a microphone, CD players and turntables. Anyone can easily manage a music library using the iDJ2’s new, highly intuitive graphic interface. The oversized LCD screen offers waveform display and visual track-profiling. The iDJ2 allows DJs to record their musical performances to the iPod or any connected drive, in addition to full control audio play back.
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