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Excelente critica del nuevo trabajo de Cineplexx "Restar" en Clubbing Spain a cargo de David Puente que entre otras cosas define este trabajo como ...un pedazo de disco redondo... o ...melancolía esteticista, seducción emocional, sentimentalismo hipnóticoŠ Un disco emotivo completo en si mismo que no depende del estado de ánimo del oyente.
Lee la critica completa en Clubbing Spain
Hi all,
If you are living in Greece we have great news for you, now you can buy all our releases from IT Athens record shop or directly from their online store.
Also remember that you can order some of our records through the following labels/websites:
Kugkmusique Beatconcrete (Germany)
Old Europa Cafe (Italy)
Darla (USA)
(Temporary|Transnational|Terrestrial|Transdimensional) Organisation for the (Promotion|Proliferation|Permanence|Purity) of Live (Algorithm|Audio|Art|Artistic) Programming
"ManifestoDraft
From Toplap
We demand:
* Give us access to the performer's mind, to the whole human instrument.
* Obscurantism is dangerous. Show us your screens.
* Programs are instruments that can change themselves
* The program is to be transcended - Artificial language is the way.
* Code should be seen as well as heard, underlying algorithms viewed as well as their visual outcome.
* Live coding is not about tools. Algorithms are thoughts. Chainsaws are tools. That's why algorithms are sometimes harder to notice than chainsaws.
We recognise continuums of interaction and profundity, but prefer:
* Insight into algorithms
* The skillful extemporisation of algorithm as an expressive/impressive display of mental dexterity
* No backup (minidisc, DVD, safety net computer)
We acknowledge that:
* It is not necessary for a lay audience to understand the code to appreciate it, much as it is not necessary to know how to play guitar in order to appreciate watching a guitar performance.
* Live coding may be accompanied by an impressive display of manual dexterity and the glorification of the typing interface.
* Performance involves continuums of interaction, covering perhaps the scope of controls with respect to the parameter space of the artwork, or gestural content, particularly directness of expressive detail. Whilst the traditional haptic rate timing deviations of expressivity in instrumental music are not approximated in code, why repeat the past? No doubt the writing of code and expression of thought will develop its own nuances and customs. "
Absolutely agree!
+ info: TOPLAP
Festival of Modern Music and Irritainment
Meaford, Ontario, Canada
Friday, August 4th to Sunday, August 6th, 2006
Installations from June 9th - August 7th, 2006
Artists this year:
Alexander Hacke (of Einstürzende Neubauten) [DE]
Tony Conrad [US]
Yuko Nexus6 [JP]
Gary Wilson [US]
Aki Onda + Mike Hansen + Tomasz Krakowiak [JP/ CAN]
Alexis O'Hara [CAN]
Rozasia (new band of Eugene Slonimerov, formerly of Lenin i Shumov) [CAN]
Coleman-Lemieux Dance Compagnie [CAN]
KNURL [CAN]
Bernhard Gal [DE / A]
AstroGroove [CAN]
Edwin van der Heide [NL]
Dorit Chrysler [US / A]
Danielle de Picciotto [DE / US]
Sarah Peebles [CAN]
Ken Baldwin Group [CAN]
Lary 7 [US]
Die Baader-Meinhoff Gruppe / Rote Armee Fraktion [CAN]
Michael Evans [US]
Thin Buckle [CAN]
Michael Caplan [CAN]
Gen Ken Montgomery [US]
Tim Rivers [CAN]
Ted's Range Road Diner Jam Band [CAN]
Mike Murphy [CAN]
DJ Failure [US]
DJ Record Player [CAN]