Amsterdam, 31/12/2021, 08:59 —
Outside it is moist and grey. The Weather app on my iPhone’s home screen shows a 13 degrees Celsius. “Highest temperatures ever measured in Holland on a Saint Sylvester’s Day!”, a national News site’s app’s notifications claim.

I did not look at the rest that makes…

Freely improvised and non-academic electroacoustic music {as}[by] urban folk[s] ~ part 7

from: Emergence at the frontiers and in fringes & trenches of contemporary music

In his contribution “Necessity and Choice in Musical Forms: Concerning musical and technical means and political needs” to [RJ], Chris Cutler gives the following four characteristics of the ‘Folk Mode’ of human music making (which he considers…

Freely improvised and non-academic electroacoustic music {as}[by] urban folk[s] ~ part 6

from: Emergence at the frontiers and in fringes & trenches of contemporary music

Apart from their intrinsic artistic interest, the many editions of Le Placard (especially in the period ranging from 1998 to, roughly, 2013), gathering together a variegated international group of artists, took on the rôle of a kind…

Freely improvised and non-academic electroacoustic music {as}[by] urban folk[s] ~ part 4

from: Emergence at the frontiers and in fringes & trenches of contemporary music

Music is a performing art. Almost all musicians, as performing artists and (sound) emitters, will (with the — as always — noteworthy exception of a small number of die-hard outsiders) feel a strong need to share their…

Freely improvised and non-academic electroacoustic music {as}[by] urban folk[s] ~ part 3

from: Emergence at the frontiers and in fringes & trenches of contemporary music

Out in the real world, as practitioners, it is pretty easy to delineate the psychosociogeographic -artistic, musical- subspace that encompasses the individuals -solo, or more or less loosely organised in groups; part of these will consider themselves…

Freely improvised and non-academic electroacoustic music {as}[by] urban folk[s] ~ part 1

from: Emergence at the frontiers and in fringes & trenches of contemporary music

Attempts at a rigorous and all-embracing definition of TKOMTIUH (an acronym that — hattip to TAFKAP — makes a wink at mid-1990s pop music history, standing as it does for ‘The Kind Of Music That Interests Us…

from: Emergence at the frontiers and in fringes & trenches of contemporary music

“We must listen to the voices that seem useless.
In brains full of long sewer pipes
of school wall, tarmac and welfare papers
the buzzing of insects must enter.
We must fill […] the ears of all of us with things…

October 31, 2021
The Art of K7~ Sudokaising
[ii] Time-Folds

In Sudoku Solutions, a recently published series of digital albums on Bandcamp, I use the numbers sequences obtained from solutions of sudoku number puzzles as instructions (that, of course, means as scores) to perform intertwined pseudo-looping double cut-ups of a…

aka Har$

is Harold Schellinx, a writer, artist, scientist living & working in Paris, Amsterdam & elsewhere (harsmedia.com).

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