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Jens Brand
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TWENTY-FIRST CENTURY'S FUEL SUFFICIENCY ROADMAP
We badly need new sources of clean energy to generate electricity, heat and power our industries, homes and workplaces. Up to now, we have relied on and used only fossil fuels to power our industrial and domestic activities. The byproducts of fossil fuels include: irreversible pollution and contamination of our Earth, climate change, global warming, and increase in pathogenic and medication-resistant diseases. Exhaustible fossil fuels are expensive to produce and distribute, and not everybody can afford them. Why not switch to natural, non-polluting, inexpensive, inexhaustible fuels such as solar, wind, water, etc., fuels? This is the timely message contained in TWENTY-FIRST CENTURY'S FUEL SUFFICIENCY ROADMAP. You can make this message realisable. Go on reading! Thanks.
By Sheer Accident
Two friends, Jens and Gary, both Dutch, travel in 1992 to California for a sports training camp and are involved in a devastating plane crash. They barely survive; out of the twenty-two people on board sixteen are killed, including two of their Dutch team mates. A young Dutch woman, who unknowingly belongs to a subculture guided by underground powers, is indirectly involved in the accident. Back home she tries to find the Dutch survivors. Jens and Gary experience the most difficult period of their life; having to deal with the grief of losing their friends and recovering from severe injuries. In the period after the accident, their lives start changing. They are caught up in events they neve...
Handmade Electronic Music
Handmade Electronic Music: The Art of Hardware Hacking provides a long-needed, practical, and engaging introduction to the craft of making—as well as creatively cannibalizing—electronic circuits for artistic purposes. With a sense of adventure and no prior knowledge, the reader can subvert the intentions designed into devices such as radios and toys to discover a new sonic world. You will also learn how to make contact microphones, pickups for electromagnetic fields, oscillators, distortion boxes, mixers, and unusual signal processors cheaply and quickly. At a time when computers dominate music production, this book offers a rare glimpse into the core technology of early live electronic ...
No Medium
Close readings of ostensibly “blank” works—from unprinted pages to silent music—that point to a new understanding of media. In No Medium, Craig Dworkin looks at works that are blank, erased, clear, or silent, writing critically and substantively about works for which there would seem to be not only nothing to see but nothing to say. Examined closely, these ostensibly contentless works of art, literature, and music point to a new understanding of media and the limits of the artistic object. Dworkin considers works predicated on blank sheets of paper, from a fictional collection of poems in Jean Cocteau's Orphée to the actual publication of a ream of typing paper as a book of poetry; ...
The Projected and Prophetic: Humanity in Cyberculture, Cyberspace, and Science Fiction
The papers collected in this volume document the exchange and development of ideas that comprised the 5th Global Conference on Visions of Humanity in Cyberculture, Cyberspace, and Science Fiction, hosted at Mansfield College, Oxford, United Kingdom, in July 2010.
The Cambridge Companion to Electronic Music
Now updated and expanded with four new chapters, this book explores the history, theory, creation and analysis of electronic music.
Sonic Flux
From Edison’s invention of the phonograph through contemporary field recording and sound installation, artists have become attracted to those domains against which music has always defined itself: noise, silence, and environmental sound. Christoph Cox argues that these developments in the sonic arts are not only aesthetically but also philosophically significant, revealing sound to be a continuous material flow to which human expressions contribute but which precedes and exceeds those expressions. Cox shows how, over the course of the twentieth and twenty-first centuries, philosophers and sonic artists have explored this “sonic flux.” Through the philosophical analysis of works by John Cage, Maryanne Amacher, Max Neuhaus, Christian Marclay, and many others, Sonic Flux contributes to the development of a materialist metaphysics and poses a challenge to the prevailing positions in cultural theory, proposing a realist and materialist aesthetics able to account not only for sonic art but for artistic production in general.
Punch
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