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pizmo [2006/07/14 16:48] julien créée |
pizmo [2007/07/10 16:36] (current) |
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+ | ====== PIZMO ====== | ||
+ | {{intersection:session2:affiche-pizmo.jpg }} | ||
+ | Le projet du collectif pizMO est de développer des moments musicaux événementiels quasi-improvisés | ||
+ | et programmés à partir de dispositifs audio-numériques, électroniques et informatiques. Le concert | ||
+ | est pour eux une sorte de "campement" temporaire (free laptop party ou open audio streaming), une | ||
+ | interface momentanée de leurs activités en continu sur les réseaux et sur les médias qu'ils explorent | ||
+ | (radio, édition, p2p, streamings, etc.). Lors de ces événements, ils s'associent à des collectifs vidéo | ||
+ | temps réel. | ||
+ | PizMO, acronyme de Projet Intermittent de Zone Musicale Objective, gravite autour d'un maillage constitué | ||
+ | d'autres projets comme Formanex, Kalerne.net, collectivejukebox.org, radiolabo, picNIC, PacJap?, Apo33?, | ||
+ | Nomusic.org, Tiramizu, etc. | ||
+ | |||
+ | http://pizmo.tk/ | ||
+ | http://www.studionex.com/ | ||
+ | http://jukebox.thing.net/labo.html | ||
+ | |||
+ | The project of the collective pizMO is to develop factual & event musical moments quasi-improvized | ||
+ | and programmed starting from digital audio, electronic and data-processing devices. The concert is | ||
+ | for them a kind of temporary "camping" (free laptop party or open audio streaming) - acapamentos -, | ||
+ | a temporary interface of their non-stop activities on the networks and the medias which they explore | ||
+ | (radio, edition, p2p, streamings, etc). During these events, they join friendly real time video | ||
+ | collectives. PizMO, acronym of Intermittent Project of Objective Musical Zone, revolves around a | ||
+ | grid made up of other projects like Formanex, Kalerne.net, collectivejukebox.org, radiolabo, picNIC, | ||
+ | PacJap?, Apo33?, Nomusic.org, Tiramizu, etc. | ||
+ | |||
+ | ................... | ||
+ | |||
+ | evolutive system ................... | ||
+ | |||
+ | audio network ................... | ||
+ | |||
+ | computing and acoustics ................... | ||
+ | |||
+ | mobile flux and research ................... | ||
+ | |||
+ | audio- and multisensory space ................... | ||
+ | |||
+ | ambient sampling duplication replication ................... | ||
+ | |||
+ | sonic glitches and residual sounds ................... | ||
+ | |||
+ | real-time and live results ................... | ||
+ | |||
+ | performed and fixed sounds ................... | ||
+ | |||
+ | political positions ................... | ||
+ | |||
+ | social involvements ................... | ||
+ | |||
+ | immaterial mutations ................... | ||
+ | |||
+ | catalyst for cooperation ................... | ||
+ | |||
+ | experimental strategies ................... | ||
+ | |||
+ | creative backbone & ramifications ................... | ||
+ | |||
+ | augmented and advanced workspace ................... | ||
+ | |||
+ | lo- & hi-tech ................... | ||
+ | |||
+ | free community manifesto ................... | ||
+ | |||
+ | critical audio-lounge ................... | ||
+ | |||
+ | listening groupware ................... | ||
+ | |||
+ | music on the edge ................... | ||
+ | |||
+ | multiple interfaces ................... | ||
+ | |||
+ | build your tools! ................... | ||
+ | |||
+ | minimal tools ................... | ||
+ | |||
+ | experimenting_sharing ................... | ||
+ | |||
+ | listen to digital artefacts ................... | ||
+ | |||
+ | on-line workshop ................... | ||
+ | |||
+ | open portable surfaces ................... | ||
+ | |||
+ | ogg mp3 & free tools ................... | ||
+ | |||
+ | send and receive exchanges ................... | ||
+ | |||
+ | polytope and telemusic ................... | ||
+ | |||
+ | electrola microsound demos ................... | ||
+ | |||
+ | homestudio ................... | ||
+ | |||
+ | rotomatic ................... | ||
+ | |||
+ | gnutella & xanadu jukebox ................... | ||
+ | |||
+ | mary had a little lamb ................... | ||
+ | |||
+ | |||
+ | ................... | ||
+ | ................... | ||
+ | ................... | ||
+ | |||
+ | " Using the powerful of intuition, innovation, and skill, we create experiences | ||
+ | with music that aren't just heard, they're felt. We call what we do audio | ||
+ | architecture. You'll call it amazing. " (from Muzak) | ||
+ | |||
+ | |||
+ | ................... | ||
+ | ................... | ||
+ | ................... | ||
+ | |||
+ | |||
+ | |||
+ | microsounddronehomestudiosampleambientcomputergeneratedaudio | ||
+ | |||
+ | ................... | ||
+ | ................... | ||
+ | ................... | ||
+ | history of pismo beach | ||
+ | second history of pizmo beach | ||
+ | third history of pizmo beach | ||
+ | fourth history of pizmo beach | ||
+ | fifth history of pizmo beach | ||
+ | history of pizmo beach (doc) | ||
+ | pismo beach today | ||
+ | welcome to pismo beach | ||
+ | a travel to pismo beach | ||
+ | pismo chamber | ||
+ | pismo beach on-line | ||
+ | pismo bowl | ||
+ | pismo powerbook | ||
+ | pismo users group | ||
+ | the weather there | ||
+ | pismo dunes | ||
+ | The Morning Wake-up Game | ||
+ | |||
+ | |||
+ | ................... | ||
+ | ................... | ||
+ | ................... | ||
+ | The stereotype of the deaf listener, unfortunately, still exists. If you ask musicians | ||
+ | what a deaf listener looks or sounds like, the answers will probably include 1) Uses | ||
+ | sign language, 2) can hear everything with a hearing aid or cochlea implant, 3) probably | ||
+ | has bad or different speaking skills, and 4) most probably will not be able to learn on | ||
+ | par with their hearing peers. Even though in some cases, the above may true, in most | ||
+ | cases only one of them may be true or all of them may be false. Regardless of what | ||
+ | musicians think on the basis of little or no experience with deaf listeners, they must | ||
+ | be prepared to recognize that difference of communication skills must be accommodated | ||
+ | in order for each individual deaf listener to reach their full potential. | ||
+ | |||
+ | traduction: (babelfish) | ||
+ | Le stéréotype de l'auditeur sourd, malheureusement, existe toujours. Si | ||
+ | vous demandez à des musiciens à quoi ressemble ou réagit un auditeur sourd, | ||
+ | les réponses incluront probablement 1) l'utilisation de la langue des signes, 2) peut | ||
+ | entendre tout avec une prothèse auditive ou un implant de la cochlée, 3) a probablement | ||
+ | une plus ou moins grande facilité à l'élocution, et 4) ne pourrait probablement pas écouter | ||
+ | au même niveau ou les mêmes choses que les autres auditeurs. Quoique dans certains cas, ce | ||
+ | qui précède puisse être rectifié, et que dans la plupart des cas seulement une de ces | ||
+ | réponses peut être vraie ou toutes peuvent être fausses. Indépendamment du fait que les | ||
+ | musiciens pensent sur la base de peu ou d'aucune expérience avec des auditeurs sourds, ils | ||
+ | doivent être disposés à identifier que la différence des facilités de communication doit être | ||
+ | adaptée afin que chaque auditeur sourd puisse atteindre son plein potentiel. | ||
+ | |||
+ | |||
+ | |||
+ | ................... | ||
+ | ................... | ||
+ | ................... | ||
+ | |||
+ | more infos on PIZMO [[http://pizmo.free.fr/|here]] | ||
+ | |||
+ | |||
+ | {{intersection:session2:invit-pizmo.jpg}} |