position:composer

  • The Iraqi and Syrian refugees using body-mapping to share their stories

    What does it mean to flee one’s country and undertake the dangerous journey to Europe? What does it mean to suddenly lose everything and be forced to live in a different country? A new home, new school, new friends and a totally new life? To what extent does it influence family lives and the family unit as such? These are questions that a new research project, based at the University of Birmingham and funded by the British Academy, is tackling. The focus is not only on the changes occurring within refugee families, but equally on the impact of the influx of refugees on the host society.

    We use art as a research method to allow Iraqi and Syrian women and men to express their thoughts and feelings, on both their refugee journey and their new lives in their host countries. Fleeing one’s country puts enormous pressure and stress on an individual, both emotionally and physically. Using the artistic technique of body mapping proved to be very useful in this project, as it allowed participants to embody the emotional and psychological pain caused by their refugee experiences through art. Holding a paint brush, painting and being taught by a renowned artist, in this instance Rachel Gadsden, were for the majority of the participants a new experience. It provided them with a feeling of pride, achievement and self-fulfilment, at a time when they needed it the most. But what are they painting? How are they expressing their experiences? How do they portray themselves? What do they say about their new lives? Do their own narratives confirm widespread notions of their ‘vulnerability’?

    Decades of displacement

    Saddam Hussein’s decades of authoritarian rule in Iraq, the continuous political instability caused by his fall in 2003 and the rise of the so-called Islamic State (ISIS) in 2014 has forced over three million Iraqis to flee their country since the 1980s. Since the outbreak of the Syrian civil war in 2011, Syrians have become one of the largest groups of refugees, with more than five million civilians forced to flee to neighbouring Middle Eastern countries and to Europe. Many Iraqi and Syrian refugees have headed to Europe directly and settled in countries such as Germany or the UK, others went through multi-local trajectories of displacement in so-called ‘transit countries’ such as Jordan.

    Syrian and Iraqi societies are to a significant extent tribal and patriarchal in nature, with familial or community-based social networks often serving to protect their members. However, these networks may be disrupted or disappear entirely during a migration process, leaving women and children in particular in extremely vulnerable situations, unprotected by their family networks. Women, as well as children, very often find themselves in the most subservient and marginal positions, making them vulnerable to abuse and violence, inflicted either by social and religious communities or the state. Human trafficking operations have played a central role in facilitating immigration. In such circumstances, human traffickers who bring migrants across borders abuse women and children and force them into sexually exploitive occupations, or subject them to physical and sexual abuse themselves. Tackling violence against women and girls is one of the UK government’s most important goals. The UK’s aid report in 2015 highlights explicitly the challenges the UK faces regarding the conflict in Iraq and Syria and the need to support peace and stability abroad, in order to secure social and political stability in the UK. The UK government is working extensively towards implementing the ‘No One Behind Promise’, which strives to achieve gender equality, prioritise the empowerment of girls and women and end violence against them, within war zones, such as in Syria and Iraq, and during migration processes in particular.

    Women are often limited to gender-specific narratives of female vulnerability within patriarchal social structures. Without neglecting the fact that women are more affected by and subject to sexual and gender-based violence, the over 150 women we talked and worked with in our projects so far have another story to tell. In our art workshops, these women used art and body-mapping to express their powerful stories of resilience, endurance and survival.

    Gender roles in a time of war and instability

    “I never worked with fabric, but I learnt how to produce the most amazing clothes for women’s engagement and wedding parties. I go around clothing shops in the city and try to sell them. Now I have my own network of buyers. I earn more money now than my husband used to earn. He passed away five years ago and left me with three children to feed. Yes, they call me sharmuta – a slut – because I go around male merchants in town to see whether they would buy my products. I don’t sleep with them. I only sell them my dresses. I don’t do anything wrong. Therefore, I will not stop. I cannot stop. I have children to feed. The problem is not me – the problem is their dirty thinking, only because I am a woman and a good-looking one too [laughing].”

    The young Iraqi widow above was not the only female refugee in Jordan, the UK or in Germany who struggles with social stigmatisations and sexual harassment, on the way to and from work as well as in the workplace. Women’s independence is very often violently attacked, verbally and physically, in order to control women’s lives, bodies and sexuality. Refugee women’s pending legal status, their socio-economic integration and the degree of their security within the host environment change long-held values on family structures and socio-cultural expectations on gender roles. They also influence women and men’s own understanding of their roles which, in most cases, represents a shift from their traditional gender roles within their families. Women and men’s roles in family and society inevitably change in time of war and forced migration and society needs to adapt to this development. In order to achieve sustainable change in society’s perception, both men and women need to be socialised and equipped to understand these societal changes. This does not solely apply to the refugee communities, but also to the host communities, who are also influenced by the presence of these newcomers.

    Through stitching fabric onto their body map paintings or adding pictures of the food they cook to sell on the canvases, women express their attempts to survive. Through art, women can portray how they see themselves: strong in enduring the hardship, without neglecting the challenges they face. “I want to show the world out there that we are not poor victims. One woman like us is better and stronger than 100 men,” as one Iraqi in Germany explains. Another Syrian in the UK emphasised women’s resilience, saying “wherever we fall we will land straight. I want to paint my head up for these politicians to know that nothing will bend us”.

    Women in our art workshops see the production of their artwork and the planned art exhibitions as an opportunity to provide a different narrative on Muslim refugee women. It provided them with a space to articulate the challenges they faced, during and after their refugee journey, but also to create a bridge between the refugee communities and the host community. The artwork produced in the workshops helped to facilitate community bonding, integration and above all, as one Syrian in Jordan explains, “a better understanding of what we really are”.
    https://www.thebritishacademy.ac.uk/blog/summer-showcase-2019-iraqi-syrian-refugees-body-mapping
    #corps #cartographie #cartoexperiment #réfugiés #réfugiés_syriens #réfugiés_irakiens #asile #migrations #couture #femmes #genre #dessin
    ping @reka

    • Negotiating Relationships and Redefining Traditions: Syrian and Iraqi Women Refugees in Jordan
      Art workshops in Jordan April 2019

      Narratives of displacement is a research-based project of the University of Birmingham and funded by the British Academy, documenting the effects of the long and extensive conflict in Syria and the consequent process of significant temporary and permanent displacement of families, upon the marriages and the family-units of the many thousands of Syrian and Iraqi women affected, and now living as refugees, and as asylum-seekers, within several host nations, namely: Germany, UK and Jordan.

      The project is devised and directed by Dr Yafa Shanneik, and comprises at its core the collecting and collating of data, in several locations, in this instance within Jordan, by Shanneik, by means of a comprehensive and broad-reaching programme of interviews with women affected, personal testimony, that considers the sustainment of the marriage and the family unit, and those topics directly related to this, ranging from, the physical, and frequently arduous and perilous, journey from home to host country, to the shifting balance as to the family provider – affected in turn by, for example, skills and the availability of opportunity, psychological changes within individual family members, cultural differences within those host nations.

      Dr Shanneik is acutely conscious of the forced upheaval, the diaspora of no choosing, and the desire therefore, the longing, of those affected, to give voice to the emotional impact, simply to tell their own stories. And, for this reason she has enlisted the services of artist Dr Rachel Gadsden, who will, over an extended period, work with the interviewees, together with family members, mothers, sisters, children, to create mural-style artwork, using the body-mapping process as a starting-point, to depict not only the destruction they may have left behind, the harrowing passages and the significant demands imposed by the process of integration, but also, perhaps, the opportunities, both foreseen and unforeseen, of the new circumstances that they find themselves in.

      The artwork will serve an additional purpose: the opportunity for the testimony, the stories, to be presented to the outside world, a public voice in the form of an exhibition; and therefore, as a means of enhancing this experience, composer and musician Freddie Meyers has been commissioned to compose an original score integrates the Syrian and Iraqi narratives as part of a live art performance, that will sit alongside the exhibition of artworks, to provide an additional layer in terms of expressing the emotional response.

      The starting-point for this particular leg of the project is the one-time fortified town of Karak. Historically, Karak was always of importance, in its strategic location overlooking the easy trading route formed by the valley and the escarpment that is now the Kings Highway, running from north to south through the centre of the country. There will always have been a ‘stop-over’ here, and certainly in the time of the Nabateans, it would have been both a military base and one of many toll-gates, alongside of course Petra in the south, used to control the movement of frankincense, in particular, shipped and sold to Rome, that made the Nabateans so wealthy and enduring. Later, it was held by the Romans themselves, and later again the, Frankish, Crusaders, who used it as a means of protecting Jerusalem, until finally it was laid siege to and liberated by Saladin.

      This fascinating and colourful history is of great significance in terms of Narratives of Displacement, exemplifying as it does the history of the different forms of migration, movement, cross-cultural trade and interface that has been instrumental in forging the tolerant and diverse nature of modern Jordan.

      Since the conflict in Syria began it is understood that there are, conservatively, over a million Syrians currently taking refuge in Jordan, and the country therefore actively engages in seeking to understand the many and continuing pressures consequent to this, borne not only by the refugees themselves but by their hosts, and impinging upon the infrastructure and social and work environment, the better to accommodate the enormous influx.

      The project for five days has based itself at the Al Hassan Cultural Community centre, interestingly on the other side of the valley from, and having spectacular views of, the liberated fortress. Strategically this location is still of importance. Under the inspirational guidance of its director, Ouruba al Shamayle, the community centre houses an extensive library, research and study rooms, and also a brilliant 800 seat theatre and, used in conjunction with Karak University, attracts students hailing from every other part of the country, north and south.

      The immediate vicinity of the centre alone plays host to many hundreds of refugee families, and so over the juration of our stay the centre has witnessed a continuous visitation of the women and their families, attending for interview with Shanneik, and subsequently to interact in creating body-mapping paintings. The interviewing process has been successful and revealing in documenting individual narratives, and the participants have rendered their often-harrowing stories within a total so far of 7 narrative canvases.

      The venue has proved wholly appropriate for additional reasons. The centre plays host to the regular round-table forum of local community leaders, and consequently on Wednesday, Shanneik was given the opportunity to present to a near full complement of forum members including influential local tribal and community leaders. The talk generated considerable interest and discussion amongst the forum, who voiced their appreciation of the objectives, and offered continuing support.

      Subsequently the governor of Karak, Dr. Jamal Al Fayez, visited the centre to familiarize himself with the research, taking a short break for coffee and relaxed discussion about the project’s aims and objectives, and additionally contributing to the artwork underway, completing a part of the painted surface of one of the artworks, and also superimposing in charcoal some of the written word to be contained in the finished pieces.

      From Karak we journeyed north to Irbid where the weather took a turn for the worse. With the rain and the cold, we were conscious of how such conditions might affect our ability to link up with prospective artistic collaborators. The first workshop in Irbid brought together a group of both Syrian and Iraqi women and was hosted in a private home. A red plastic swing swaying in the sitting room, caught our attention. Our Iraqi host has 2 young children, a daughter, and a son who is autistic. The swing allows the son to continue to enjoy physical activity throughout the winter months – this winter, apparently, having been one of the longest. We painted two canvases; one that accommodated two Syrian sisters and our Iraqi host, and one created on traditional dark canvas and telling the stories of displacement of the four Iraqi women, designed in a circular pattern and evoking journeys and life’s force. After the women drew and painted, music filled the air as all the Iraqi women danced and sang traditional songs together. It was a joy for Yafa and Rachel to witness: art and music transports the mood, and the women let their feelings go, laughed, sang and danced together. Rachel recorded their ululation; to incorporate in the music and performance Freddie Meyers is composing.

      That night there was crashing thunder and flashes of lightning, so no surprise that our trip to Mafraq, further north, had to be postponed – flooding can be a hazard on these occasions as rainwater pours down from the mountains and fills up the dry wadis. So instead the project headed to a Palestinian refugee camp, to a society that supports orphaned children.

      Freddie and Tim were not able to join the workshop and so went off to film the surrounding area. Hearing the stories of migration is always a challenge, but as Yafa interviews the women a clear narrative emerges to guide the piecing together of the artwork. This time there were two Iraqi women and also two Syrian women. Despite living in the same building, the two Syrians had never before spoken to one another. One of the Iraqi women has been fantastically creative in her efforts to secure the lives of her children, taking whatever work she can to support her family, having been widowed five years ago. Adoption is rare in these communities so it was heartening to hear about the work of the society as it goes about raising funds to educate and support the young orphans. The psychological impact upon the women is invariably, but perhaps not always addressed or discussed, and the process of art and the interviews can be cathartic, allowing the women to be open and perhaps emotionally truthful about their predicament.

      The weather turned the following day, so Mafraq was back on the schedule. The project visited a centre that teaches basic skills to support and enable refugees to seek work. A group of five women who all had direct contact with the centre joined the workshop. The women were all from Homs, and its environs. One of the canvases tells of the many ways the refugees fled their homeland and made their way to Jordan, both north and south. The key factor that emerged was that all of the women wanted to hold hands in the painting. It is clear that they support one another. Yafa and Rachel had the opportunity to visit the temporary homes of three of the women. As is to be expected, living conditions can sometimes be difficult, with problems related to dampness, for example, lack of adequate heating, and overcrowding. Despite the challenges the women were making traditional food to sell in the market and doing whatever they could to make the daily conditions and circumstances for their families better.

      The final destination for the project was Amman, where the project was hosted at the Baqa’a Palestinian refugee camp. It was market day in Baqa’a so our journey into the camp was more a case of maneuvering around stallholders than following the road. Al Baqa’a camp was one of six “emergency” camps set up in 1968 to accommodate Palestine refugees and displaced people who left the West Bank and Gaza Strip as a result of the 1967 Arab-Israeli war. Over 200,000 people live in the camp now; the community has welcomed recently many Syrian and Iraqi refugees.

      We were hosted by an organisation that also supports orphans, and they had brought together the group of Syrian women refugees and their children for our art workshop. 
Their husbands and fathers are all missing as a direct result of the Syrian conflict. We hear this narrative often, the bravery of each of the women as they share their stories and continue to support their families in the best possible way they can, is humbling. 
We will be creating a full narrative artwork, but these images say so much already.

      14-sketches13-blue-muralWe were additional joined in this workshop by Nicola Hope and Laura Hope, friends of Rachel’s. Nicola is at University studying Arabic and is currently attending Arabic classes as part of her degree process in Amman, and Laura, an Italian literature teacher was visiting her daughter. Additionally so as not to let the men miss out of the experience of the centre and the Baqa’a hospitality, the hosts took all of us on a tour of the camp after the workshop.

      Having listened to many harrowing and challenging stories of displacement during their time in Jordan, told by the Syrian and Iraqi refugee artistic collaborators, at the forefront of Yafa’s and Rachel’s mind is the fact that displacement is never a temporary predicament, it is a continuing one. The emotional scars are life long, and they have yet to meet a single refugee whose greatest hope is anything other than to safely return home.

      This was even more evident at Baqa’a Refugee Camp. Vulnerable individuals have a remarkable ability to survive, and ultimately they have no other choice other than to do just that.

      https://www.birmingham.ac.uk/schools/ptr/departments/theologyandreligion/research/projects/narratives-of-displacement/blog.aspx
      #art

  • Kurt Weill opera silenced by Nazis to be heard again after 80 years | Stage | The Guardian

    https://www.theguardian.com/stage/2019/apr/27/kurt-weill-opera-the-tsar-wants-his-photograph-taken-revived-quashed-na

    Il y a quand même, parfois des bonnes nouvelles : Le grand Kurt Weill avec “le Tsar qui voulait sa photo” !

    German composer Kurt Weill is ranked high among the best of the 20th century and his music remains popular outside the classical world, from the enduring jazz standard Mack the Knife in his Threepenny Opera, to the Alabama Song covered by the Doors and David Bowie. But not all of Weill’s melodies survived the Nazi clampdown on Jewish culture.

    Now, thanks to the work of an academic at University College London, a suppressed Weill stage hit that posed a puzzle for modern musicians is to be revived and performed in a fresh translation. The research of Michael Berkowitz, professor of Jewish history at UCL, in collaboration with the show’s new translator and director, Leo Doulton, has unlocked the mystery of The Tsar Wants His Photograph Taken and made it clear why this satirical work of 1927 was once so heavily suppressed. A performance on 4 May, the first with a full professional cast and orchestra for almost 40 years, will at last set the opera in its proper context, after 80 years of being largely ignored both in Germany and elsewhere.

    #musique #kurt_weill #opéra

  • #Vito_Ricci & #Lise_Vachon
    http://www.radiopanik.org/emissions/moacrealsloa/vito-ricci-lise-vachon

    Vito Ricci grown up in Brooklyn and Lise Vachon in Montreal. Now both living in Queens, New York.

    Photo (c) Laurent Orseau

    Playlist at the end of the page.

    Vito Ricci’s leading edge instinct and creativity have made him a vital and prolific composer of illuminating and compelling works. Infused with poignancy and honesty, his music has the power to linger in the listener’s memory. An artist who has been called “composer of wide ranging and obsessively fascinating collection of works” by the Wire, and his soundtracks compared to “heirloom seeds put back in circulation” byPitchfork and “elegant and snappy” by the New York Times. Vito Ricci has been on the leading edge of the downtown music scene since 1979.

    During his thirty-year-plus career, Mr. Ricci has scored over fifty (...)

    #Jacob_Burkhardt #Zummo #Ursula_Mamlok #Byard_Lancaster #FLie_lux_Quartet #Eleanor_Cory #Ornette_Coleman #The_Woster_Group #Blue_Gene_Tyranny #Rashied_Ali #Martin_Goldray #Bob_Holman #Jacob_Burkhardt,Zummo,Ursula_Mamlok,Byard_Lancaster,FLie_lux_Quartet,Eleanor_Cory,Ornette_Coleman,The_Woster_Group,Lise_Vachon,Blue_Gene_Tyranny,Vito_Ricci,Rashied_Ali,Martin_Goldray,Bob_Holman
    http://www.radiopanik.org/media/sounds/moacrealsloa/vito-ricci-lise-vachon_06556__1.mp3

  • Pétition de personnalités britanniques (Vivienne Westwood, Peter Gabriel, Mike Leigh, Julie Christie, Maxine Peake, Wolf Alice, Roger Waters, Caryl Churchill, Al Kennedy) contre la tenue de l’Eurovision en israel et sa diffusion par la BBC.

    (un article en parlait déjà là: https://seenthis.net/messages/756450 )

    The BBC should press for Eurovision to be moved from Israel
    The Guardian, le 29 janvier 2019
    https://www.theguardian.com/tv-and-radio/2019/jan/29/the-bbc-should-press-for-eurovision-to-be-moved-from-israel

    Traduction en français:

    La BBC devrait faire pression pour que l’Eurovision n’ait pas lieu en Israël
    The Guardian, le 29 janvier 2019
    http://www.agencemediapalestine.fr/blog/2019/01/31/la-bbc-devrait-faire-pression-pour-que-leurovision-nait-pas-lie

    Peter Ahrends, architect
    Amir Amirani, filmmaker
    Jonathan Arndell, architect, artist
    Roy Battersby, director
    Bloody Knees, band
    brave timbers, band
    Jen Brister, comedian
    Carmen Callil, publisher, writer
    Taghrid Choucair-Vizoso, performer
    Julie Christie, actor
    Ian Christie, film historian, broadcaster
    Chipo Chung, actor
    Caryl Churchill, playwright
    Michael Darlow, tv writer and director
    Paula Darwish, musician
    April De Angelis, playwright
    Tam Dean Burn, actor
    Drones Club, band
    Nancy Elan, violin
    Gareth Evans, producer, curator
    Peter Gabriel, musician, founder WOMAD festival
    Lots Holloway, singer, songwriter
    Rachel Holmes, writer
    Brigid Keenan, author
    Patrick Keiller, artist, filmmaker
    Reem Kelani, musician, broadcaster
    AL Kennedy, writer
    Desmond Lambert, musician
    Mike Leigh, writer, director
    Ken Loach, director
    Sabrina Mahfouz, writer
    Miriam Margolyes, actor
    Yann Martel, writer
    Declan McKenna, singer, songwriter
    JD Meatyard, musician
    Pauline Melville, writer
    Giuliano Modarelli, musician, composer
    Object Blue, DJ
    Maxine Peake, actor
    Jocelyn Pook, composer
    TJ Rehmi, composer, producer
    Reverend & the Makers, band
    Leon Rosselson, songwriter
    Rrose, DJ
    Alexei Sayle, comedian, author
    David Scott, music producer
    Nick Seymour, musician
    Sarah Streatfeild, violin
    Roger Waters, musician
    Vivienne Westwood, fashion designer
    Wolf Alice, band

    #Palestine #Eurovision #BDS #Boycott #BBC #Grande-Bretagne

  • The composer whose brother took all the credit - BBC News

    https://www.bbc.com/news/av/world-46261010/the-unsung-life-of-the-composer-fanny-mendelssohn

    The unsung life of the composer Fanny Mendelssohn

    BBC 100 Women is celebrating talented women from history whose work has been overshadowed by their male relatives.

    #Fanny_Mendelssohn composed more than 400 works of music, but the only pieces of hers published in her lifetime were published under her brother’s name.

    #compositrice #musique

  • HARDY FOX -------- BRAIN CANCER -------- 1945 - 2018
    http://www.hardyfox.com/home

    Hardy Fox grew up in Texas. After college he moved to San Francisco reveling in the free love days of 1967-68. He co-founded the much loved cult band, the Residents, where he was primary composer.

    Hardy retired from The Residents in 2015 but continued to compose for the group through 2018. In addition to his work with that band, he has recorded as a solo artist under various names including Charles Bobuck, Combo de Mechanico, Sonido de la Noche, Chuck, TAR, among others.

    #the_residents

  • Sony Finally Admits It Doesn’t Own Bach and It Only Took a Bunch of Public Pressure | Electronic Frontier Foundation
    https://www.eff.org/takedowns/sony-finally-admits-it-doesnt-own-bach-and-it-only-took-public-pressure

    Toujours plus fabuleux le copyfraud...

    Here’s the thing about different people playing the same piece of music: sometimes, they’re going to sound similar. And when music is by a composer who died 268 years ago, putting his music in the public domain, a bunch of people might record it and some of them might put it online. In this situation, a combination of copyright bots and corporate intransigence led to a Kafkaesque attack on music.

    Musician James Rhodes put a video of himself playing Bach on Facebook. Sony Music Entertainment claimed that 47 seconds of that performance belonged to them. Facebook muted the video as a result.

    So far, this is stupid but not unusually stupid in the world of takedowns. It’s what happened after Rhodes got Sony’s notice that earned it a place in the Hall of Shame.

    One argument in favor of this process is that there are supposed to be checks and balances. Takedown notices are supposed to only be sent by someone who owns the copyright in the material and actually believes that copyright’s been infringed. And if a takedown notice is wrong, a counter-notice can be sent by someone explaining that they own the work or that it’s not infringement.

    Counter-notices have a lot of problems, not the least of which is that the requirements are onerous for small-time creators, requiring a fair bit of personal information. There’s always the fear that, even for someone who knows they own the work, that the other side will sue them anyway, which they cannot afford.

    Rhodes did dispute the claim, explaining that “this is my own performance of Bach. Who died 300 years ago. I own all the rights.” Sony rejected this reasoning.

    While we don’t know for sure what Sony’s process is, we can guess that a copyright bot, or a human acting just as mechanically, was at the center of this mess. A human doing actual analysis would have looked at a video of a man playing a piece of music older than American copyright law and determined that it was not something they owned. It almost feels like an automatic response also rejected Rhodes’ appeal, because we certainly hope a thoughtful person would have received his notice and accepted it.

    Rhodes took his story to Twitter, where it picked up some steam, and emailed the heads of Sony Classical and Sony’s public relations, eventually getting his audio restored. He tweeted “What about the thousands of other musicians without that reach…?” He raises a good point.

    None of the supposed checks worked. Public pressure and the persistence of Rhodes was the only reason this complaint went away, despite how the rules are supposed to protect fair use and the public domain.

    How many more ways do we need to say that copyright bots and filters don’t work? That mandating them, as the European Union is poised to do, is dangerous and shortsighted? We hear about these misfires roughly the same way they get resolved: because they generate enough noise. How many more lead to a creator’s work being taken down with no recourse?
    Original Title of Threatened Content:
    Bach! From his 1st Partita
    Original location:
    https://www.facebook.com/jamesrhodespiano/videos/232063150806956
    Date of threat or takedown:
    September 4, 2018

    #Domaine_public #Sony #Bach #Copyfraud

  • The future is here today : you can’t play Bach on Facebook because Sony says they own his compositions
    https://boingboing.net/2018/09/05/mozart-bach-sorta-mach.html

    James Rhodes, a pianist, performed a Bach composition for his Facebook account, but it didn’t go up — Facebook’s copyright filtering system pulled it down and accused him of copyright infringement because Sony Music Global had claimed that they owned 47 seconds’ worth of his personal performance of a song whose composer has been dead for 300 years. This is a glimpse of the near future. In one week, the European Parliament will vote on a proposal to force all online services to implement (...)

    #Sony #Facebook #algorithme #ContentID #Robocopyright #censure #filtrage

    • his personal performance

      On doit bien pouvoir dire que c’est bien son interprétation à lui, sur son instrument à lui, qui a été reconnue comme un plagiat d’un enregistrement de Sony.

      Et là, c’est une des références du texte : le chercheur publie des enregistrements antérieurs dans le domaine public, reconnus simplement par la signature musicale...

      Les contrôleurs vont faire valoir que c’est un risque à courir afin de défendre les bases de notre civilisation... et que l’intelligence artificielle va s’améliorer... et qu’il y a une procédure d’appel.

      Can Beethoven send takedown requests ? A first-hand account of one German professor’s experience with overly broad upload filters – Wikimedia Foundation
      https://wikimediafoundation.org/2018/08/27/can-beethoven-send-takedown-requests-a-first-hand-account-of-on

      I decided to open a different YouTube account “Labeltest” to share additional excerpts of copyright-free music. I quickly received ContentID notifications for copyright-free music by Bartok, Schubert, Puccini and Wagner. Again and again, YouTube told me that I was violating the copyright of these long-dead composers, despite all of my uploads existing in the public domain. I appealed each of these decisions, explaining that 1) the composers of these works had been dead for more than 70 years, 2) the recordings were first published before 1963, and 3) these takedown request did not provide justification in their property rights under the German Copyright Act.

      I only received more notices, this time about a recording of Beethoven’s Symphony No.5, which was accompanied by the message: “Copyrighted content was found in your video. The claimant allows its content to be used in your YouTube video. However, advertisements may be displayed.” Once again, this was a mistaken notification. The recording was one by the Berlin Philharmonic under the direction of Lorin Maazel, which was released in 1961 and is therefore in the public domain. Seeking help, I emailed YouTube, but their reply, “[…] thank you for contacting Google Inc. Please note that due to the large number of enquiries, e-mails received at this e-mail address support-de@google.com cannot be read and acknowledged” was less than reassuring.

  • Plus de 140 artistes (dont une vingtaine de français) de 18 pays, dont des participants à l’Eurovision signent une lettre appelant au boycott de l’Eurovision 2019 si elle a lieu en israel:

    Eurovision, ne blanchissez pas l’occupation militaire et les violations des droits humains par Israël
    The Guardian, le 7 septembre 2018
    https://www.bdsfrance.org/plus-de-140-artistes-signent-une-lettre-appelant-au-boycott-de-leurovisio

    Boycott Eurovision Song Contest hosted by Israel
    The Guardian, le 7 septembre 2018
    https://www.theguardian.com/tv-and-radio/2018/sep/07/boycott-eurovision-song-contest-hosted-by-israel

    L-FRESH The LION, musician, Eurovision 2018 national judge (Australia)
    Helen Razer, broadcaster, writer (Australia)
    Candy Bowers, actor, writer, theatre director (Australia)
    Blak Douglas, artist (Australia)
    Nick Seymour, musician, producer (Australia)
    DAAN, musician, songwriter (Belgium)
    Daan Hugaert, actor (Belgium)
    Alain Platel, choreographer, theatre director (Belgium)
    Marijke Pinoy, actor (Belgium)
    Code Rouge, band (Belgium)
    DJ Murdock, DJ (Belgium)
    Helmut Lotti, singer (Belgium)
    Raymond Van het Groenewoud, musician (Belgium)
    Stef Kamil Carlens, musician, composer (Belgium)
    Charles Ducal, poet, writer (Belgium)
    Fikry El Azzouzi, novelist, playwright (Belgium)
    Erik Vlaminck, novelist, playwright (Belgium)
    Rachida Lamrabet, writer (Belgium)
    Slongs Dievanongs, musician (Belgium)
    Chokri Ben Chikha, actor, theatre director (Belgium)
    Yann Martel, novelist (Canada)
    Karina Willumsen, musician, composer (Denmark)
    Kirsten Thorup, novelist, poet (Denmark)
    Arne Würgler, musician (Denmark)
    Jesper Christensen, actor (Denmark)
    Tove Bornhoeft, actor, theatre director (Denmark)
    Anne Marie Helger, actor (Denmark)
    Tina Enghoff, visual artist (Denmark)
    Nassim Al Dogom, musician (Denmark)
    Patchanka, band (Denmark)
    Raske Penge, songwriter, singer (Denmark)
    Oktoberkoret, choir (Denmark)
    Nils Vest, film director (Denmark)
    Britta Lillesoe, actor (Denmark)
    Kaija Kärkinen, singer, Eurovision 1991 finalist (Finland)
    Kyösti Laihi, musician, Eurovision 1988 finalist (Finland)
    Kimmo Pohjonen, musician (Finland)
    Paleface, musician (Finland)
    Manuela Bosco, actor, novelist, artist (Finland)
    Noora Dadu, actor (Finland)
    Pirjo Honkasalo, film-maker (Finland)
    Ria Kataja, actor (Finland)
    Tommi Korpela, actor (Finland)
    Krista Kosonen, actor (Finland)
    Elsa Saisio, actor (Finland)
    Martti Suosalo, actor, singer (Finland)
    Virpi Suutari, film director (Finland)
    Aki Kaurismäki, film director, screenwriter (Finland)
    Pekka Strang, actor, artistic director (Finland)
    HK, singer (France)
    Dominique Grange, singer (France)
    Imhotep, DJ, producer (France)
    Francesca Solleville, singer (France)
    Elli Medeiros, singer, actor (France)
    Mouss & Hakim, band (France)
    Alain Guiraudie, film director, screenwriter (France)
    Tardi, comics artist (France)
    Gérard Mordillat, novelist, filmmaker (France)
    Eyal Sivan, film-maker (France)
    Rémo Gary, singer (France)
    Dominique Delahaye, novelist, musician (France)
    Philippe Delaigue, author, theatre director (France)
    Michel Kemper, online newspaper editor-in-chief (France)
    Michèle Bernard, singer-songwriter (France)
    Gérard Morel, theatre actor, director, singer (France)
    Daði Freyr, musician, Eurovision 2017 national selection finalist (Iceland)
    Hildur Kristín Stefánsdóttir, musician, Eurovision 2017 national selection finalist (Iceland)
    Mike Murphy, broadcaster, eight-time Eurovision commentator (Ireland)
    Mary Black, singer (Ireland)
    Christy Moore, singer, musician (Ireland)
    Charlie McGettigan, musician, songwriter, Eurovision 1994 winner (Ireland)
    Mary Coughlan, singer (Ireland)
    Luka Bloom, singer (Ireland)
    Robert Ballagh, artist, Riverdance set designer (Ireland)
    Aviad Albert, musician (Israel)
    Michal Sapir, musician, writer (Israel)
    Ohal Grietzer, musician (Israel)
    Yonatan Shapira, musician (Israel)
    Danielle Ravitzki, musician, visual artist (Israel)
    David Opp, artist (Israel)
    Assalti Frontali, band (Italy)
    Radiodervish, band (Italy)
    Moni Ovadia, actor, singer, playwright (Italy)
    Vauro, journalist, cartoonist (Italy)
    Pinko Tomažič Partisan Choir, choir (Italy)
    Jorit, street artist (Italy)
    Marthe Valle, singer (Norway)
    Mari Boine, musician, composer (Norway)
    Aslak Heika Hætta Bjørn, singer (Norway)
    Nils Petter Molvær, musician, composer (Norway)
    Moddi, singer (Norway)
    Jørn Simen Øverli, singer (Norway)
    Nosizwe, musician, actor (Norway)
    Bugge Wesseltoft, musician, composer (Norway)
    Lars Klevstrand, musician, composer, actor (Norway)
    Trond Ingebretsen, musician (Norway)
    José Mário Branco, musician, composer (Portugal)
    Francisco Fanhais, singer (Portugal)
    Tiago Rodrigues, artistic director, Portuguese national theatre (Portugal)
    Patrícia Portela, playwright, author (Portugal)
    Chullage, musician (Portugal)
    António Pedro Vasconcelos, film director (Portugal)
    José Luis Peixoto, novelist (Portugal)
    N’toko, musician (Slovenia)
    ŽPZ Kombinat, choir (Slovenia)
    Lluís Llach, composer, singer-songwriter (Spanish state)
    Marinah, singer (Spanish state)
    Riot Propaganda, band (Spanish state)
    Fermin Muguruza, musician (Spanish state)
    Kase.O, musician (Spanish state)
    Soweto, band (Spanish state)
    Itaca Band, band (Spanish state)
    Tremenda Jauría, band (Spanish state)
    Teresa Aranguren, journalist (Spanish state)
    Julio Perez del Campo, film director (Spanish state)
    Nicky Triphook, singer (Spanish state)
    Pau Alabajos, singer-songwriter (Spanish state)
    Mafalda, band (Spanish state)
    Zoo, band (Spanish state)
    Smoking Souls, band (Spanish state)
    Olof Dreijer, DJ, producer (Sweden)
    Karin Dreijer, singer, producer (Sweden)
    Dror Feiler, musician, composer (Sweden)
    Michel Bühler, singer, playwright, novelist (Switzerland)
    Wolf Alice, band (UK)
    Carmen Callil, publisher, writer (UK)
    Julie Christie, actor (UK)
    Caryl Churchill, playwright (UK)
    Brian Eno, composer, producer (UK)
    AL Kennedy, writer (UK)
    Peter Kosminsky, writer, film director (UK)
    Paul Laverty, scriptwriter (UK)
    Mike Leigh, writer, film and theatre director (UK)
    Ken Loach, film director (UK)
    Alexei Sayle, writer, comedian (UK)
    Roger Waters, musician (UK)
    Penny Woolcock, film-maker, opera director (UK)
    Leon Rosselson, songwriter (UK)
    Sabrina Mahfouz, writer, poet (UK)
    Eve Ensler, playwright (US)
    Alia Shawkat, actor (US)

    #Palestine #BDS #Boycott_culturel #Eurovision

  • Kelly Moran shares her debut track on Warp, ‘Helix (Edit)’. New album ‘Ultraviolet’ out 2 November.
    https://www.youtube.com/watch?v=JHLJMlTzTMQ&feature=push-u-sub&attr_tag=lCHVdvEKSJsTRt4d%3A6

    The composer, producer, keyboardist and multi-instrumentalist made an early name for herself in New York collaborating with dance performance and composing for long-term John Cage collaborator Margaret Leng Tan, and, most recently, performing around the world as part of Oneohtrix Point Never’s live ‘MYRIAD’ tour ensemble. ‘Ultraviolet’ plays to a wide, arresting array of stylistic influences, from jazz and dream pop, to classical composition and black metal.

    #Kelly_Moran #Ultraviolet #keyboardist #multi_instrumentalist

  • #hyperledger Composer has been put on pause, what are your options now?
    https://hackernoon.com/hyperledger-composer-has-been-put-on-pause-what-are-your-options-now-dfc

    Pretty recently the team from Hyperledger Composer posted a relevant note for any software developer creating on top of Composer. Its content could be quite shocking for a lot people in the community, since the project has always proven to be so robust.Basically what Simon outlines in the note, posted on August 30, 2018, is that even though a lot of efforts has been invested in the Composer project, they will mostly stop bringing new features to it. In synthesis the main reasons are regarding its growing architecture and the difficulties to maintain it. According to the note, they will focus more on bringing more features straight to Fabric (which is great for all of us!).“The IBM team will continue to update Composer to maintain compatibility with the latest Fabric v1.x releases, and we (...)

    #hyperledger-composer #javascript #blockchain #smart-contracts

  • PVS-Studio 6.24 released
    http://isocpp.org/feeder/?FeederAction=clicked&feed=All+Posts&seed=http%3A%2F%2Fisocpp.org%2Fblog%2F2

    A new release of the PVS-Studio static code analyzer became available to download. This tool is designed to detect errors and potential vulnerabilities in the source code of programs, written in C, C++, and C#.

    PVS-Studio 6.24 released by Andrey Karpov

    From the article:

    Support for Texas Instruments Code Composer Studio, ARM compiler was added under Windows\Linux. 8 new diagnostics were introduced to detect errors in C and C++ code. In addition to the development of new diagnostics, we continue improving Data-Flow analysis that enables old diagnostics find more bugs. Thanks to these improvements, the analyzer finds more interesting errors, like the one we described in the article “February 31”. Download and try (...)

    #Product_News,

  • Female composers largely ignored by concert line-ups | Music | The Guardian
    https://www.theguardian.com/music/2018/jun/13/female-composers-largely-ignored-by-concert-line-ups

    Women in Music project finds that in 1,445 classical concerts across globe only 76 include a work by a woman

    Mark Brown Arts correspondent

    Wed 13 Jun 2018 19.02 BST
    Last modified on Wed 13 Jun 2018 22.35 BST

    Composer Emily Hall
    The composer Emily Hall: ‘One work at least by a female composer – that should be standard now.’ Photograph: Rob Orchard

    New statistics have shown up the “inexcusable” fact that only 76 classical concerts among 1,445 performed across the world from this year to 2019 include at least one piece by a woman.

    #musique #compositrices #discrimibation

  • The Larger the Theater, the Faster the Music - Issue 61: Coordinates
    http://nautil.us/issue/61/coordinates/the-larger-the-theater-the-faster-the-music

    This article is part of Nautilus’ month-long exploration of the science and art of time. Read the introduction here.How is composing music of a given meter similar to painting flowing water? In this conversation between the composer and musician Philip Glass and the painter Fredericka Foster, two artists set out to tackle this question, before flowing into questions of memory, physics, and death. Glass and Foster met in the late 1990s through their mutual interest in Buddhism. They shared a teacher, Gelek Rimpoche, and attended yearly meditation retreats together in Ann Arbor, Michigan. When I invited them to have a conversation about time, they both responded with great interest and curiosity. How better to reflect, they said, on a decades-long relationship that had been sparked by (...)

  • What the Russian Revolution meant for modern art and culture - World Socialist Web Site

    https://www.wsws.org/en/articles/2018/02/28/talk-f28.html

    Arts editor David Walsh speaks on the centenary of the October Revolution
    What the Russian Revolution meant for modern art and culture
    By David Walsh
    28 February 2018

    We post here a talk given by WSWS arts editor David Walsh to several college audiences in December and January, to mark the centenary of the October Revolution.

    “But the new art, which will lay out new landmarks, and which will expand the channel of creative art, can be created only by those who are at one with their epoch… ”
    —Trotsky, Literature and Revolution

    #art #révolution_russe #urss #union_soviétique #culture #soviétisme

    • There is a remarkable photograph from the late 1920s of composer Dmitri Shostakovich, theater director Vsevolod Meyerhold, poet Vladimir Mayakovsky and artist-designer-photographer Alexander Rodchenko. Shostakovich, because of his international fame, survived, but the fates of the others illustrate Trotsky’s point: Mayakovsky committed suicide, Meyerhold died in the purges, Rodchenko “became silent.”
      Four artistic geniuses. There is a deeply tragic element to the fate of the Russian Revolution and its participants and supporters, almost unimaginably so.

      pour légender la photo

      #Chostakovitch #Meyerhold #Maïakovski #Rodtchenko

  • Watch Gyorgy Ligeti’s Electronic Masterpiece Artikulation Get Brought to Life by Rainer Wehinger’s Brilliant Visual Score
    http://www.openculture.com/2018/01/watch-gyorgy-ligetis-electronic-masterpiece-artikulation-get-brought-to

    https://www.youtube.com/watch?v=71hNl_skTZQ

    Even if you don’t know the name György Ligeti, you probably already associate his music with a set of mesmerizing visions. The work of that Hungarian composer of 20th-century classical music appealed mightily to Stanley Kubrick, so much so that he used four of Ligeti’s pieces to score 2001: A Space Odyssey. One of them, 1962’s Aventures, plays over the final scenes in an electronically altered form, which drew a lawsuit from the composer who’d been unaware of the modification. But he didn’t do it out of purism: though he wrote, over his long career, almost entirely for traditional instruments, he’d made a couple forays into electronic music himself a decade earlier.

    Ligeti fled Hungary for Vienna in 1956, soon afterward making his way to Cologne, where he met the electronically innovative likes of Karlheinz Stockhausen and Gottfried Michael Koenig and worked in West German Radio’s Studio for Electronic Music.

  • Hear a Newly Found #Kurt_Weill Song That Surprised Experts - The New York Times

    https://www.nytimes.com/2017/11/06/arts/music/kurt-weill-song-of-the-white-cheese-discovered.html

    Merveille signalée par Irène (merci Irène B.)

    A previously unknown song by Kurt Weill, the composer best known for “The Threepenny Opera,” has been discovered in Berlin and taken some of the world’s pre-eminent Weill experts by total surprise.

    The piece, “Lied vom weissen Käse” (“Song of the White Cheese”) — which was written for a Weimar-era musical revue and sung by the actress Lotte Lenya, Weill’s wife — was recently found in an archive unrelated to Weill at the Free University of Berlin and is the most significant discovery of the composer’s music since the early 1980s. The song previously existed only in Lenya’s memory and was written off as chimerical.

    #chanson #musique

  • Piotr Ilitch Tchaïkovski - Concerto pour piano nº 1
    https://fr.wikipedia.org/wiki/Concerto_pour_piano_n%C2%BA_1_de_Tcha%C3%AFkovski

    https://www.youtube.com/watch?v=NUaxBavIBDk

    Van Cliburn on piano and Kiril Kondrashin conducting.
    ...
    We now know that this is not the version #Tchaikovsky wrote! The Tchaikovsky Research Foundation has edited a new 2015 urtext version based on the composer’s final thoughts, not the accretions foisted on the score by students and virtuosos. The pianist Kirill Gerstein has called the thunderous opening chords ’Soviet Bombs,’ especially because Tchaikovsky never wrote them. But of course they are effective and thrilling!

    https://en.wikipedia.org/wiki/Piano_Concerto_No._1_(Tchaikovsky)#History

    Russian music historian Francis Maes writes that because of its independence from the rest of the work,
    [f]or a long time, the introduction posed an enigma to analysts and critics alike.…The key to the link between the introduction and what follows is…Tchaikovsky’s gift of hiding motivic connections behind what appears to be a flash of melodic inspiration. The opening melody comprises the most important motivic core elements for the entire work, something that is not immediately obvious, owing to its lyric quality. However, a closer analysis shows that the themes of the three movements are subtly linked. Tchaikovsky presents his structural material in a spontaneous, lyrical manner, yet with a high degree of planning and calculation.
    ...
    Tchaikovsky revised the concerto three times, the last being in 1888, which is the version usually now played. One of the most prominent differences between the original and final versions is that in the opening section, the octave chords played by the pianist, over which the orchestra plays the famous theme, were originally written as arpeggios. The work was also arranged for two pianos by Tchaikovsky, in December 1874; this edition was revised December 1888.

    #musique #Russie #Tchaïkovski

  • Georgijs Osokins is a piano provocateur | Georgia Straight Vancouver’s News & Entertainment Weekly

    http://www.straight.com/arts/699856/georgijs-osokins-piano-provocateur

    Latvian piano sensation Georgijs Osokins may be only 21, but he’s already stirring up the classical-music world with his radical interpretations of Frédéric Chopin’s music.

    At last year’s 17th International Chopin Piano Competition, in fact, he was considered too revolutionary to take the prize, but he ranked as a much-talked-about finalist and critics went gaga, calling him “exceptional,” “unpredictable”, and “original”. It’s exciting stuff, and well worth a jaunt to the Vancouver Chopin Society’s presentation at the Playhouse on Thursday night (May 19), where we’ll get to see the talent put his fingers to the works of Scarlatti, Beethoven, Rachmaninoff, Scriabin, and, of course, Poland’s greatest composer.

    #musique #lettonie #modernité #piano