138,201 research outputs found
Knowles, D, WX254
No full textThis record was harvested from a previous catalogue system and will be withdrawn in 2025. Information in this record may be superseded or incomplete. Visit this record in UMA's new catalogue at: https://archives.library.unimelb.edu.au/nodes/view/397685Surname: KNOWLES. Given Name(s) or Initials: D. Military Service Number or Last Known Location: WX254. Missing, Wounded and Prisoner of War Enquiry Card Index Number: 7863.236079
Item: [2016.0049.29978] "Knowles, D, WX254
Social Interiors 'Spatial Circumference'
No full textInfluenced by musique concrete, media cut-up, film sound, location sound, rock music production techniques and acoustic measurement tests, Social Interiors' eclectic sound materials and compositional practices have pioneered a soundscape genre. This compact disk release features 3 solo works from group members - Julian Knowles, Shane Fahey and Rik Rue and an extended collaborative composition Spatial Circumference.\ud
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Track Listing:\ud
1. Things Change, Things Remain the Same (Rik Rue)\ud
2. Mounds of Mounds (Shane Fahey)\ud
3. Silent Latitudes [for Alan Lamb] (Julian Knowles)\ud
4. Spatial Circumference (Julian Knowles, Shane Fahey, Rik Rue).\ud
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Endgame Records (END007
Tristate
No full text"This work forms part of a much larger collaborative album project in progress between Tim Bruniges, Julian Knowles and David Trumpmanis which explores the intersections between traditional rock instrumentation and analogue and digital media. All of the creative team are performers, composers and producers. The material for the album was thus generated by a series of in studio improvisations and performances with each collaborator assuming a range of different and alternating roles – guitars, electronics, drums, percussion, bass, keyboards production. Thematically the work explores the intersection of instrumental (post) rock, ambient music, and historical electro-acoustic tape composition traditions.\ud
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Over the past 10 years, musical practice has become increasingly hybrid, with the traditional boundaries between genre becoming progressively eroded. At the same time, digital tools have replaced many of the major analogue technologies that dominated music production and performance in the 20th century. The disappearance of analogue media in mainstream musical practice has had a profound effect on the sonic characteristics of contemporary music and the gestural basis for its production.\ud
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Despite the increasing power of digital technologies, a small but dedicated group of practitioners has continued to prize and use analogue technology for its unique sounds and the non-linearity of the media, aestheticising its inherent limitations and flaws. At the most radical end of this spectrum lie glitch and lo-fi musical forms, seen in part as reactions to the clinical nature of digital media and the perceived lack of character associated with its transparency. Such developments have also problematised the traditional relationships between media and genre, where specific techniques and their associated sounds have become genre markers.\ud
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Tristate is an investigation into this emerging set of dialogues between analogue and digital media across composition, production and performance. It employs analogue tape loops in performance, where a tape machine ‘performer’ records and hand manipulates loops of an electric guitar performer on ‘destroyed’ tape stock (intentionally damaged tape), processing the output of this analogue system in the digital domain with contemporary sound processors. In doing so it investigates how the most extreme sonic signatures of analogue media – tape dropout and noise – can be employed alongside contemporary digital sound gestures in both compositional and performance contexts and how the extremes of the two media signatures can brought together both compositionally and performatively. In respect of genre, the work established strategies for merging compositional techniques from the early musique concrete tradition of the 1940s with late 60s popular music experimentalism and the laptop glitch electronica movement of the early 2000s. Lastly, the work explores how analogue recording studio technologies can be used as performance tools, thus illuminating and foregrounding the performative/gestural dimensions of traditional analogue studio tools in use.
Knowles (M. D.) et Obolensky (D.). Le Moyen Age
No full textD'Haenen A. Knowles (M. D.) et Obolensky (D.). Le Moyen Age. In: Revue belge de philologie et d'histoire, tome 48, fasc. 1, 1970. Antiquité — Oudheid. pp. 94-97
Knowles (M. D.) et Obolensky (D.). Le Moyen Age
No full textD'Haenen A. Knowles (M. D.) et Obolensky (D.). Le Moyen Age. In: Revue belge de philologie et d'histoire, tome 48, fasc. 1, 1970. Antiquité — Oudheid. pp. 94-97
D. Knowles. From Pachomius to Ignatius
No full textGuillaumont Antoine. D. Knowles. From Pachomius to Ignatius. In: Revue de l'histoire des religions, tome 176, n°2, 1969. p. 218
Marriage record of Knowles, O. D. and Knowles, Clara A.
No full textMarriage license for O.D. Knowles and Clara A. Knowles. Charles E. Johnson was the Notary Public
Expatriates, Repatriates, and the Question of Zion’s Status – In Conversation with Melody D. Knowles, Centrality Practiced: Jerusalem in the Religious Practices of Yehud and the Diaspora in the Persian Period
No full text This conversation with Melody D. Knowles, Centrality
Practiced: Jerusalem in the Religious Practices of Yehud and the Diaspora in the
Persian Period (Atlanta, SBL, 2006) began in a special session of the
Chronicles-Ezra-Nehemiah section that was held at the national meeting of the
Society of Biblical Literature in November 2006 (Washington, DC). It includes an
introduction by the editor and contributions by Deirdre N. Fulton, David Janzen,
Ralph W. Klein and a response by Melody D. Knowles. </jats:p
Flux density
No full textSocial Interiors (Julian Knowles, Rik Rue, Shane Fahey) are currently developing a major sound art project entitled Flux Density, in collaboration with a team of artists, focused on investigating the changing relationships between emerging digital technologies and traditional ‘obsolete’ analogue media. The project has two main components. – a curated compilation and a live performance. It is a large scale curatorial and performance project led by Social Interiors with assistant curators Joel Stern, Alessio Cavallaro and Shannon O’Neill. Presentation - International Symposium of Electronic Art. Social Interiors are one of Australia’s best known experimental sound ensembles. Project will consist of an online compilation of historic music emerging from the 80s cassette culture era, remix based works by Social Interiors, and work from new cassette labels established in a post internet era. Performance project will take place in Sydney and consist of Social Interiors in performance/collaboration with a range of well known artists. Partners include ABC Radio, ISEA, and Extreme Records
Macrophonics II
No full textMacrophonics II presents new Australian work emerging from the leading edge of performance interface research. The program addresses the emerging dialogue between traditional media and emerging digital media, as well as dialogues across a broad range of musical traditions. Recent technological developments are causing a complete reevaluation of the relationships between media and genres in art, and Macrophonics II presents a cross-section of responses to this situation. Works in the program foreground an approach to performance that integrates sensors with novel performance control devices, and/or examine how machines can be made musical in performance. The program presents works by Australian artists Donna Hewitt, Julian Knowles and Wade Marynowsky, with choreography by Avril Huddy and dance performance by Lizzie and Zaimon Vilmanis. From sensor-based microphones and guitars, through performance a/v, to post-rock dronescapes, movement inspired works and experimental electronica, Macrophonics II provides a broad and engaging survey of new performance approaches in mediatised environments.\ud
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Initial R&D for the work was supported by a range of institutions internationally, including the Australia Council for the Arts, Arts Queensland, STEIM (Holland) and the Nes Artist Residency (Iceland)
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