tag:blogger.com,1999:blog-345405332024-03-07T19:01:38.181-03:00Atari Burroughs[ fanzine ]Atari Burroughshttp://www.blogger.com/profile/00224284866839870088noreply@blogger.comBlogger337125tag:blogger.com,1999:blog-34540533.post-58498372801630947522018-02-03T18:38:00.001-03:002018-02-03T18:54:21.666-03:00Manifesto<span style="font-size: 16px;"><span style="font-weight: bold;"><br /></span></span>
<span style="font-size: 16px;"><span style="font-weight: bold;">Atari Burroughs</span> <i>(o <span style="font-weight: bold;">DeAtar&Burros</span>)</i> surge como respuesta ante nuestra necesidad de encontrar formas</span><span style="font-size: 16px;"> de expresión</span><span style="font-size: 16px;"> que nos permitieran construir espacios que no estén acorsetados por discursos uniformes y homogéneos. Necesitamos del ejercicio mental de masticar, procesar y vomitar lo que vemos, registramos y aprendemos. Aprendiendo y aprehendiendo.</span><span style="font-size: 16px;"><br /></span><br />
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<span style="font-size: 16px;">Como tal, no responde a una sola voz, sino que se trata de un espacio de expresión compartido, por ende sus resultados pueden ser disonantes; es un espacio abierto, de estructura rizomática y circular, no solo en cuanto a la ocupación de sus diferentes medios sino también al ejercicio de administrarlos.</span></div>
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<span style="font-size: 16px;">Al <i>entehender</i> que «la creación de sitios multidireccionales, diversificados y de comunicación abierta, promovidos y gestionados desde focos heterogéneos de la vida social, tal como se manifiestan en Internet, hacen pensar en otros tipos de espacios o esferas públicas»[1];</span><span style="font-size: 16px;"> proponemos en Atari Burroughs un sujeto colectivo</span><span style="font-size: 16px;"> <span style="background-color: white;">[una unidad/ entidad]</span></span><span style="font-size: 16px;"> donde generar un espacio para cuestionar las estructuras uniformizantes: buscamos abrir interrogantes. Aspiramos a no caer en el lugar común de asentar, no deseamos formular respuestas acabadas.</span></div>
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<span style="font-size: 16px;"><span style="background-color: white;"></span></span><span style="background-color: white; color: black; font-size: 16px;">Siguiendo a Canclini, creemos que Internet nos ofrece una plataforma donde es posible crear múltiples espacios y canales de expresión donde nuestra opinión puede ser difundida. E</span><span style="font-size: 16px;">ste fanzine quiere ser un canal más allá de La Red, a través del cual podamos compartir nuestras inquietudes y gustos, participando activa y creativamente frente a una homogeneización estética, educacional y cultural, producto [entre otras cosas] de la concentración de medios y canales de comunicación.</span></div>
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<span style="font-size: 16px;">Si bien existen en <span style="font-style: italic; font-weight: bold;">Atari Burroughs</span> afinidades en común, no predomina en el grupo una línea de pensamiento sobre otras: provenimos de diferentes disciplinas para, en conjunto, generar un </span><span style="font-size: 16px;">nuevo </span><span style="font-size: 16px;">proyecto, propio y colectivo. Valorizamos la multiplicidad de voces, de opiniones y de miradas. Nuestra intención es abordar cada mes diferentes temáticas pretendiendo cuestionar las continuidades lineales y acabadas, los discursos homogeneizantes y uniformes.<span style="background-color: #99ff99;"><br /></span></span></div>
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<span style="font-size: 16px;">La manera de organizarnos busca distanciarse de un orden jerárquico:</span><span style="font-size: 16px;"> Recuperamos, al ensayar, las formas de la naturaleza, de la luz, de la vibración del sonido; formas antiguas de organización social; formas orgánicas de organización de la materia. Dado que reconocemos la importancia de un sistema de organización y de la necesidad de una estructura definida, queremos inventar, crear y probar, actuando: pues como dice Jorge Córdoba, miembro del Human Research Lab, «Sin sistema, no hay revolución posible».</span></div>
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<span style="font-size: 16px;">Como miembros del colectivo <span style="font-weight: bold;">Atari Burroughs</span>, </span><span style="font-size: 16px;">todos y cada uno de nosotros creemos en el</span><span style="font-size: 16px;"> leit motiv: <span style="font-weight: bold;">“</span><i style="font-weight: bold;">sólo queremos ejercer el derecho a ser diferentes”</i>. Y es que coincidimos con Joost Smiers, aunque podamos no estar de acuerdo con todo el libro, cuando afirma que</span><span style="font-size: 16px;"><b> </b>«el arte es fundamental para el debate en democracia y para el proceso de responder a la multiplicidad de preguntas que surgen de la vida cotidiana, tanto en el plano emocional como en los otros. Para que esto suceda se necesita una gran diversidad de formas de expresión y canales de comunicación.<b>»</b>[2]</span></div>
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<span style="color: #666666; font-size: 16px;"><span style="font-style: italic;">*** esta frase/idea hace referencia a las diferencias respecto del modelo del stablishment; es el espacio/ lugar/ ámbito "donde" aparece: la "cultura" de los negros, de los gay, de los artistas, de los marginales, de los místicos, etc.: esto de "las tribus". En el marco de lo que se ha dado en llamar: "antropología urbana". Intercambiándose los conceptos de identidad y cultura. Implica un análisis del significado de "diferentes"; en un momento, opuesto a "iguales"; luego, cruzado con la pelea por la "igualdad" de derechos, y ahora entrecruzado con el reclamo al derecho a las diferentes identidades, con "igualdad de derechos en la diversidad". Entonces, se remonta la discusión a cómo se definen las diferencias y las igualdades: esto de "nosotros /los otros" que permite decir: nosotros, por las semejanzas; y los otros, por la diferencias. Además de Oscar Wilde, así como de con los filósofos de la diversidad: tiene que ver con la escuela francesa (Barthes y Barth) y con Peter Worsley.</span></span><span style="color: #666666; font-size: 13.6px;"><i>[1] </i></span><span style="color: #666666; font-size: 13.6px;"><i>García Canclini, </i></span><span style="color: #666666; font-size: 13.6px;"><i>Nestor. "</i></span><span style="color: #666666; font-size: 13.6px;"><i>Todos tienen cultura: ¿Quiénes pueden desarrollarla?".</i><span style="background-color: #99ff99;"></span></span><br />
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<span style="color: #666666; font-size: 13.6px;"><i>[2] </i></span><span style="color: #666666; font-size: 13.6px;"><i>Smiers, </i></span><span style="color: #666666; font-size: 13.6px;"><i>Joost. </i></span><span style="color: #666666; font-size: 13.6px;"><i>"Un mundo sin copyright. Artes y medios en la globalización". 2006. Barcelona. Serie Cultura / Gedisa Editorial.</i></span><div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-80062421034394747612018-01-04T12:56:00.000-03:002018-02-23T12:57:08.683-03:00formas<div class="p1">
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no sé si pájaro o jaula<span class="Apple-converted-space"> </span></div>
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mano asesina<span class="Apple-converted-space"> </span></div>
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o joven muerta entre cirios<span class="Apple-converted-space"> </span></div>
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o amazona jadeando en la gran garganta oscura<span class="Apple-converted-space"> </span></div>
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o silenciosa<span class="Apple-converted-space"> </span></div>
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pero tal vez oral como una fuente<span class="Apple-converted-space"> </span></div>
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tal vez juglar<span class="Apple-converted-space"> </span></div>
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o princesa en la torre más alta</div>
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<i><span class="Apple-tab-span"> </span>Alejandra Pizarnik</i></div>
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Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-55035777810389230792017-05-25T01:23:00.000-03:002019-05-25T01:24:52.504-03:00Pere Ubu - Heart Of Darkness<iframe allowfullscreen="" frameborder="0" height="344" src="https://www.youtube.com/embed/dvcsO6cYLus" width="459"></iframe><br />
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Borrar este bla bla bla y publiequen acá lo que gusten!<div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-54315508432334420662014-11-19T08:01:00.002-03:002014-11-19T08:08:44.721-03:00Asatoma Ma Sadgamaya Mantra<div class="separator" style="clear: both; text-align: left;">
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Asato ma sadgamaya
tamaso ma jyotirgamaya
mrtyorma amrtam gamaya</div>
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Lead me from the asat to the sat.
Lead me from darkness to light.
Lead me from death to immortality.
(Brhadaranyaka Upanishad — I.iii.28)
This is true prayer—the seeker’s admission of his sense of limitedness and his heartfelt cry for assistance in transcendence. It is not a prayer for the things of the world. It is not a pray for food, shelter, health, partnership, riches, success, fame, glory or even for heaven1. One who recites these three mantras has realized that such things are full of holes, soaked in pain and, even in abundance, will forever leave him wanting. It is in this full understanding that one turns to this prayer. The essence of each of these three mantras is the same: "O, Guru, help me free myself from my sundry misunderstandings regarding myself, the universe and God and bless me with true knowledge."
It is in this spirit that people throughout the world are regularly chanting these mantras, and in which they are chanted twice daily at Amma’s ashrams—both at the conclusion of the morning arcana and after the evening arati.
The first mantra—asato ma sadgamaya—means, "Lead me from the asat to the sat." In fact, it is best to not translate sat (nor its negative counterpart asat) for, as with many Sanskrit words, sat has many meanings and not only are most of them applicable here, their deliberate combined import provides a depth that no one of them could hold independently. These co-applicable meanings include: existence, reality and truth. (Co-applicable meanings for asat being: non-existence, non-reality and untruth.)
We often speak of religion or philosophy as a search for Truth. But only in India’s philosophy of Advaita Vedanta has the concept of "truth" been so meticulously and successfully dissected. According to Advaita, for something to be considered true in the ultimate sense, it must be true not just at one given moment, but always be true—true in all three periods of time: the past, present and future. In fact, Advaita goes one step further. It says if something does not exist in all three periods of time that it does not truly exist, it is not ultimately real. Thus, truth, existence and reality are one and the same. That reality, Vedanta says, is what we call God.
The universe and its things are in a constant state of change. The planets are in constant motion, their positions in relation to each other and the other astral bodies are in continuous flux. The seasons similarly are ever-shifting. Scientifically, we can easily understand that our bodies (and the cells within them) come into existence, are born and then go through periods of growth, sustenance, deterioration and death. In fact these six modifications are part-and-parcel of everything in creation. On the level of emotions, we move back and forth between happiness, sorrow and anger. Even our intellectual convictions rarely stay fixed for very long. So, according to Vedanta, we cannot call this world ultimately real. It is not ultimately true. Ultimately, it does not exist. It seems real etc. but it is not. Such a thing is called asat.
The seeker giving voice to this prayer has come to understand the finite nature of all the objects of the world, and he wants the Guru to guide him from the asat to the sat. He is fed up with depending on things that are not real. Why? Because just as the sandcastle is always washed away by the tide, dependence on the asat always ends in pain. Sat is our True Self—the blissful consciousness that ever was, is and ever will be. Being beyond time, this consciousness can never be washed away by the time’s tides. In fact, sat is there as the essential part of all of the asat objects. It is a matter of separating the wheat from the chaff, as it were.
When speaking about the ultimate reality, Sages say it is of the nature of sat-cit-ananda: pure existence, pure consciousness and pure bliss.
The second mantra—tamaso ma jyotirgamaya—means "Lead me from darkness to light." When the Vedas refer to darkness and light, they mean ignorance and knowledge, respectfully. This is so because ignorance, like darkness, obscures true understanding. And in the same way that the only remedy for darkness is light, the only remedy for ignorance is knowledge. The knowledge spoken of here is again the knowledge of one’s true nature.
Currently, in the darkness of our ignorance, we believe ourselves to be bound and limited (otherwise we would not be reciting these mantras in the first place). But the Guru and the scriptures are telling us that, in truth, we are not, never will be and never have been bound. Eternally we sat-cit-ananda. The only thing that can remove our ignorance regarding our true nature is a spiritual education at the hands of a True Master like Amma. At the culmination of such an education, light floods the room, as it were; darkness vanishes.
The final mantra—mrtyorma amrtam gamaya—means: "Lead me from death to immortality." This should not be taken as a prayer to live endless years in heaven or on earth. It is a prayer to the Guru for assistance in realizing the truth that "I was never born, nor can ever die, as I am not the body, mind and intellect, but the eternal, blissful consciousness that serves as the substratum of all creation."
It is important to remember that, with all these mantras, the leading is not a physical leading. The Atma is not something far away that we have to make a pilgrimage to, nor is it something we need to transform ourselves into. Atma means "self." We don’t need to transform our self into our self. Nor do we need to travel to it. We are it. The journey is a journey of knowledge. It is journey from what we misunderstand to be our self to what truly is our self. What the mantras really means is "Lead me to the understanding that I am not the limited body, mind and intellect, but am, was and always will be that eternal, absolute, blissful consciousness that serves as their substratum."
Once, when discussing these mantras, Amma said the first step in attaining the knowledge for which one is praying when they chant these mantras is satsang: listening to spiritual talks, reading spiritual books and being in the company of spiritual seekers and, of most importantly, spiritual masters. "We need to continuously be fed the knowledge that our true nature is the Atma and not the body mind and intellect," Amma said. Through satsang, our attachment to the asat gradually lessens. "Slowly as you understand that everything in the world—all worldly relationship, all worldly things—are ever-changing an impermanent, your attitude towards the world changes. We gain detachment." As we become more and more detached, our desires also naturally decrease, because we know that the things of the world are impermanent and cannot bring us lasting happiness. As the desires decrease, the mind becomes less and less agitated. It obtains serenity, stillness, peace. Then, with this stilled, subtle, penetrating mind we can finally come to realize our true nature.
—Vedarat
* 1 In Vedanta, heaven—or rather heavens—are accepted as part of the lower reality. Unlike in other religions, going to heaven is not the professed to be the ultimate goal of life. According to Vedanta, heaven can be likened to a vacation resort. After death, if one has done enough good deeds in life, one can go to heaven for a very long time. But eventually he will have to return to the earthly plane. Thus even though one may be in heaven, he is still bound and mired in ignorance to his true nature. [As it says in the Bhagavad-Gita:
From Brahma Loka to the lowest world,
all are places of misery wherein repeated birth and death take place O Arjuna.
But one who comes to me, O son of Kunti,
never takes birth again. (Gita 8:16)
The human goal according Vedanta is Self-realization. The Atma is the ultimate reality. When one realizes his true nature, he attains spiritual fulfillment in this life itself. Then, upon death, he does not go to any heavenly abode but simply merges into the supreme reality.<br />
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Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-46025393816904333762014-10-28T16:31:00.001-03:002014-10-28T16:31:39.094-03:00<iframe src="http://www.patatap.com/" style="border: 3px solid #ccc" width="640" height="480"></iframe><div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-45192924505878370032014-10-28T14:28:00.001-03:002014-10-28T16:32:08.845-03:00<iframe src="http://www.staggeringbeauty.com/" style="border: 1px inset #ddd" width="498" height="598"></iframe><div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-76210654998288658302014-10-27T18:54:00.004-03:002014-10-27T18:54:57.930-03:00Buddha’s Brain: The New Neuroscience and the Path of Awakening Inquiring Mind<i>"In a way, the methodologies of Buddhist thought and science are essentially similar". The Dalai Lama </i><br />
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<b>We all want to be truly happy. The question is, how? </b><br />
In Buddhist practice, the “how” includes gradually transforming the mind – the seat of clinging in all its forms – to increase the causes of happiness and reduce the causes of suffering – ultimately, to complete Awakening. But what does it mean actually, to transform the mind? (We mean “mind” in the ordinary sense, as the realm of awareness, thoughts, feelings, sensations, images, desires, personality patterns, etc.)<br />
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<b>Mind and Brain</b><br />
In terms of Western science, changing your mind means changing your brain. Many people, including ourselves, believe that there are transcendental factors at work in the mind outside of the realm of matter and energy. But apart from those potential influences, mind must be what the nervous system does. What else could it be possibly be?<br />
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While acknowledging the possibility of the transcendental, for the rest of this article, we’ll stay within the framework of what’s known scientifically about the mind and brain, and explore how you can use that information to support your own path of practice. For example, psychology, neurology, and “contemplative neuroscience” have recently made discoveries about attention, cultivating positive emotions, and controlling craving that support the development of virtue, concentration, and wisdom. Further, the growing synergies between science and contemplative practice are a vital resource for a world poised on the edge of the sword, since the way it tips will depend a lot on whether enough people become more skillful at managing the reactive patterns of their minds – and thus, their brains…<br />
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<b><i>Continue reading <a href="http://www.wisebrain.org/BuddhasBrainArticle.pdf" target="_blank">here</a>. </i></b><br />
Source: wisebrain.org - ©Rick Hanson, PhD and Rick Mendius, MD, 2007<br />
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http://www.wisebrain.org/BuddhasBrainArticle.pdf</div>
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Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-59064739880371845002014-05-18T13:33:00.001-03:002014-05-18T13:34:37.418-03:00Brian Eno Imaginary Landscapes<iframe allowfullscreen="" frameborder="0" height="344" src="//www.youtube.com/embed/e9EkfGrkuEQ" width="459"></iframe><div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comLondon, UK51.508515 -0.1254871999999522851.192402 -0.77093419999995227 51.824628000000004 0.51995980000004771tag:blogger.com,1999:blog-34540533.post-60773028315763036812013-10-27T18:41:00.000-03:002014-10-27T19:16:11.747-03:00David Lynch on Consciousness, Creativity and the Brain. Meditation<div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-64197222940642212072013-06-25T14:36:00.000-03:002016-10-07T22:12:11.529-03:00Milonga de Manuel Flores - Invasión - Hugo Santiago Muchnick<div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-20124118930168678172013-03-21T22:54:00.000-03:002018-02-03T18:41:29.940-03:00Mouchette, Robert Bresson, 1967<div class="post_head" style="border: 0px; margin: 0px; padding: 0px 10px 15px; position: relative; vertical-align: baseline; width: 610px;">
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<span style="font-size: small;"><i style="color: #2f7da6; font-family: helvetica, arial, verdana, 'lucida grande', sans-serif; font-style: inherit; line-height: 1.1em;">Mouchette:</i><span style="color: #2f7da6; font-family: "helvetica" , "arial" , "verdana" , "lucida grande" , sans-serif;"><span style="font-style: inherit; line-height: 1.1em;"> Girl, Interrupted</span></span></span></h2>
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<span style="font-size: small;">By Robert Polito</span></h3>
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“Between thought and expression”—as Lou Reed wrote in the Velvet Underground song “Some Kinda Love”—“lies a lifetime.” <i>Mouchette, </i>and maybe all Robert Bresson’s inexhaustible, majestic films, transpire in that puzzling space “between,” that incalculable “lifetime.” How, for instance, does a director as visually acute as Bresson and so insistent on “the resources of cinematography and the use of the camera to create” also imply the urgency of the unseen, the ineffable, the otherworldly? How does a filmmaker so attentive to metaphysical demands honor the press of our physical existence, whether everyday or tragic? The marvel of <i>Mouchette</i> inheres in the elegance, obstinacy, and capaciousness of Bresson’s double-mindedness. A rape edges into tenderness, suicide emerges as at once holy and appalling, and scene upon scene invokes, simultaneously, spiritual despair and an afterlife.<br />
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<i>Mouchette</i> (1967) was Bresson’s final black-and-white film before he switched over to color for <i>Une femme douce,</i> in 1969. And there are vestiges throughout of the mournful, formally exacting work he created during the 1950s and 1960s, as well as intuitions of the tonal complexity and even fiercer pessimism that infused his late style. Mouchette herself is at least as solitary as Michel in <i>Pickpocket</i> (1959), and her village proves as claustrophobic as Fontaine’s prison cell in <i>A Man Escaped</i> (1956). Like <i>Diary of a Country Priest</i> (1951),<i>Mouchette</i> tracks hereditary alcoholism in the “malicious” French countryside, and Bresson adapted both movies from novels by Georges Bernanos, a gifted exponent of what he designated “Catholic realism” and also the author of the libretto for the Francis Poulenc opera Dialogues des Carmelites. Shooting on <i>Mouchette</i> started soon after Bresson finished <i>Au hasard Balthazar </i>(1966), and Mouchette seems a combination of the suffering Marie and the donkey, Balthazar, much as the hunting (rabbits) and poaching (partridges) episodes once again analogue human and animal misfortunes.<br />
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Yet <i>Mouchette</i> registers a departure from early Bresson as much as a summing up. Philosophically, or theologically, suicide no longer arises as inevitably redemptive, as purely (in novelist Dennis Cooper’s tense phrase) “a tragic segue into the comforting delusion of heaven.” <i>Mouchette</i> foretastes the desperate convulsions of Bresson’s last films, <i>The Devil, Probably </i>(1977) and<i> L’argent </i>(1983). There are also prickly cinematic variations and reversals. A distinguishing gesture of <i>A Man Escaped, Pickpocket, </i>and especially <i>Diary of a Country Priest </i>involved the repetition, sometimes the tripling, of an event—we see a close-up of a handwritten notebook page; then listen as a voice-over speaks the words; finally, someone performs the actions we have just heard and read. For <i>Mouchette,</i> Bresson folded this stylistic signature inside out, and instead of reiteration advanced a sort of stutter step, often signaled by a disruption of image and sound.<br />
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A brief prologue introduces this oblique sound-image design and lodges a story line in the form of a question. The scene, the film in miniature, enacts a riddle of presence and absence. A woman we later recognize as Mouchette’s dying mother abruptly sits before us, crying, talking. “What will become of them without me?” she asks. “I can feel it in my breast. It’s like a stone inside.” The woman rises, but Bresson’s camera, instead of following her, stays fixed on the spot she has just departed, inside—we now discern—a church. Against the vacant frame we hear the loud click-clack of her shoes as she walks away, and then Claudio Monteverdi’s <i>Magnificat. </i>The rest of the film tracks a reply to her tearful inquiry, perhaps her prayer, about the fate of her family, particularly her daughter Mouchette. But on subsequent viewings, after we understand who the woman is and her situation, cruxes still abound. The “stone” indicates her fatal physical illness, yet isn’t the word also emblematic of the adamantine misery that numbs her family, the entire town? Does the empty frame betoken, as the Magnificat hints, her ascent into heaven? Or do empty frames anticipate greater, possibly eternal, emptiness, as the disappearing footsteps suggest? She can’t go on with the world, the prologue further proposes, yet the world can go on without her.<br />
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Mouchette arranges a disquieting mix of naturalism and disorientation. The vistas of the film look matter-of-factly impoverished, brutal, and desolate, but Bresson recurrently shuns transitions, radiates noises—voices, trucks, a baby—independent of visual sources, and insinuates reactions prior to causes. “The ear goes more toward the within, the eye toward the outer,” Bresson remarks in <i>Notes on a Cinematographer. </i>“The eye (in general) superficial, the ear profound and inventive.” Like her mother, and as if in prediction of her suicide, Mouchette tends to exit the frame before Bresson cuts to the next shot, though from the outset she comes across as earthy rather than ethereal, her body hugging the ground, as when she crouches along a roadside to toss mud at her classmates, stomps her feet in a puddle, grinds dirt into a fancy carpet, or rolls downhill into a pond. In her oversize clogs, Mouchette always seems off-kilter, as Bresson’s strategy of low shots—legs, hands, skirts, shoes—disorders her childhood. Even her time line is unsteady—the music during the bumper-car interlude at the local fair secures a 1960s setting, but inside her destitute house it might as well still be World War II.<br />
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The coordinates of <i>Mouchette</i> are drinking and male power. Mouchette’s father and brother haul contraband liquor and grimly toast in celebration of their delivery. Alcohol is consumed before and after Sunday worship. The poacher, Arsène, drains his canteen of gin when he rapes her, and his bloody fight with Mathieu, the gamekeeper, dissolves into amiable imbibing. Her mother asks for gin on her deathbed, then warns Mouchette, “Make sure you never get taken in by lazy workmen or drunks.” In his novel, Bernanos links the rape to her other travails as the child of a dipsomaniac: “It was like one of those endless nightmares of uniform horror which, as a real alcoholic’s daughter, she often had to endure throughout a whole night and whose full memory only really came back much later, at supper time, when she had carried it with her all day like an invisible animal attached to her body.”<br />
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Sexual aggression and masculine bluster infect the countryside like a congenital defect. Early on, some boys expose themselves to Mouchette, and later call her “rat face.” Her father shoves her twice, first into church, and then as she flirts with a young man at the fair. Mathieu trails Arsène not so much for his illegal traps and snares as for their rivalry over Louisa, a dour bartender. There is a mechanical core to this antic, destructive motion—Mouchette’s father keeps on driving after he has collapsed onto his bed, improvising a steering wheel from his cap. The women of the town, too, absorb this lurid poison. “Little slut,” a shopkeeper snaps at Mouchette, observing the telltale scratches on her chest.<br />
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For Mouchette, love, sex, empathy, service, humiliation, and force are all bound up together. Although a child, she functions as caretaker for her family, yet she is an unseasoned, lackadaisical steward, spilling coffee and milk, and sloppily swaddling her baby brother. Her response to her mother’s death is to fall asleep. Bernanos renders Mouchette’s encounter with Arsène as a continuation of the cruelty she suffers at home: “In her child’s mind, the memory of that violence was somehow mixed with that of many others, and her reason could scarcely distinguish it from her father’s savage beatings.” But Bresson’s bleaker vision here always sees double. He deftly affirms Arsène as an alternative to her domestic violations, as well as their latest installment. Arsène manifestly wishes to protect Mouchette, even as he attacks her. She identifies with Arsène’s troubles and his revolt, hugging him finally while he struggles on top of her.<br />
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From the drinking to the violence, the strangled birds to the wounded rabbits, <i>Mouchette</i>inscribes a fever dream. Long shots that overwhelm the human actors with landscape play against close-ups that block perspective. Inside and out, there is always a “cyclone,” as Arsène and Mouchette naively tag the storm that agitates their world. Mouchette apprehends her future in the hunted creatures, but also in Louisa’s drudgery, her mother’s sickness, and Arsène’s shame. Her parents, the teacher who yanks her by the neck over to the piano as though she were one of Arsène’s partridges, the old women who demean and mortify her, Mathieu—the figures of ostensible authority are suspect, tainted, their morality indistinguishable from neurosis, terror, and self-delusion.<br />
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Mouchette twice tries to tell her mother what happened to her with Arsène during her night in the woods, but each time she stops, interrupted by a crying baby and by her mother’s passing. Because of her suicide, Mouchette’s life is another interrupted story—and Bresson doesn’t show us an image of her body entering the water, recording instead the sounds of her splash. The <i>Magnificat</i> returns as the camera lingers over the space that she, like her mother at the start of the film, has now vacated, an empty frame. Once again, we might view this as Mouchette’s release, as a gift, but if her death is akin to grace, Bresson never lets us forget that her suicide is also desperate, pathetic, a dead end.<br />
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<i>A poet and essayist, Robert Polito is the author of</i> Savage Art: The Biography of Jim Thompson, <i>which received the National Book Critics Circle Award in biography, among many other books.</i></div>
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Atari Burroughs Radiofanzine
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Atari Burroughs Radiofanzine
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Atari Burroughs Radiofanzine
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Atari Burroughs Radiofanzine
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http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-80209283055877091492011-11-03T16:17:00.002-03:002011-11-07T00:30:29.573-03:00Experimentación Sonora: Contenidos del Seminario<div class="separator" style="clear: both; text-align: left;">
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<b><span class="Apple-tab-span" style="white-space: pre;"><span class="Apple-style-span" style="color: #76a5af;"> </span></span><span class="Apple-style-span" style="color: #76a5af;">Atari NoiseLab Kabinett</span></b></div>
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<b><span class="Apple-tab-span" style="white-space: pre;"> </span>LABORATORIO DE EXPERIMENTACIÓN SONORA</b></div>
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<b><span class="Apple-tab-span" style="white-space: pre;"> </span>Contenidos</b></div>
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<b>- Composición en tiempo real mediante la improvisación musical libre y pautada</b></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Entrenamiento intensivo en el sistema de improvisación con dirección asistida por sistema de señas.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- La improvisación como práctica integradora grupal. Búsqueda del espacio propio y reconocimiento del ajeno.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Modos de participación en el espacio sonoro, funciones alternadas de soporte y protagonismo.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Evolución de una performance: gestación, desarrollo, estructura y culminación de una idea rectora.</div>
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<b>- Dispositivos creativos de carácter lúdico para incentivar la composición grupal</b></div>
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- El concepto sánscrito de ‹Lîla›, la “magia divina de la creación” y el deleite del ser en el cosmos.</div>
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- El goce de la práctica musical como experiencia liberadora. La composición lúdica y espontánea.</div>
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- Juego de roles y estrategias de interpretación para la producción colectiva. (Brian Eno)</div>
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- Generación y recepción: comunicación y diálogo musical entre los participantes.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Desarrollo de un oído activo; analítico, desprejuiciado y creativo a la vez.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Restablecer un vínculo personal afectivo y descontracturado con el instrumento musical.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Conceptos de music painting, looping, musicalización de imágenes y partituras gráficas.</div>
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<b>- Experimentación tímbrica y exploración de las múltiples posibilidades sonoras</b></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Nuevos abordajes de la experiencia musical a través de la exploración consciente del espacio sonoro.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Las fronteras del sonido. Grabaciones de campo, soundscapes, ambient, drones y texturas.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Validación de los conceptos de “ruido” y “silencio” como elementos constitutivos esenciales.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Síntesis y diseño de la materia sonora como ente artístico autónomo: herramientas analógicas y digitales.</div>
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<b>- Transpolación del método proyectual del campo del diseño a la performance sonora</b></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Diseño de instrumentos no convencionales a partir de objetos cotidianos y reciclaje de descarte industrial.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Experimentación con material piezoeléctrico, construcción de micrófonos y osciladores analógicos.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Instrumentos preparados (electroacústicos) e intervención de artefactos electrónicos (circuit bending).</div>
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- El proyecto audiovisual / Diseño de imagen y sonido / Instalación, Performance y Arte multidisciplinario.</div>
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- El cruce estético poético entre la música, la plástica, la danza, el teatro, la literatura, etc.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Revalorización del proceso de trabajo como desarrollo creativo más allá del resultado.</div>
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<b>- Brindar herramientas para la ampliación de la concepción musical y el incentivo de la reflexión crítica</b></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Desaprendizaje de los cánones estéticos adquiridos por herencia o convención.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Sensibilización a nuevas formas de escucha y enfoques no tradicionales de la materia sonora.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Interrogante sobre la inutilidad de los sistemas de composición e interpretación tradicionales.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- El artista como activista multidisciplinario y ser estético cultural / La formación comprehensiva integral.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>- Las vanguardias musicales del siglo XX y los nuevos paradigmas en la experiencia posmoderna (s.XXI).</div>
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- La dimensión espiritual/experiencial de la música en contraposición con la escucha intelectualizada.</div>
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<b><span class="Apple-style-span" style="font-size: x-small;">Inscripción</span></b></div>
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<span class="Apple-style-span" style="font-size: x-small;">Seminario intensivo. Duración: 1 mes. Comienzo Martes 15 de noviembre de 2011</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">4 martes consecutivos de 19:00 a 23:00 hs. </span><i><span class="Apple-style-span" style="font-size: x-small;">(prácticas musicales: composición en tiempo real, etc.)</span></i></div>
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<span class="Apple-style-span" style="font-size: x-small;">2 domingos a convenir de 16:00 a 20:00 hs. </span><i><span class="Apple-style-span" style="font-size: x-small;">(prácticas de diseño: construcción de instrumentos, etc.)</span></i></div>
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<span style="text-decoration: underline;"><span class="Apple-style-span" style="font-size: x-small;">Consultar por otros días y horarios / Consultar por próximos talleres y seminarios.</span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Inscripción y más info enviando mail a atari.noiselab@gmail.com</span></div>
</div>
</b></span><br />
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<br /></div><div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comAlmagro - Ciudad Autónoma de Buenos Aires, Capital Federal, Argentina-34.6 -58.4166667-34.6261405 -58.4561487 -34.573859500000005 -58.3771847tag:blogger.com,1999:blog-34540533.post-50314335481683774682011-11-03T15:54:00.000-03:002011-11-04T04:53:34.575-03:00Experimentación Sonora: Programa detallado por etapas<br />
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<b><span class="Apple-style-span" style="color: #45818e;">Atari NoiseLab Kabinett</span></b></div>
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<b>LABORATORIO DE EXPERIMENTACIÓN SONORA</b></div>
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<b>Programa</b></div>
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<b>ETAPA 01</b></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>tarea <i>(previa al encuentro)</i></div>
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Responder al cuestionario de inscripción</div>
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Si posee, chequear y acondicionar el instrumento propio (desempolvado, afinación, cables, alimentación)</div>
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Armar un cd compilado de canciones favoritas para compartir con el resto del grupo (aprox 74')</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>teórico</div>
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Presentación de los participantes</div>
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Breve introducción a la metodología teórico-práctica del taller</div>
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Organizaciones no-jerárquicas, horizontales y rizomáticas</div>
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La música experimental en el arte contemporáneo</div>
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Improvisación vs. Composición en Tiempo Real</div>
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Estructuras y elementos constitutivos de la canción</div>
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La experiencia lúdica de la comunicación musical: aceptación, roles y escucha activa</div>
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Introducción a la Improvisación con Dirección Asistida por Sistema de Señas* (IDASS)</div>
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Introducción a los Dispositivos Creativos* (DC)</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>práctico</div>
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DC*: Ensamble de loops (concatenación evolutiva de patrones fijos)</div>
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DC*: Improvisación libre con estructuras simples (crescendo, diminuendo, meseta y parábola)</div>
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DASS*: Herramientas de edición básicas (Pulso, Compás, Alturas, Dinámica, Intensidades, Continuidad, etc.)</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>tarea</div>
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Búsqueda y/o construcción de instrumentos no-convencionales a partir de elementos cotidianos.</div>
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Exploración extrema de un instrumento musical a elección / Catálogo de sonidos posibles</div>
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<b>ETAPA 02</b></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>teórico</div>
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Avant Garde. Introducción a las vanguardias y las corrientes artísticas/musicales del siglo XX.</div>
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Dadá / Fluxus</div>
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Minimalismo / Drone / Silencio / Serialismo</div>
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Loops, Patterns, Tape music</div>
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Azar, Indeterminación y Aleatoriedad</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>práctico</div>
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DC: Ejercicio de escucha activa y consciente de los distintos niveles sonoros del entorno</div>
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DC: Exploración tímbrica extrema del instrumento. Modos de ejecución no convencionales</div>
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DC: Modelar el desarrollo de un “drone”: Expandir la paleta de posibilidades de un tono continuo y prolongado</div>
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DC: Trabajo de texturas. Los 3 tipos de texturas sonoras y la articulación de todas ellas combinadas</div>
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DC: Trabajo con diferentes elementos externos para intervenir un instrumento tradicional</div>
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DASS: Herramientas de edición intermedias. (Texturas, Catálogo, Planos, Matices, etc.)</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>tarea</div>
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Armarse de un set de intervención para instrumento preparado</div>
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Registros sonoros, grabaciones de campo</div>
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<b>ETAPA 03</b></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>teórico</div>
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Música Tonal / Música Modal</div>
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Cromatismo / Dodecafonismo</div>
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Atonalidad / Microtonalidad</div>
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Desafinación vs. Disonancia</div>
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Compases compuestos y Polirritmia</div>
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Arte conceptual, Música Concreta y Abstraccionismo</div>
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Texturas / Ruidismo / Noise / Soundscapes / Grabaciones de campo</div>
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El color de la música. Articulación sonido-visión (Morton Feldman / Kandinski)</div>
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Partituras Gráficas no convencionales y Sistemas de Signos Referenciales</div>
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Arte Sonoro / Instalaciones / Performance / Videoarte</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>práctico</div>
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DC: Circulación Solapada (con crossover y stacattos) (Robert Fripp)</div>
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DC: Composición espontánea de miniaturas (Bela Bartok / New York Miniature Ensamble)</div>
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DASS: Herramientas de edición intermedias (Ruido, Drone, Cromatismo, Micro y Atonalidad, Carácter, etc.)</div>
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DC: Improvisación libre teniendo en cuenta los conceptos adquiridos DASS.</div>
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DC: Oleaje: Alternancias en los planos, rotación en los roles de apoyo y protagonismos.</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>tarea</div>
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Serie de miniaturas con variaciones evolutivas</div>
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Desarrollar un sistema de símbolos escritos no convencionales para la escritura musical</div>
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Diseño de una Partitura Gráfica a partir del sistema anteriormente creado</div>
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<b>ETAPA 04</b></div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>teórico</div>
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Be Bop / Free jazz</div>
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Psicodelia / Freak Folk / Collage Pop</div>
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DIY / Punk / No Wave / Lo-Fi / No-Fi</div>
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Krautrock / Avant Garde / Japanoise </div>
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Electroacústica y Música Experimental</div>
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Música Electrónica / Ambient / IDM</div>
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Sintetizadores analógicos vs Samplers digitales</div>
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Deconstrucción, Cut and Paste y Edición Digital</div>
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Circuit Bending / Piezoelectricidad / Micrófonos caseros / Osciladores</div>
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Modernidad vs. Posmodernidad en la música y el arte</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>práctico</div>
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DC: Interpretación de las partituras gráficas generadas</div>
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DASS: Herramientas de edición avanzadas (Polirritmia, Géneros, Citas, Fowlies, Tonalidades, etc.)</div>
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DC: Juego de roles y estrategias para la producción (Brian Eno)</div>
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DC: Musicalización de películas y teatro en vivo / Bandas sonoras / Fowlies</div>
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Reflexión crítica sobre el desarrollo del seminario</div>
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<span class="Apple-tab-span" style="white-space: pre;"> </span>(tarea)</div>
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Ensayo grupales a convenir previo al concierto</div>
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<span class="Apple-style-span" style="color: black; font-family: Georgia;"><span class="Apple-style-span" style="font-size: small;"><br /></span></span></div>
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<b><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: black; font-family: Georgia; font-size: small; font-weight: normal;">__________________________________________________________________ </span></span></b><br />
<b><span class="Apple-style-span" style="font-size: x-small;"><br /></span></b><br />
<b><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="color: black; font-family: Georgia; font-size: small; font-weight: normal;"></span>Actividad abierta</span></b></div>
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<span class="Apple-style-span" style="font-size: x-small;">Todos los interesados pueden participar. </span><span style="text-decoration: underline;"><span class="Apple-style-span" style="font-size: x-small;">NO es necesario saber música ni se requiere ningún conocimiento previo</span></span><span class="Apple-style-span" style="font-size: x-small;">.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Este seminario es gratuito (con cupos limitados). Se dictará en Krauthaus (Almagro).</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Como trabajo final los participantes darán un concierto abierto al público y se editará un cd con obras del taller.</span></div>
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<span class="Apple-style-span" style="font-size: x-small;">Interesados enviar CV o mini-biografía </span><i><span class="Apple-style-span" style="font-size: x-small;">(y link si es que tiene)</span></i><span class="Apple-style-span" style="font-size: x-small;"> a atari.noiselab [arroba] gmail.com</span><br />
<span class="Apple-style-span" style="color: black; font-family: Georgia; font-size: small;">__________________________________________________________________</span><br />
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<b>Acerca de la palabra seminario:</b></div>
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Un seminario es una reunión especializada que tiene naturaleza técnica y académica cuyo objetivo es realizar un estudio profundo de determinadas materias con un tratamiento que requiere una interactividad entre los participantes. El seminario implica <u>un grupo de aprendizaje activo, pues los participantes no reciben la información ya elaborada, como convencionalmente se hace, sino que la buscan, la indagan por sus propios medios en un ambiente de recíproca colaboración</u>. Es una forma de docencia y de investigación al mismo tiempo. Se diferencia claramente de la cátedra o clase magistral, en la cual la actividad se centra en la docencia-aprendizaje. En el seminario, el alumno sigue siendo discípulo, pero empieza a ser él mismo profesor. La ejecución de un seminario ejercita a los estudiante en el estudio personal y de equipo, los familiariza con medios de investigación y reflexión, y los ejercita en el método filosófico. El seminario es fundamentalmente una práctica crítica de caracter activo.</div>
</div><div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comAlmagro - Ciudad Autónoma de Buenos Aires, Capital Federal, Argentina-34.6 -58.4166667-34.6261405 -58.4561487 -34.573859500000005 -58.3771847tag:blogger.com,1999:blog-34540533.post-18112031685634184342011-11-02T20:26:00.000-03:002011-11-03T21:10:44.981-03:00Laboratorio de Experimentación Sonora<span style="font-size: x-small;"></span><br />
<span style="font-size: x-small;"></span><br />
<span class="Apple-style-span" style="color: #444444; font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-size: large;"><b></b></span></span></span><br />
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<b>Atari NoiseLab Kabinett</b></div>
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<b>LABORATORIO DE EXPERIMENTACIÓN SONORA</b></div>
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<b>Taller Teórico Práctico</b></div>
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Seminario sobre Composición en Tiempo Real, Dirección Asistida por Sistema de Señas, Looping,<span style="color: #73f837; font: 13.0px Verdana;"> </span>Improvisación</div>
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libre y pautada, Construcción de instrumentos no convencionales, Circuit Bending, etc. <span style="font: 10.0px Verdana;"><i>[</i></span><span style="font: 10.0px Verdana; text-decoration: underline;"><i>link</i></span><span style="font: 10.0px Verdana;"><i> al programa completo]</i></span></div>
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Workshop coordinado por “Atari Burroughs” e integrantes del grupo “<a href="applewebdata://9C888AB9-9F5D-418B-AC37-4B93B8D3175A/www.facebook.com/alosgauchos"><span style="color: #0020e1;">A Los Gauchos Psicomísticos del Miasma</span></a>”.</div>
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<b>Objetivos</b></div>
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Ejercitar el concepto de Composición en Tiempo Real mediante la improvisación musical libre y pautada.</div>
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Entrenamiento exhaustivo en la Improvisación con Dirección Asistida por Sistema de Señas<i> (escuela neoyorquina).</i></div>
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Incentivar la composición grupal mediante la práctica de diversos dispositivos creativos de carácter lúdico.</div>
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Generación de ideas comunitarias a partir de estructuras no-jerárquicas, anárquicas, horizontales y rizomáticas.</div>
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Trabajo de experimentación con conceptos como atonalidad, serialismo, deconstrucción, abstraccionismo, etc.</div>
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Desarrollar la exploración tímbrica extrema en las zonas fronterizas de ‹ruido›, ‹silencio›, ‹música› y ‹sonido›.</div>
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Construcción de instrumentos no convencionales a partir de objetos cotidianos y reciclado de descarte industrial.</div>
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Introducción al circuit bending, microfonía piezoeléctrica, música electrónica, editores, loops y osciladores analógicos.</div>
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Profundizar la articulación entre ‹lo visual› y ‹lo sonoro› <i>(music painting, partituras gráficas, arte multidisciplinario)</i>.</div>
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Relevar las corrientes musicales modernas (s.XX) y los nuevos paradigmas contemporáneos (s.XXI). Post-todo.</div>
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Brindar herramientas para la ampliación de la concepción musical, la audición y el incentivo de la reflexión crítica.</div>
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<b>Actividad abierta</b></div>
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Todos los interesados pueden participar. <span style="text-decoration: underline;">No es necesario saber música ni se requiere ningún conocimiento previo</span>.</div>
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Este seminario es gratuito <i>(con cupos limitados)</i>. Se dictará en Krauthaus (Almagro).</div>
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Como trabajo final los participantes darán un concierto abierto al público y se editará un cd con obras del taller.</div>
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Interesados enviar CV o mini-biografía <i>(y link si es que tiene)</i> a <a href="mailto:atari.noiselab@gmail.com"><span style="color: #0020e1;">atari.noiselab@gmail.com</span></a></div>
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<b>Inscripción</b></div>
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Seminario intensivo. Duración: 1 mes. Comienzo Martes 9 de noviembre de 2011</div>
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4 martes consecutivos de 19:00 a 23:00 hs. <i>(prácticas musicales: composición en tiempo real, etc.)</i></div>
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2 domingos a convenir de 16:00 a 20:00 hs. <i>(prácticas de diseño: construcción de instrumentos, etc.)</i></div>
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<span style="text-decoration: underline;">Consultar por otros días y horarios / Consultar por próximos talleres y seminarios.</span></div>
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Más info por mail, o remitirse el temario, cronograma y programa completo en <a href="http://www.atari-b.blogspot.com/"><span style="color: #0020e1;">www.atari-b.blogspot.com</span></a></div>
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</b></span><div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comAlmagro - Ciudad Autónoma de Buenos Aires, Capital Federal, Argentina-34.6 -58.4166667-34.6261405 -58.4561487 -34.573859500000005 -58.3771847tag:blogger.com,1999:blog-34540533.post-66756327479487276742011-01-04T13:05:00.000-03:002013-01-09T14:03:55.507-03:00El deseo furtivo del condenado antes de morir degollado: Confesionario musical<a href="http://4cigarrasyunamantisreligiosa.blogspot.com/2012/01/confesionario-musical.html?spref=bl">El deseo furtivo del condenado antes de morir degollado: Confesionario musical</a>: Confesionario , pero sin la presencia de Jorginho Rial, ni la de Cecilia Szperling ni párrocos de ningún tipo. A modo de agasajo, un ba...<div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-70526757755786986742010-12-03T01:35:00.007-03:002011-11-03T19:47:56.242-03:00Hello??<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaVtpxcWRyRdde5D5yCd5MWXyRelNyxWLRQFupKJxGPq-NBrnTzKHDlsFb7w2ZQN52BpdacQNGHSD-HATghGRX2EhpFpIhH_UKwFMGLNQqYvUvFDfsEuo_EScoPXCSO4SJe-cD/s1600/001.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5546316877087289266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaVtpxcWRyRdde5D5yCd5MWXyRelNyxWLRQFupKJxGPq-NBrnTzKHDlsFb7w2ZQN52BpdacQNGHSD-HATghGRX2EhpFpIhH_UKwFMGLNQqYvUvFDfsEuo_EScoPXCSO4SJe-cD/s400/001.jpg" style="cursor: pointer; float: left; height: 225px; margin: 0pt 10px 10px 0pt; width: 400px;" /></a>Entrevistan al dueño del resto japonés más bizarro y antipático de Buenos Aires:<br />
–¿Hola, señor Ito San?<br />
–Sí, Ito San habla.<br />
–¿Cómo le va? Lo llamamos para hacerle una entrevista por su restaurante.<br />
–No entrevista. Ito San no va a hablar.<br />
–Pero es una nota que va a leer mucha gente, que va a querer conocerlo.<br />
–Usted soberbio, se manda parte y quiere cobrar a Ito San por nota.<br />
–No, Ito, la nota es gratis. ¿Le parece si pasamos esta noche con el fotógrafo?<br />
–No habla para nota no. Pasa no. No pasa.<br />
–Bueno, quedamos así, nos vemos a las 20.30 en su restaurante.<br />
–No pasa (se escucha un teléfono colgado con furia).<br />
<br />
Imperdible esta nota del NO <a href="http://www.pagina12.com.ar/diario/suplementos/no/12-5129-2010-12-02.html">http://www.pagina12.com.ar/diario/suplementos/no/12-5129-2010-12-02.html</a> para los amantes de los datos curiosos.<br />
Evitable, desde ya, el boliche del tipo mas podrido que supo desembarcar en nuestro puerto. Yo dos veces intente ir a cenar ahi y un moderado (sinceramente) amor propio me lo impidio. Un placer exclusivo para masoquistas.<div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Marianahttp://www.blogger.com/profile/13078746254540325133noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-71153177383880800842010-10-11T18:14:00.002-03:002010-10-11T18:45:37.750-03:00Where Is My Mind (Pixies Piano Cover)<div id="eow-description">I believe this would bring a smile to Mozart's face and perhaps a tear knowing that beautiful music still exists 200 years after his death.<br />
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Music from Maxence Cyrin's new album "<i>Novö Piano</i>".</div><div id="eow-description">Original song from the classic Pixies album "<i>Doolittle</i>".<br />
Scenes taken from "<i>The mysterious Lady</i>" (1928) with the great Greta Garbo.</div><div id="watch-description-extras"></div><div id="watch-description-extras"><span style="font-size: xx-small;">Tags: Music The Pixies Where is my mind Maxence Cyrin piano cover nouvelle vague greta garbo Doolitlle rock punk classic</span></div><br />
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Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-85788195307937313102010-07-21T16:22:00.001-03:002010-07-24T16:30:38.299-03:00Música Experimental en la Federación Libertaria Argentina<div style="margin: 0px;"><br />
<span class="Apple-style-span" style="font-family: Verdana; font-size: 15px;"><b><span class="Apple-style-span" style="color: #6b6b6b;"><span class="Apple-style-span" style="font-size: 16px;">Travesti </span><span class="Apple-style-span" style="font-size: 12px; font-weight: normal;">(No Wave)</span></span></b></span></div><div style="font-size: 15px; margin: 0px;"><span style="font: small Verdana;"><b><span class="Apple-style-span" style="color: #6b6b6b;"><span class="Apple-style-span" style="font-size: 16px;">Emisor</span> <span class="Apple-style-span" style="font-size: 12px; font-weight: normal;">(IDM)</span></span></b></span></div><div style="font-size: 15px; margin: 0px;"><span style="font: small Verdana;"><b><span class="Apple-style-span" style="color: #6b6b6b;"><span class="Apple-style-span" style="font-size: 16px;">Epiref</span> <span class="Apple-style-span" style="font-size: 12px; font-weight: normal;">(Experimental)</span></span></b></span></div><div style="font-size: 15px; margin: 0px;"><span style="font: small Verdana;"><b><span class="Apple-style-span" style="color: #6b6b6b;"><span class="Apple-style-span" style="font-size: 16px;">Klub Der Klang</span> <span class="Apple-style-span" style="font-size: 12px; font-weight: normal;">(Noise)</span></span></b></span></div><div style="font: 12px Verdana; margin: 0px; min-height: 15px;"><span class="Apple-style-span" style="color: #6b6b6b;"><br />
</span></div><div style="margin: 0px;"><span style="font: small Verdana;"><span class="Apple-style-span" style="color: #6b6b6b;">Ciclo Eu!zine. Sábado 24/7 19:00 horas</span></span></div><div style="margin: 0px;"><span style="font: small Verdana;"><span class="Apple-style-span" style="color: #6b6b6b;">Federación Libertaria Argentina. FLA $5</span></span></div><div style="margin: 0px;"><span style="font: small Verdana;"><span class="Apple-style-span" style="color: #6b6b6b;">Brasil 1551. Constitución. Buenos Aires. </span></span></div><div style="margin: 0px;"><span style="font: small Verdana;"><span class="Apple-style-span" style="color: #6b6b6b;">Última Sesión ///// Flyer by Yakin Bozek. </span></span></div><div style="margin: 0px;"><span style="font: small Verdana;"><br />
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Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-80279356262001563532010-06-06T15:16:00.001-03:002010-06-07T00:54:36.424-03:00Are You The Favorite Person of Anybody? (Miranda July)<object height="385" width="480"><param name="movie" value="http://www.youtube.com/v/-t-5PLQgcSA&hl=en_US&fs=1&rel=0"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/-t-5PLQgcSA&hl=en_US&fs=1&rel=0" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br />
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Directed by <b>Miguel Arteta</b> / Written by <b>Miranda July</b><br />
Starring <b>John C. Reilly</b>, <b>Miranda July</b>, <b>Mike White</b> and <b>Chuy Chavez.</b><br />
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<div class="content greenbg clear"> <div class="last">A man with a clipboard asks passersby a survey question: “Are you the favorite person of anybody?".</div><div class="last">The point is there are three types of people in this context: The first one assumes she is and then when she thinks about it properly, she realises she might not be; she's slightly self delusional, a bit narccisistic. The second type is the modest guy; the realist, who doesn't need to feel loved to be secure. The third guy doesn't want to think about it, 'cause the answer might annoy him. He's quite closed and bottles up emotion. </div><div class="last"><br />
</div></div><span style="font-size: xx-small;">Tags: miguel arteta miranda july john reilly mike white Wholphin McSweeneys Survey Film Screening Room Film & Animation</span><div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-54947697968172899212010-06-01T19:28:00.004-03:002011-11-03T21:14:23.847-03:00A Los Gauchos Psicomísticos del Miasma en el ciclo Bullicio Le Bar<div style="color: #444444;">
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<span class="Apple-style-span" style="font-family: Georgia;"><b><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: 23px;">A Los Gauchos Psicomísticos del Miasma</span></span></b></span></div>
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<span style="font: normal normal normal small/normal Verdana;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span">Martes 1 de Junio a las 22:00 hs. Gratis</span></span></span></div>
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<span style="font: normal normal normal small/normal Verdana;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span">en Le Bar. Tucumán 422. Buenos Aires</span></span></span></div>
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<span class="Apple-style-span" style="border-collapse: separate; font-size: x-small; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-style-span" style="border-collapse: separate; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span" style="font-family: Georgia;"><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><a href="http://www.myspace.com/gauchotica"><span class="Apple-style-span"><span class="Apple-style-span">MySpace</span></span></a></span><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><span class="Apple-style-span"><span class="Apple-style-span"> | </span></span><span class="Apple-style-span"><a href="http://www.facebook.com/alosgauchos"><span class="Apple-style-span">Facebook</span></a><span class="Apple-style-span"> | </span><a href="http://www.blogger.com/www.facebook.com/group.php?gid=428362295160"><span class="Apple-style-span" style="text-decoration: none;"><span class="Apple-style-span">Bullicio</span></span></a><span class="Apple-style-span"> | </span><span class="Apple-style-span"><a href="http://www.blogger.com/www%20.lebarbuenosaires.blogspot.com"><span class="Apple-style-span"> Le Bar</span></a></span></span></span></span></span></span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><i><span class="Apple-style-span"><span class="Apple-style-span" style="text-decoration: underline;">en Bullicio / Le Bar, A Los gauchos formarán así:</span></span></i></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">Yakin Bozek:</span></b><span class="Apple-style-span"> sintetizador, loops y mantras</span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">Doljanin: </span></b><span class="Apple-style-span">tetraedro, tocadiscos y artefactos del cosmos</span></span></div>
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<span class="Apple-style-span" style="font-size: xx-small;"><b><span class="Apple-style-span">Gómez Llambi</span></b><span class="Apple-style-span">: guitarra procesada</span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia; font-size: small;"><span class="Apple-style-span" style="font-size: 11px;"><span class="Apple-style-span" style="font-family: Helvetica; font-size: 13px;"><span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">Llurba</span></b><span class="Apple-style-span">: guitarra acústica y ukelele</span></span></span></span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">González: </span></b><span class="Apple-style-span">el bajista</span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">Barberis: </span></b><span class="Apple-style-span">el baterista</span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">Kehoe</span></b><span class="Apple-style-span">: flauta traversa</span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">Marama: </span></b><span class="Apple-style-span">violín</span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">Flores</span></b><span class="Apple-style-span">: viola da gamba</span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">Grinspan: </span></b><span class="Apple-style-span">clarinete</span></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b><span class="Apple-style-span">García</span></b><span class="Apple-style-span">: retroproyector</span></span></div>
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<span class="Apple-style-span" style="font-family: Georgia; font-size: xx-small;"><span class="Apple-style-span"><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b><span class="Apple-style-span">Bullicio</span></b><span class="Apple-style-span">: <span class="Apple-style-span"><a href="http://www.blogger.com/www.facebook.com/group.php?gid=428362295160">www.facebook.com/group.php?gid=428362295160</a></span></span></span></span></span></div>
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Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.comTucumán 422, Ciudad Autónoma de Buenos Aires, Capital Federal, Argentina-34.6008823 -58.3728631-34.602516300000005 -58.3753306 -34.5992483 -58.370395599999995tag:blogger.com,1999:blog-34540533.post-9882909357002743132010-06-01T15:57:00.003-03:002011-11-03T19:48:29.351-03:00Adios a Louise Bourgeois<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiirzbRZt1pl0GBerjQOZ78nNEqeloWnXU4Rj_zAFfeHVwKkosU9qz9zQPTq2xl8CO8MxZkjoROL2GtmWyUejz06JPa8_H1fLehKPFBkl037IYzVAivzqmExxL42NkjLOB_IsHS/s1600/louise_bourgeois-1.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiirzbRZt1pl0GBerjQOZ78nNEqeloWnXU4Rj_zAFfeHVwKkosU9qz9zQPTq2xl8CO8MxZkjoROL2GtmWyUejz06JPa8_H1fLehKPFBkl037IYzVAivzqmExxL42NkjLOB_IsHS/s400/louise_bourgeois-1.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5477881822923291618" /></a><br /><br /><br />Louise Caroline Bourgeois <br />(París 25 de diciembre de 1911 - New York, 31 de mayo de 2010)<div class="blogger-post-footer">-
Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Marianahttp://www.blogger.com/profile/13078746254540325133noreply@blogger.comtag:blogger.com,1999:blog-34540533.post-20200350928619511222010-04-22T03:15:00.005-03:002011-11-04T04:46:25.792-03:00A Los Gauchos Psicomísticos del Miasma en vivo en The Roxy!<div>
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<span style="font: normal normal normal x-small/normal Georgia;"><b>Instant Kissing Party:</b></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;">ALGPM</span><span style="font: normal normal normal x-small/normal Georgia;"><i> (avant kraut)</i></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;">Los Tiros </span><span style="font: normal normal normal x-small/normal Georgia;"><i>(indie pop)</i></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;">Alfonso el Pintor</span><span style="font: normal normal normal x-small/normal Georgia;"> <i>(dj set)</i></span></div>
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<span style="font: normal normal normal x-small/normal Georgia;">Rudie Martínez </span><span style="font: normal normal normal x-small/normal Georgia;"><i>(Adicta)</i></span></div>
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<span style="font: normal normal normal small/normal Georgia;"><b>Sábado 24 Abril</b> 23:30 hs.</span></div>
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<span style="font: normal normal normal small/normal Georgia;"><b>ALGPM @ The Roxy</b>. Niceto Vega 5542.</span></div>
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<span style="font: normal normal normal small/normal Georgia;">Palermo. Buenos Aires, Argentina. Entrada $35</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSHvAocksKGSplreIZ6_Ge2nWjSBcGmLo9IF2DGA7zR2CuEud5SFnb9yo5WdjCEm8JU8-m5Q8oR-EsspF1VfU8ExY7qgP7YClasF7aeeXhmozvzd91FN6FiVxqZ7QKv4Vs8kWU/s1600/ALGPM_The_Roxy_gruy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSHvAocksKGSplreIZ6_Ge2nWjSBcGmLo9IF2DGA7zR2CuEud5SFnb9yo5WdjCEm8JU8-m5Q8oR-EsspF1VfU8ExY7qgP7YClasF7aeeXhmozvzd91FN6FiVxqZ7QKv4Vs8kWU/s640/ALGPM_The_Roxy_gruy.jpg" width="361" /></a></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"></span></span><br />
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span" style="color: black;"><i><span style="font-family: Georgia; font-variant: normal; font-weight: normal; line-height: normal;"><u>la orquesta rizomática ALGPM en su versión punk de cámara saldrá así:</u></span></i></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Yakin Bozek:</b> <i>Sintetizador y Mantras</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span class="Apple-style-span" style="font-style: normal;"><b>Doljanin</b>: <i>Texturas del Cosmos y Artedactos</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Cuevas</b>:<i> Guitarra Criolla y TB-303</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>González</b>: <i>Bajo </i></span></i></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Barberis</b>: <i>Batería</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Grinspan</b>: <i>Clarinete</i></span></i></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Guañabens</b>: <i>Saxo Tenor</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Marama</b>: <i>Violín Danzante</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Fernández</b>: <i>Viollín Hindú y Tabla</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Flores</b>: <i>Viola da Gamba</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><b>Mastromónaco</b>: <i>Cello</i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><i><br /></i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><i><br /></i></span></i></span></span></span></span></span></span></div>
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<div style="font-family: Georgia; font-size-adjust: none; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 0px; min-height: 14px; text-align: center;">
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">ALGPM = A Los Gauchos Psicomísticos del Miasma</span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><i><span style="font-family: Georgia; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"><a href="http://www.myspace.com/gauchotica"><i>MySpace</i></a><i> | </i><a href="http://www.facebook.com/pages/a-los-gauchos-psicomisticos-del-miasma/32262593342"><i>Facebook</i></a><b><i> |</i></b><i> </i><i><a href="mailto:alosgauchos@gmail.com">alosgauchos@gmail.com</a></i></span></i></span></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: Georgia;"><span class="Apple-style-span" style="color: #7c7920; font-size: x-small;"><span class="Apple-style-span" style="font-size: 10px;"><span class="Apple-style-span" style="color: black; font-size: small;"><span class="Apple-style-span" style="font-size: 11px;"><i></i></span></span></span></span></span></span></div>
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Atari Burroughs Radiofanzine
viernes de 18 a 20 hs en vivo
http://atari-b.blogspot.com</div>Max Yakin Bozekhttp://www.blogger.com/profile/14087931683005966390noreply@blogger.com