Oljudens musik : En revolution i kompositionsteknik?

Noise music is created around sounds not often welcome in a musical context. Since the birth of electronic music in the 1950s a new perspective on composing has emerged. In electronic music, sounds and their timbre are as much important as melody, harmony and rhythm. This composing perspective is not often observed. Therefore I have examined a musical genre that stretches the boundaries of what we consider music, sound, noise, beautiful and terrible. The aim of this thesis is to investigate what aesthetic ideals noise musicians have when they create music. I examine the composing processes of three noise musicians, by asking the following questions: Do you compose in advance or do you improvise, how do your control of sound look like, how do you use the human voice and how do you categorize sound? The thesis is constructed around interviews I have made with the musicians and an extensive historical background concentrated on the alternative composing techniques that has led to the development of noise music. Among the results I found that these noise musicians always improvise with material, but the real essence of noise music is the character of the sounds, not their origins or material. Composing in advance for sound is a lot more difficult than traditional composing. Another result is that these noise musicians have extensive control of their instruments and can produce the sounds they wanted. They point out the importance of instruments that produce sound not directly controlled by themselves, something that create a musical quality that they aspire.

The sustainability revolution : A societal paradigm shift - ethos, innovation, government transformation

The Sustainability revolution: A societal paradigm shift – ethos, innovation, governance transformation This paper identifies several key mechanisms that underlie major paradigm shifts. After identifying four such mechanisms, the article focuses on one type of transformation which has a prominent place in the sustainability revolution that the article argues is now taking place. The transformation is piecemeal, incremental, diffuse – in earlier writings referred to as ”organic”. This is a more encompassing notion than grassroots, since the innovation and transformation processes may be launched and developed at multiple levels through diverse mechanisms of discovery and development. Major features of the sustainability revolution are identified and comparisons made to the industrial revolution.

Das Bildzitat Eine Untersuchung von Paul Klees Die Revolution des Viaduktes in drei Texten der deutschprachigen Prosa

Ziel dieser Arbeit ist die Untersuchung des Bildzitates und seiner Form. Ausgangspunkt ist ein Kunstwerk, Paul Klees Revolution der Viadukte, und dessen Versprachlichung, dem sognannten Bildzitat, in drei Texten der deutschen Prosa. Als literaturwissenschaftliche Methode wurde ein intermedialer Ansatz nach Rajewsky, sowie von Berndt, Tonger-Erk gewählt. Eine Auswahl des Kunstwerkes und der Texte, die das Kunstwerk zitieren, wurde basierend auf dem Material der Datenbank über literarische Bildzitate in Wien getroffen. Die Analyse der Bildzitate in SAID: Das Rot lächelt, das Blau schweigt. Geschichten über Bilder, Uwe Timm: Der Freund und der Fremde und Gertrud Leutenegger: Vorabend erfolgt nach folgender Fragestellung: 1. Welches sind die grundlegenden Charakteristika des Bildes, die in den literarischen Bildzitaten hervorgehoben werden? 2. Mit welchen sprachlichen Mitteln wird dies hervorgehoben? 3. Welche Rolle spielt der Titel des Gemäldes? Wie der Resultatteil zeigt werden von den Autoren Stilmittel ähnlich die des Gemäldes (Kontrast, Repetition) verwendet. Der Titel des Gemäldes und die Bildzitate werden im Text als verstärkendes Element verwendet. The pictorial quote An analysis of Paul Klees Revolution of the viaduct in three German prose texts. This essay explores the quotation of images in literature. Starting point is Paul Klee's painting The revolution of the viaduct and its verbal expression, which is known as 'image quotation', in three German prose texts. The textual analysis of these works - SAID's Das Rot lächelt,das Blau schweigt. Geschichten über Bilder, Uwe Timm's Der Freund und der Fremde and Gertrud Leutenegger's Vorabend - is based on theories of intermediality. This essay shows that the authors employ stylistic devices similar to those in the painting, such as contrast and repetition, and use them as intermedial references.