The P16.D4 were a collective of musicians active in the 80s focusing on the creative use of tape loops, sampling and the transformation of previously recorded material in deference to the teaching of the darkest concrete music.
They have long-standing collaborations with authors such as Merzbow, DDAA, Nurse with Wound, Vortex Campaing.
The PD began at the end of 1979 as a solo project by Joachim Stender, who at that time was studying in Mainz as a festival organizer. With the group “Messehalle” he tried (working together under the name of Neue Deutsche Welle) to bring to Mainz the punk / new wave / no wave / industrial movement.
At the beginning of 1980, Ralf Wehowsky and Joachim Pense joined the band, and the first album “Alltag” was released. Shortly thereafter he followed the LP “Inweglos”, which was joined by Ewald Weber, Achim Szepanski, Roger Schönauer and Gerd Poppe.
The remaining members, also with Wehowsky, continued with P16.D4. Through its influence, work on noise itself has become more important, with an explicit reference to concrete music. Stefan Schmidt, who soon joined, was an enrichment with his education in classical composition.

The characteristic of the group was the mode of production: the continuous elaboration and reorganization of the existing sound material from previous productions, known as “recycling”, also from the works of other artists (Mail Art) prefiguring a sort of sampling. This concept of exchange of materials can be seen in the projects “DI STRUCTURES” (1985) with the participation of international artists. Other LPs: Mass Human (1984), Cows in 1/2 Mourning (1984), Nothing, Nobody, Nowhere, Never (1986, with SBOTHI), Captured Music (1989), acRID acME (1989). They themselves have described their work process with “cuts, changes of direction, change of speed, tape ripples, harmonization, distortion.”

Walter Giers – Electronic Art

Walter Adolf Giers (1937-2006) was a pioneer of electronic arts and audio installations.

The intuition of Giers after the first studies in Design, Jazz and steel engraving, was his idea to transform the circuits into design objects, conveying the usefulness of the circuitry in an object that today could be considered by the captivating design. His works are not just objects that produce sounds or lights, in deference to the theories on the cybernetics of Weiner and Louis Barron, but they are also pure design objects.

In 1968 he conceived his first interactive work: “Mr.Brabbel”, where the viewer can manipulate and influence the object itself by modifying the sounds and lights produced by the work. This principle will be the basis of many of his future works. In advance of what the Arduino systems today allow to do easily.

The James Koetting Ghana Field Recordings collection

“Kwasi Badu with dawuro (side view)” (1968). James Koetting Ghana Field Recordings Collection.Brown Digital Repository. Brown University Library. https://repository.library.brown.edu/studio/item/bdr:146331/

As one of the largest collections of field recordings from Ghana, this digital collection includes recorded interviews, musical demonstrations, field notebooks, photographs, commentary, and other original source material surrounding Koetting’s research. The collection highlights his extensive work with Kasena musicians in Accra (Nima) and in the Kasena region near the country’s border with Burkina Faso and also documents Akan, Ewe, Ga, Dagomba, and other musical types and activities of the time. Koetting served on the Brown University Music faculty from 1975 until his death in 1984.

The James Koetting Ghana Field Recordings collection presents a vibrant mix of traditional and popular music recorded at a broad range of locations and events in Ghana during the 1970s by ethnomusicologist James Koetting. Students and researchers can hear online the complete archive of Koetting’s field tapes — 142 audio reel tapes — of musical performances from arts festivals, traditional ceremonies and events, stage concerts, church services, and less formal gatherings and sessions throughout Ghana.

This project is supported, in part, by the Scott Chanchien Memorial Library Fund.

A brief guide to flarf poetry


Flarf: A quality of intentional or unintentional “flarfiness.” A kind of corrosive, cute, or cloying, awfulness. Wrong. Un-P.C. Out of control. “Not okay.”

Flarf (2): The work of a community of poets dedicated to exploration of “flarfiness.” Heavy usage of Google search results in the creation of poems, plays, etc., though not exclusively Google-based. Community in the sense that one example leads to another’s reply—is, in some part, contingent upon community interaction of this sort. Poems created, revised, changed by others, incorporated, plagiarized, etc., in semi-public.

Flarf (3) (verb): To bring out the inherent awfulness, etc., of some pre-existing text.

Flarfy: To be wrong, awkward, stumbling, semi-coherent, fucked-up, un-P.C. To take unexpected turns; to be jarring. Doing what one is “not supposed to do.”

Anthology of Text Scores by Pauline Oliveros, Deep Listening Publications 2013

An Anthology of Text Scores

Pauline Oliveros’ Anthology of Text Scores contains over one hundred pieces that span four decades of creative work.  Collected in one comprehensive volume, these individual and group meditations, as well as solo and ensemble performance pieces are invaluable resources for performing musicians, music students, and anyone interested in the life work of one the most unique voices in modern music. Featuring an introduction by Brian Pertl.

Among the scores included are: 70 Chords for Terry, All Fours for the Drum Bum, Angels and Demons, Arctic Air, Body Tune Up, Buffalo Jam, Deep Listening Meditations – Egypt, Dissolving Your Earplugs, Earth Ears, The Earthworm Also Sings, Energy, Follow Yourself, Four for Forty, The Gender of Now: There but Not There, God Dog, Horse Sings From Cloud, Imaginary Meditations, Just Listening, Klickitat Ride, Lullaby for Daisy Pauline, Metacolors, The New Sound Meditation, Noise-Silence, One Sound Once, Pebble Music, Piano Piano, Quintessential, Rhythms, Rock Piece, Saxual Orientation, Sex Change, Sound Fishes, String-Utopia, Thirteen Changes, Two for T, Urban and Country Meditations, Welcoming the Light, Wheel of Life, and Word Sound.

SPECIAL INVITE: Deep Listening Institute and Deep Listening Publications extends an open invitation to musicians, non-musicians and deep listeners to share their past, present or future performances of Pauline Oliveros’ text scores, in particular, ones from the new anthology. To share your performance url or for any questions, contact Catalog Manager Al Margolis or Lisa Barnard Kelly.