FB01 (2002-2003) [Full Album] скачать в хорошем качестве

FB01 (2002-2003) [Full Album]

[1] ID 1 (0:08) opus 7 (2003) [2] Incident outside Mesquite (4:03) opus 6 (2003) [3] ID 2 (0:10) opus 8 (2003) [4] Message from Space Mountain (8:24) opus 2 (2002) [5] ID 3 (0:09) opus 9 (2003) [6] Independent Bernoulli Trials (5:52) opus 4 (2003) [7] ID 4 (0:10) opus 10 (2003) [8] Earth Frequency Oscillator (7:29) opus 1 (2002) [9] ID 5 (0:10) opus 11 (2003) [10] Binary Rhythms of the Lizard People (10:41) opus 5 (2003) [11] ID 6 (0:08) opus 12 (2003) [12] Atmospheric Composition (8:55) opus 3 (2003) [13] ID 7 (0:04) opus 13 (2003) Catalog No: FLX4 Title: FB01 Sound Artist: rothkamm Visual Artist: Holger Rothkamm Label: Flux Records Length: 46:23 Composed: 2002-2003 Location: Hollywood Instruments: Yamaha FB01 Release Date: 1/30/2005 Edition Size: 500 Format: Compact Disc Parts: 4 panel folder(4/1) 2 panel tray card(4/1) compact disc clear case shrink wrap UPC: 628740716724 File Under: pure electronic sci-fi serialism retro synthesizer concept album I This is the beginning of the digital age. Computers are not instruments. By definition, they are general purpose machines of the empirical world and their nature changes according to the instructions given. The series of instructions, the algorithm, determines the machine or what the machine is. The algorithm can exist in abstracto - in a world of transcendental ideas without machines. However, it can only execute in hardware, not apart from it. At the moment of execution the algorithm changes the nature of the general purpose machine to a special purpose machine, gives concrete evidence of a transcendental idea, and manifests itself in the empirical world of time and space. This change of general purpose to special purpose is the instrument, the manifestation of a transcendental idea. Implicitly, instruments are defined by limitations. Limitations clearly shape the instrument and dialectically, the more limited the instrument is, the more it expresses the idea. This is the reason for aesthetics to emerge, because they are born at the moment the special purpose machine executes very particular instructions. Aesthetics are particularities in the empirical world and it is only because of their particularity that they are capable of cosmological manifestation as they are absolute expressions in a world that is limited to time and space. Aesthetics are therefore bound to the machine. What we listen to is the instrumental machine. What we listen to is the Digital-to-Analog Converter. What we listen to is what the machine is. It is the algorithm that enables us to move with absolute freedom through the empirical world of the machine as if at play without purpose and with cosmological ideas in mind; that is, free improvisation that is free from free improvisation. If we suppose a purpose it is our liberation through the instrument. This is our play with, or our intuition of, the machine as an instrument of transcendence to the cosmological idea - as instruments are spacecrafts, vehicles to manifest the reaches of the cosmological ideas. ... http://rothkamm.com/?FB01 | https://rothkamm.bandcamp.com/album/f...