Archives for August, 2022

Nathaniel Mackey

udo matthias drums electronic software – afrigal         Nathaniel Mackey Nathaniel Mackey recites his poem “As If

Posted in Afrigal, Art Kunst allgemein, Ästhetik, experimental, Jazz, Musik & Spiritualität, Noise Tagged with: 1947, Aarau, Ableton, Afrigal, Afrika, afrikanische Mythologie, afroamerikanische Musiktraditionen, Anthony Braxton, Art in general, Basel, Berliner Schule, Bern, Black Ocean Books, Blue Fasa, Bruno Spoerri, C++, Chuck, Dichtern der Black Mountain, Double Trio, Duke University, Eroding Witness, ETH Zürich, Experimentelle Musik, Four for Trane, Freiburg im Breisgau, Gene Washington, Hambone, Hamid Drake, Harry Lehmann, Improvisierte Musik, Jazz, jimi hendrix, john coltrane, Kalifornien, Kandern, Karl Friedrich Gerber, Klaus Weinhold, Kraftwerk, Kunst(neue)Musik, Lay Ghost, Lörrach, Luzern, Manhattan, MAXMSP, menschlichen Atem- und Äußerungsrhythmen schufen, modernistische poetische Experimente, Müllheim, Nathaniel Mackey, National Book Award for Poetry, Nebenau, Nerve Church, Neue Musik, Nod House, North Carolina, Peter Giger, Pierre Favre, Princeton University, Puredata, Resin Binzen, Rheinfelden, rituelle Kraft von Poesie und Gesang, Ruth Lilly Poetry Prize ausgezeichnet, Santa Cruz, School of Udhra, Septet for the End of Time, seriellen Projekte, So's Notice, Soundart, Splay Anthem, Stanford University, Tej Bet, Udo Matthias, Udo Matthias drums/electronic/software, University of California, University of Southern California, University of Wisconsin, Whatsaid Serif, Wilfrid Kirner Berlin, Wollbach, Yale Bollingen Prize for American Poesie ., Zürich