Ars Electronica Linz GmbH is an Austrian cultural and scientific institute active in the field of new media art, founded in Linz in 1979. It is based at the Ars Electronica Center, which houses the Museum of the Future, in the city of Linz. Ars Electronica’s activities focus on the interlinkages between art and society, it runs an annual festival, manages a multidisciplinary media arts R&D facility known as the Futurelab. It confers the Prix Ars Electronica awards. Ars Electronica began with its first festival in September 1979, its founders were Hannes Leopoldseder, Hubert Bognermayr, Herbert W. Franke, Ulrich Rützel; the festival was held biennially at first, annually since 1986. The Prix Ars Electronica has been awarded every year since then. Ars Electronica Linz GmbH was incorporated as a limited company in 1995; the Ars Electronica Center, together with the Futurelab, opened in 1996, was remodelled in 2009. Funding is provided by the City of Linz, the Province of Upper Austria and the Republic of Austria, in addition to private partners.
In 2014 the organization is headed by artistic director Gerfried Stocker and financial director Diethard Schwarzmair. The annual Ars Electronica festival is a gathering of artists and technologists, intended as "a setting for experimentation and reinvention"; the festival has always exerted a public presence in Linz, mounting large-scale open-air projects and holding lectures and workshops in a wide range of public venues. Each year the festival is devoted to a specific theme; the festival in 2014, from 4–8 September, had as its theme "C... What it Takes to Change", i.e. ways in which social change and innovation can be promoted. It attracted 579 participants and about 85,000 visitors. A form of concept art, Device Art has been described as "...a rebellion of form, taking everyday objects and inverting them to tell you something different". Among the examples exhibited at the 2014 festival were: "Otamatone" – a musical instrument shaped like a musical note. "Food Simulator", in which a pressure sensor in the user's mouth simulates the sensation of chewing food.
"Lenticular Bicycle" - an old fashioned bicycle with a screen carousel mounted above the handlebars, known as "Sustainable Cinema No. 2" and created by Scott Hessels. A robot that performs street begging, made from recycled computer parts, with a voice and robotic hands. "Touchy", a "human camera", devised by the Hong Kong-based artist Eric Suiss. A display called "Smart atoms: spaxels version" was developed by Ars Electronica Futurelab and shown at the 2014 festival; the "space pixels" – automatically controlled drones fitted with LEDs - fly in formation to create apparent three-dimensional objects against the night sky. The Prix Ars Electronica is an annual award made in several categories, "honoring creativity and innovativeness in the use of digital media". Award winners are selected by a five-person international expert jury, who may themselves propose candidates; the prize may be awarded to individuals or to teams or organizations, may be awarded for a specific work of art or for another form of innovation.
Grover has described the top-ranking award, the Golden Nica, as "the Oscar of digital art". The Prix was first awarded in 1987, there have been several changes in the categories since then. In 2014 there were 2,703 entries from 77 countries. All entries remain on display in an online archive, the Prix Ars Electronica Showcase, containing over 55,000 items. Awards of the "Golden Nica", "Awards of Distinction", "Honorary Mentions" are made in the following categories: Computer animation / Film / VFX U19 Create Your World Visionary Pioneers of Media Art Interactive Art Digital Music & Sound Art Hybrid Art Digital Communities Note: There is a grant scheme to honor and support ideas of exceptional promise, it is known as " voestalpine Art and Technology Grant". 1987: "Luxo Jr.", dir. John Lasseter of Pixar. 1990: "Videoplace", by Myron Krueger 1994: "Jurassic Park", by Dennis Muren, Mark Dippé and Steve Williams 1999: "Difference Engine#3", by Lynn Hershman 2004: Wikipedia 2005: Processing, a programming language and environment designed for the electronic arts 2007: SymbioticA, University of Western Australia Art and Science Collaborative Research Laboratory 2008: The Reactable by Sergi Jordà and others 2009: WikiLeaks The Center known as the "Museum of the Future", is housed in a modern complex of buildings by the Danube.
It acts as showcase. The majority of the space is used for public exhibitions and events, with an emphasis on interactivity and participation. Major themes are life sciences, environmental issues, preparation for impending technological developments with impacts on society. There is provision for conferences, R&D; the Center was enhanced and expanded in 2009, coincident with Linz’s term as European Capital of Culture. It is the most-visited museum in Linz; the Futurelab, housed at the Ars Electronica Center, is a center of expertise for multidisciplinary research and development of new cyberarts technologies. It is staffed by about 25 permanent team members, offers residencies to established and emerging artists and researchers; the Futurelab has produced content for the Center and Festival. More it has engaged in joint ventures with universities and the private sector; the winner of voest
Pan Sonic were a Finnish electronic music group founded in Turku in 1993. The group consisted of Mika Vainio, Ilpo Väisänen, Sami Salo. Salo left in 1996 leaving Pan Sonic a duo; the group was named Panasonic until 1998. In December 2009, it was announced, their final album, was released by Blast First Petite in May 2010. Oksastus, a live album recorded in 2009, was released in 2014. Pan Sonic cite their main influences from the early 1980s, with industrial acts like Throbbing Gristle, Einstürzende Neubauten and Suicide to reggae, hip-hop and dub. Vainio remarks that their music is a merger of these two schools of music, taking the harsh and pure sounds typical of industrial techno and spacing them out into longer, subdued soundscapes familiar to instrumental reggae and dub; the late outsider rockabilly artist Hasil Adkins is cited, as well as country music star Johnny Cash. Some of their equipment is made by third "extra" member Jari Lehtinen; these and other custom made instruments are responsible for creating the sounds typical to Pan Sonic's music.
They use samplers and an MPC2000 sequencer. Pan Sonic are great fans of experimentation and art performances and have done exhibitions and sound installations in museums, they have made music for Rei Kawakubo's fashion shows. In a musical form in which sequencing and recording music using computers is standard, the group is known for recording everything live, straight to DAT using home-made and modified synthesizers and effect units. In the late 1980s, as part of a "sound performance", the duo spent 10 hours in a garage, exposed to low-frequency noise at 125 decibels, they performed a gig in London's East End from an armoured car using a 5000 watt sound system "similar" to the type used by the police to disorient rioters. Pan Sonic formed in 1993 as a techno group with member Sami Salo, they moved to operate from a base in Barcelona to escape the long Finnish winters. Mika Vainio moved to Berlin, while Ilpo Väisänen returned to Kuopio, their first 12" was released on Finland's Sähkö Recordings.
The band was called Panasonic, but the corporation of the same name threatened legal action unless it was changed. The conflict was resolved, the duo removed the "a" from their name to become "Pan Sonic", used as the title of their 1999 album A. In December 2009 news of the duo splitting was announced on PhinnWeb – with Mika and Ilpo continuing with their own solo projects. In October 2013 a new Pan Sonic album titled, it is a live album recorded at a concert in Kiev, Ukraine on June 6, 2009. It was released on February 20, 2014. Pan Sonic created a soundtrack for the 2015 documentary called Return of the Atom directed by Mika Taanila and Jussi Eerola; the film examines the construction of the Olkiluoto 3 nuclear power plant in Finland. Return of the Atom premiered in Toronto International Film Festival in 2015. Mika Vainio died on April 13, 2017 at the age of 53. Pan Sonic on pHinnWeb Pan Sonic discography at Discogs Pan Sonic discography at MusicBrainz Blast First Petite Interview Interview Listen to Pan Sonic's "Mayhem II" at Acousmata music blog
Vienna is the federal capital and largest city of Austria, one of the nine states of Austria. Vienna is Austria's primate city, with a population of about 1.9 million, its cultural and political centre. It is the 7th-largest city by population within city limits in the European Union; until the beginning of the 20th century, it was the largest German-speaking city in the world, before the splitting of the Austro-Hungarian Empire in World War I, the city had 2 million inhabitants. Today, it has the second largest number of German speakers after Berlin. Vienna is host to many major international organizations, including the United Nations and OPEC; the city is located in the eastern part of Austria and is close to the borders of the Czech Republic and Hungary. These regions work together in a European Centrope border region. Along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site. In July 2017 it was moved to the list of World Heritage in Danger.
Apart from being regarded as the City of Music because of its musical legacy, Vienna is said to be "The City of Dreams" because it was home to the world's first psychoanalyst – Sigmund Freud. The city's roots lie in early Celtic and Roman settlements that transformed into a Medieval and Baroque city, the capital of the Austro-Hungarian Empire, it is well known for having played an essential role as a leading European music centre, from the great age of Viennese Classicism through the early part of the 20th century. The historic centre of Vienna is rich in architectural ensembles, including Baroque castles and gardens, the late-19th-century Ringstraße lined with grand buildings and parks. Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first for the world's most liveable cities. Between 2011 and 2015, Vienna was ranked second, behind Melbourne. In 2018, it replaced Melbourne as the number one spot. For ten consecutive years, the human-resource-consulting firm Mercer ranked Vienna first in its annual "Quality of Living" survey of hundreds of cities around the world.
Monocle's 2015 "Quality of Life Survey" ranked Vienna second on a list of the top 25 cities in the world "to make a base within."The UN-Habitat classified Vienna as the most prosperous city in the world in 2012/2013. The city was ranked 1st globally for its culture of innovation in 2007 and 2008, sixth globally in the 2014 Innovation Cities Index, which analyzed 162 indicators in covering three areas: culture and markets. Vienna hosts urban planning conferences and is used as a case study by urban planners. Between 2005 and 2010, Vienna was the world's number-one destination for international congresses and conventions, it attracts over 6.8 million tourists a year. The English name Vienna is borrowed from the homonymous Italian version of the city's name or the French Vienne; the etymology of the city's name is still subject to scholarly dispute. Some claim that the name comes from Vedunia, meaning "forest stream", which subsequently produced the Old High German Uuenia, the New High German Wien and its dialectal variant Wean.
Others believe that the name comes from the Roman settlement name of Celtic extraction Vindobona meaning "fair village, white settlement" from Celtic roots, vindo-, meaning "bright" or "fair" – as in the Irish fionn and the Welsh gwyn –, -bona "village, settlement". The Celtic word Vindos may reflect a widespread prehistorical cult of a Celtic God. A variant of this Celtic name could be preserved in the Czech and Polish names of the city and in that of the city's district Wieden; the name of the city in Hungarian, Serbo-Croatian and Ottoman Turkish has a different Slavonic origin, referred to an Avar fort in the area. Slovene-speakers call the city Dunaj, which in other Central European Slavic languages means the Danube River, on which the city stands. Evidence has been found of continuous habitation in the Vienna area since 500 BC, when Celts settled the site on the Danube River. In 15 BC the Romans fortified the frontier city they called Vindobona to guard the empire against Germanic tribes to the north.
Close ties with other Celtic peoples continued through the ages. The Irish monk Saint Colman is buried in Melk Abbey and Saint Fergil served as Bishop of Salzburg for forty years. Irish Benedictines founded twelfth-century monastic settlements. Evidence of these ties persists in the form of Vienna's great Schottenstift monastery, once home to many Irish monks. In 976 Leopold I of Babenberg became count of the Eastern March, a 60-mile district centering on the Danube on the eastern frontier of Bavaria; this initial district grew into the duchy of Austria. Each succeeding Babenberg ruler expanded the march east along the Danube encompassing Vienna and the lands east. In 1145 Duke Henry II Jasomirgott moved the Babenberg family residence from Klosterneuburg in Lower Austria to Vienna. From that time, Vienna remained the center of the Babenberg dynasty. In 1440 Vienna became the resident city of the Habsburg dynasty, it grew to become the de facto capital of the Holy Roman Empire in 1437 and a cultural centre for arts and science and fine cuisine.
Hungary occupied the city between 1485 and 1490. In the 16th and 1
Merzbow is a Japanese noise project started in 1979 by Masami Akita. Merzbow is best known for a style of harsh, confrontational noise as exemplified on the 1996 release Pulse Demon. Since 1980, Akita has collaborated with various artists; the name Merzbow comes from the German dada artist Kurt Schwitters' artwork Merzbau, in which Schwitters transformed the interior of his house using found objects. The name was chosen to reflect junk art aesthetic. In addition to this, Akita has cited a wide range of musical influences from progressive rock, heavy metal, free jazz, early electronic music to non-musical influences like dadaism and fetish culture. Since the early 2000s, he has been inspired by animal rights and environmentalism, began to follow a vegan, straight edge lifestyle; as well as being a prolific musician, he has been a writer and editor for several books and magazines in Japan, has written several books of his own. He has written about a variety of subjects about music, modern art, underground culture.
His more renowned works were on the topics of Japanese bondage. Other art forms Akita has been interested in include painting, photography and Butoh dance. In 2000, Extreme Records released. Akita's work has been at least one tribute album. This, among other achievements, has helped Merzbow to be regarded by some as the "most important artist in noise". Masami Akita was born in Tokyo, Japan on December 19, 1956, he listened to psychedelic music, progressive rock, free jazz in his youth, all of which have influenced his noise. In high school he became the drummer of various high school bands, which he left due to the other members being "grass-smoking Zappa freaks". By this time, he and high school friend Kiyoshi Mizutani had started playing improvised rock at studio sessions which Akita describes as "long jam sessions along the lines of Ash Ra Tempel or Can but we didn't have any psychedelic taste", he attended Tamagawa University to study fine art, at which he majored in painting and art theory.
While at university, he became interested in the ideas of dada and surrealism and studied Butoh dance. At Tamagawa, he learned of Kurt Schwitters' Merz, or art made from rubbish, including Schwitters' Merzbau, the source of the name Merzbow. Merzbow began as the duo of Kiyoshi Mizutani, who met Akita in high school. Akita started releasing noise recordings on cassettes through his own record label, Lowest Music & Arts, founded in order to trade cassette tapes with other underground artists; the earliest recording he made was Metal Acoustic Music. Various other early releases included Remblandt Assemblage and Solonoise 1; the Collection series consisted of ten cassettes, the first five were recorded in a studio for an independent label called Ylem, which went defunct before they could be released. So, Akita released them himself, recorded five more at home. Akita's earliest music creatively recorded percussion and metal. I threw all my past music career in the garbage. There was no longer any need for concepts like'career' and'skill'.
I went in search of an alternative. Early methods included what he referred to as "material action", in which he would amplify small sounds so as to distort them through the microphone; this method was used on Material Action for 2 Microphones and Material Action 2 N. A. M.. Among early releases like the box set Pornoise/1kg, Merzbow created artwork using photocopies of collages made out of manga and porn magazines he found in trash cans in the Tokyo subway. Akita explained this as trying to "create the same feeling as the secret porn customer for the people buying my cassettes in the early 80s". ZSF Produkt was founded in 1984 to release music by similar artists within the industrial movement but became the successor to Lowest Music & Arts. Numerous Merzbow releases were recorded at Masami Akita's home studio. During this era, Merzbow found much wider recognition and began making recordings for various international labels. Batztoutai with Memorial Gadgets was his first LP released outside of Japan.
He started touring abroad with the help of various collaborators. First, Merzbow performed in the USSR in 1988 toured the USA in 1990, Korea in 1991, Europe in 1989 and 1992. Kiyoshi Mizutani continues to pursue a solo career. During the European tour in September–October 1989, Merzbow could only bring simple and portable gear. Cloud Cock OO Grand was the first example of this new style, Merzbow's first digital recording, the first recording made for the CD format, it includes live material recorded during the tour. But when I started live in late 1980s I didn't like to use tape on stage. I like only live electronics. So, my studio works changed to more live composition style. I'm still using many tapes in studio works. Before, I used tapes as overdubbing concept, but now tapes are crashing together, no static overdub. I found that style on Cloud Cock OO Grand. Beginning in the mid-1990s, Merzbow began to be influenced by death grindcore. Recordings from this time are recorded at extreme volume, some mastered at levels far beyond standard.
In 1994, Akita acquired a vintage EMS synthesizer. From 199
Industrial music is a genre of experimental music which draws on harsh, transgressive or provocative sounds and themes. AllMusic defines industrial music as the "most abrasive and aggressive fusion of rock and electronic music", "initially a blend of avant-garde electronics experiments and punk provocation"; the term was coined in the mid-1970s with the founding of Industrial Records by members of Throbbing Gristle and Monte Cazazza. While the genre name originated with Throbbing Gristle's emergence in the United Kingdom, concentrations of artists and labels vital to the genre emerged in Chicago; the first industrial artists experimented with noise and aesthetically controversial topics and visually, such as fascism, sexual perversion, the occult. Prominent industrial musicians include Throbbing Gristle, Monte Cazazza, SPK, Boyd Rice, Cabaret Voltaire, Z'EV. On Throbbing Gristle's 1977 debut album The Second Annual Report, they coined the slogan "industrial music for industrial people". Chicago-based independent label Wax Trax Records featured a heavy roster of industrial music acts.
The precursors that influenced the development of the genre included acts such as electronic music group Kraftwerk, experimental rock acts such as Pink Floyd and Frank Zappa, psychedelic rock artists such as Jimi Hendrix, composers such as John Cage. Musicians cite writers such as William S. Burroughs, philosophers such as Friedrich Nietzsche as influences. While the term was self-applied by a small coterie of groups and individuals associated with Industrial Records in the late 1970s, it was broadened to include artists influenced by the original movement or using an "industrial" aesthetic. A few years in the 1980s, artists on Chicago-based Wax Trax Records such as Front 242, KMFDM, Front Line Assembly and Sister Machine Gun gained prominence on the industrial music scene. Over time, the genre's influence blended with styles including ambient and rock. Electro-industrial music is a primary subgenre; the two other most notable hybrid genres are industrial rock and industrial metal, which include bands such as Nine Inch Nails and Ministry, both of which released platinum-selling albums in the 1990s.
These distinct genres are referred to as industrial. Industrial music drew from a broad range of predecessors. According to the Oxford English Dictionary, the genre was first named in 1942 when The Musical Quarterly called Dmitri Shostakovich's 1927 Symphony No. 2 "the high tide of'industrial music'." In 1972 The New York Times described works by Ferde Grofé as a part of "his'industrial music' genre called on such instruments as four pairs of shoes, two brooms, a locomotive bell, a pneumatric drill and a compressed-air tank". Though these compositions are not directly tied to what the genre would become, they are early examples of music designed to mimic machinery noise and factory atmosphere. In his book Interrogation Machine: Laibach and NSK, Alexei Monroe argues that Kraftwerk were significant in the development of industrial music, as the "first successful artists to incorporate representations of industrial sounds into nonacademic electronic music." Industrial music was created by using mechanical and electric machinery, advanced synthesizers and electronic percussion as the technology developed.
Monroe argues for Suicide as an influential contemporary of the industrial musicians. Groups cited as inspirational by the founders of industrial music include The Velvet Underground, Joy Division, Martin Denny. Genesis P-Orridge of Throbbing Gristle had a cassette library including recordings by the Master Musicians of Jajouka, Charles Manson, William S. Burroughs. P-Orridge credited 1960s rock such as The Doors, Pearls Before Swine, The Fugs, Captain Beefheart, Frank Zappa in a 1979 interview. Chris Carter enjoyed and found inspiration in Pink Floyd and Tangerine Dream. Boyd Rice was influenced by the music of tiki culture. Z'EV cited Christopher Tree, John Coltrane, Miles Davis, Tim Buckley, Jimi Hendrix, Captain Beefheart, among others together with Tibetan, Javanese and African music as influential in his artistic life. Cabaret Voltaire cited Roxy Music as their initial forerunners, as well as Kraftwerk's Trans-Europe Express. Cabaret Voltaire recorded pieces reminiscent of musique concrète and composers such as Morton Subotnick.
Nurse with Wound cited a long list of obscure free improvisation and Krautrock as recommended listening. 23 Skidoo borrowed from Fela Kuti and Miles Davis's On the Corner. Many industrial groups, including Einstürzende Neubauten, took inspiration from world music. Many of the initial industrial musicians preferred to cite artists or thinkers, rather than musicians, as their inspiration. Simon Reynolds declares that "Being a Throbbing Gristle fan was like enrolling in a university course of cultural extremism." John Cage was an initial inspiration for Throbbing Gristle. SPK appreciated Jean Dubuffet, Marcel Duchamp, Jean Baudrillard, Michel Foucault, Walter Benjamin, Marshall McLuhan, Friedrich Nietzsche, Gilles Deleuze. Cabaret Voltaire took conceptual cues from Burroughs, J. G. Ballard, Tristan Tzara. Whitehouse and Nurse with Wound dedicated some of their work to the Marquis de Sade. Another influence on the industrial aesthetic was Lou Reed's Metal Machine Music. Pitchfork Music cites this album as "inspiring, in part, much of the contemporary avant-garde music scene—noise, in particular."
The album consists of g
Alexandre Navarro is guitarist, sound maker and independent producer from Bordeaux and now living in Paris. Considered as "french master minimalist composer" He studied electroacoustic music, concrete music and electronic music at Conservatoire à rayonnement régional de Bordeaux under the guidance of composer Christian Eloy and Octandre French association. After 7 years of running labels, Alexandre Navarro decided in 2014 to concentrate on his own works. Alexandre Navarro has launched a new label in 2019 called "Les disques imaginations". 2004 – Please, Sit Down 2005 – Future Nature 2005 – Medium 2006 – Eko Std. 2006 – Dimension 2006 – Ame 2007 – 1001 2008 – Arcane nomination Qwartz Awards 2009 "Search" section 2011 – Loka 2012 – Elements 2012 – Cycles 2012 – Sketches 2013 – Hozho 2013 – Lost Cities 2013 – Redfish 2014 – La Danse Des Substances 2015 – Daimon 2016 – Routes 2017 – Anti-matière 2018 – Imaginations 2018 – Imaginations 2019 – Pneuma 2000, Music for Futura, festival international d'art acousmatique et des arts de support 2001, 2002, 2003 – Exhibition " Less and More " Frédéric Druot Architecte – Ministère de la Culture 2004, Arborescence Exhibition " Creative Commons project " w/ Baptiste Houssin 2014, Mutant Area Exhibition 2016, Additional score of the short movie "Traveller" directed by James Latter 2018, Score of the short movie "Everything is Upstream" directed by Martin Ponferrada 2018, Music Award of Excellence "Southern Shorts" Awards – 2017 – Score for short movie Everything is Upstream by Martin Ponferrada Official website Discography, discogs.com
Yasunao Tone is a Japanese artist who has worked with many different types of media throughout his career. He was born in Tokyo, he graduated from Chiba Japanese National University in 1957, majoring in Japanese literature, he became active in the Fluxus movement in the 1960s and moved to the United States in 1972. He organized and participated in many noise music performance groups such as Group Ongaku, Hi-Red Center and Team Random. Yasunao Tone is known for his musical work, much of which relies on unconventional techniques. Tone began manipulating compact disks to achieve uniquely mangled sounds in the early 1980s. For his 1997 album, Solo for Wounded CD, he damaged audio CDs and used the information that a CD player was able to extract from those discs to create new pieces. Tone's CD-player-based works employ a process of "de-controlling" the device's playback so that it randomly selects fragments from a set of sound materials. Tone has stated that the error-correction functionality of modern CD players has made it hard to continue to use this technique and, for this reason, he continues to use older equipment.
For his collaboration with Florian Hecker, Palimpsest, he converted Japanese Man'yōshū poems to sound. Always active in the United States with avant-garde music artists, he has been awarded a CAPS Grant in multi-media, a 2004 Foundation for Contemporary Arts Grants to Artists Award, a New York State Council on the Arts commission grant for flutist Barbara Held, a National Endowment for the Arts grant for collaborative work with Blondell Cummings and Senga Nengdi, a New York Foundation for the Arts Fellowship in performance/emerging forms. Yasunao Tone: Musica Iconologos CD Yasunao Tone: Solo for Wounded CD CD Yasunao Tone: Wounded Man'Yo #38-9/2001 3" CD Yasunao Tone: Yasunao Tone CD Yasunao Tone & Hecker: Palimpsest CD Yasunao Tone: MP3 Deviations #6+7 CD Yasunao Tone: MP3 Deviations #8 LP Yasunao Tone & Russell Haswell: Convulsive Threshold CD Yasuano Tone: AI Deviation #1, #2 LP Glitch Yasunao Tone: Noise Media Language. Ed. Brandon LaBelle. ISBN 0-9655570-8-1. "Background Noise: Perspectives on Sound Art" by Brandon LaBelle, pp. 35–36, 39, 43, 45, 72, 153, 200, 218, 220-24, 241.
"The Fluxus Reader" ed. Ken Friedman. Caleb Stuart "Yasunao Tone's Wounded and Skipping Compact Discs: From Improvisation and Indeterminate Composition to Glitching CDs," Leonardo Electronic Almanac vol.10, no. 9, September 2002. Yasunao Tone Biography Yasunao Tone discography on Discogs.com UBU Web Fluxus page with a MP3 of a piece by Yasunao Tone Essay on Yasunao Tone Radio Incarné. Yasunao Tone and Tetsuo Kogawa a collaboration for Ràdio Web MACBA