reorg hosted files and add sound articles and sub-directories for games
and sound
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@ -164,3 +164,7 @@ You can check off goals, if you completed them during a game.
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* [ ] Having used all tiles
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2020 ZMan games, converted to gemtext
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@ -93,3 +93,7 @@ Clear the Dungeon v1.1.0
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Last Updated 7/30/2023
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Originally Published 7/30/2022
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@ -37,3 +37,7 @@ An illustration of a pear-shaped cyclops creature that represents the game Donso
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* Normal Mode: Only when the player has not escaped the previous room.
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* Hard Mode: Only when all monsters in the room have been dealt with.
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@ -129,3 +129,7 @@ Darthunicorn suggested a really cool survival mode. In survival mode score can b
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Any more good ideas are welcomed!
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@ -92,3 +92,7 @@ In 2013, an online game adaptation of Hive was developed by Cédric Leclinche, A
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BlueLine Games released their digital adaptation in 2013. The cross-platform Steam version of Hive includes all expansions and can be played in multiplayer and single-player mode. The Xbox Live Indie Game release was called H.I.V.E. and didn't include the expansions.
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A mobile app for Android has been released under the name Hive with AI (board game). It is developed and maintained by JB Chaubet.
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@ -1,33 +0,0 @@
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# Board games
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The documents below are all mirrors of content collected elsewhere on the www.
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## Solo card games
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=> clear-the-dungeon.gmi Clear the Dungeon
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=> shooting-party.gmi Shooting Party
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=> donsol.gmi Donsol
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=> dungeon-crawl.gmi Dungeon Crawl
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## 2 player chess-likes and variants
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=> hive.gmi Hive
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=> knightmare-chess.gmi Knightmare Chess
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## Modified board games with solo variants
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=> kingdomino-solo.gmi Kingdomino solo variant
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=> lords-of-waterdeep-solo.gmi Lords of Waterdeep solo variant
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=> carcassonne-solo.gmi Carcassonne Solo Variant (also playable as a cooperative challenge)
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# Video games
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=> rogue.gmi The Rogue's Vade-Mecum
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=> doom.txt A Guide to the Dungeons of Doom (txt)
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@ -132,3 +132,7 @@ Each time Dorothy takes a tile, place it in her line of tiles. At game end the l
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That’s it. After the final round of placements you’re ready to score the game and, if you’re like me, find out how much you lost by.
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@ -28,3 +28,6 @@ Conversely, Steve Darlington of RPGnet, while finding the artwork "absolutely go
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In Issue 11 of Arcane, Andy Butcher rated the game 7 out of 10, calling it "an utterly bonkers game that's best played every now and then. as a change from Magic, roleplaying or whatever else you normally do."
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@ -56,3 +56,7 @@ gains one cube of the first color appearing on the card, and Player loses one cu
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9. The goal is to make the highest score you can. Alternatively, you can consider yourself the "winner" if your score is higher than zero.
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@ -1346,3 +1346,6 @@ Helpful comments and criticism were offered by J. T. Nutter, T. R. Pellitieri, a
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=> https://web.archive.org/web/20171130132750/http://www.monmouth.com/~colonel/) Col. G. L. Sicherman
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@ -112,3 +112,6 @@ Rules version: 20160714
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This work is licensed under a Creative Commons Attribution- NonCommercial-ShareAlike 4.0 International License
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@ -1,6 +1,44 @@
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# Hosted
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=> games/ All things experimental games: Currently a collection of game rules, variants, strategy and solo variants
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=> tutorials/ A collection of tutorials (currently all on field recording audio)
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A growing collection of source texts, primarily Creative Commons licensed. These texts are reprinted or adapted and republished.
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## Sound and music
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### Performance, music and sound art
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=> sound/graphic-scores.gmi Graphic Scores for Music
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=> sound/musical-game-pieces.gmi Musical Game Pieces
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=> sound/retro-game-sounds.gmi Making Retro Video Game Sounds: Introductions to Trackers
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### Field recording
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=> sound/field-recording-part1.gmi A Practical Guide to Field Recording Part 1
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=> sound/field-recording-part2.gmi A Practical Guide to Field Recording Part 2
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=> sound/field-recording-tips.gmi Field Recordings Tips
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## Games
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### Solo card games rules
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=> games/clear-the-dungeon.gmi Clear the Dungeon
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=> games/shooting-party.gmi Shooting Party
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=> games/donsol.gmi Donsol
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=> games/dungeon-crawl.gmi Dungeon Crawl
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### 2 player chess-likes and variants
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=> games/hive.gmi Hive
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=> games/knightmare-chess.gmi Knightmare Chess
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### Modified board games with solo variants
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=> games/kingdomino-solo.gmi Kingdomino solo variant
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=> games/lords-of-waterdeep-solo.gmi Lords of Waterdeep solo variant
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=> games/carcassonne-solo.gmi Carcassonne Solo Variant (also playable as a cooperative challenge)
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### Video games
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=> games/rogue.gmi The Rogue's Vade-Mecum
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=> games/doom.txt A Guide to the Dungeons of Doom (txt)
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=> ../index.gmi Back to ~lettuce capsule
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@ -102,8 +102,6 @@ recording accessories and recording techniques.
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CC BY NC SA 3.0
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=> ./index.gmi Back to tutorials
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---
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=> ../index.gmi Back to hosted files
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=> ../../index.gmi Back to ~lettuce gemlog home
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@ -113,8 +113,6 @@ Not every occasion calls for a multi-channel recorder but when it does, the adde
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CC BY NC SA 3.0
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=> ./index.gmi Back to tutorials
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=> ../../index.gmi Back to ~lettuce gemlog home
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@ -40,8 +40,6 @@ I know some people are going to take issue with my position on 96k, so let me ju
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CC BY NC SA 3.0
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=> ./index.gmi Back to tutorials
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@ -0,0 +1,69 @@
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# Graphic scores for music
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=> https://en.wikipedia.org/wiki/Graphic_notation_(music) This text adapted from Graphic Notation (music), Wikipedia, CC BY SA 4.0
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Graphic notation (or graphic score) is the representation of music through the use of visual symbols outside the realm of traditional music notation. Graphic notation became popular in the 1950s, and can be used either in combination with or instead of traditional music notation. Graphic notation was influenced by contemporary visual art trends in its conception, bringing stylistic components from modern art into music.
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Composers often rely on graphic notation in experimental music, where standard musical notation can be ineffective. Other uses include pieces where an aleatoric or undetermined effect is desired.
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Modern graphic notation relies heavily on the imagination and inspiration of each individual performer to interpret the visual content provided by the composer. Because of this relative freedom, the realization of graphically notated pieces usually varies from performance to performance. For example, in notation indication "E" of his piece Concert for Piano and Orchestra, John Cage writes: "Play with hands indicated. Where clefs differ, a note is either bass or treble", an indeterminacy which is not unusual in Cage's work, and which leaves decision-making up to the performer.
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Some graphic scores can be defined as action-based, where musical gestures are notated as shapes instead of conventional musical ideas.
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The use of graphic notation within a score can vary widely, from the score being made up entirely of graphic notation to graphic notation being a small part of an otherwise largely-traditional score. Some composers include written explanations to aid the performer in interpreting the graphic notation, while other composers opt to leave the interpretation entirely up to the performer.
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## History
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Though its most popular usage occurred in the mid-twentieth century, the first evidence of graphic notation dates back much earlier. Originally called "eye music", these graphic scores bear resemblance to the scores of composers like George Crumb. One of the earliest surviving pieces of eye music is Belle, Bonne, Sage by Baude Cordier, a Renaissance composer. His score, formed in the shape of a heart, was intended to enhance the meaning of the song.
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=> ../images/cordier.jpg Belle, Bonne, Sage, by Baude Cordier, 15th century
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Experimental music appeared in the United States and Europe during the 1950s, when many of the once untouchable parameters of traditional music began to be challenged. Aleatoric music, indeterminate music, musique concrète and electronic music shook previously unquestioned concepts, such as musical time or the function of the musician, and dared to add others to musical space in all its dimensions, with all their ontological consequences and burdens. They also changed the roles of the composer, the performer and the public, giving them totally new functions to explore.
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In this context, the score, which had to a great extent been considered a mere support for musical writing (with the exception of eye music), began to flirt with the limits of the work and its identity. This marriage produced three paths: the first considered the musical score to be a representation of organized sound; the second conceived it as an extension of sound; and the third viewed it as another type of music, a visual music with its own autonomy, independent of sound. The score took on new meanings and went from being a mere support of sound to being an extension of the work, or even another work altogether, an element that was as important as the sounds and silences it contained, or more. These conceptions required a new language and a new reading of what it is to be musical. They also required a new notation, one that would reflect the changes taking place in the second artistic vanguards, and contain them, granting them a new semantics. In this way, notation came to be more and more influenced by a dialogue with painting, installations and performance
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Graphic notation in its modern form first appeared in the 1950s as an evolution of movement of Indeterminacy (randomness) as pioneered by John Cage. The technique was originally used by avant-garde musicians and manifested itself as the use of symbols to convey information that could not be rendered with traditional notation such as extended techniques.
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Graphic scores have, since their conception, evolved into two broadly defined categories, one being the invention of new notation systems used to convey specific musical techniques and the other the use of conceptual notation such as shapes, drawings and other artistic techniques that are meant to evoke improvisation from the performer. Examples of the former include Morton Feldman's Projection 1, which was the result of Feldman drawing abstract shapes on graph paper, and Stockhausen's Prozession. Examples of the latter include Earle Brown's December 1952 and Cornelius Cardew's Treatise, which was written in response to Cage's 4'33" and which he wrote after having worked as Stockhausen's assistant. The score consists of 193 pages of lines and shapes on a white background. Here the lines represented elements in space and the score was merely a representation of that space at a given instant. In Europe, one of the most notable users was Sylvano Bussotti, whose scores have often been displayed as pieces of visual art by enthusiasts. In 1969, in an effort to promote the movement of abstract notation, John Cage and Allison Knowles published an archive of excerpts of scores by 269 composers with the intention of showing "the many directions in which notation is now going".
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In 2008, Theresa Sauer edited a compendium featuring graphic scores by composers from over fifty countries, emonstrating how widespread the practice has become.
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=> https://www.streamingmuseum.org/post/john-cage-notations-21-by-theresa-sauer John Cage Tribute: "Notations 21" publication by Theresa Sauer
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In addition to the more widespread popularity of graphic notation, new technology has expanded its possibilities. In his book The Digital Score: Musicianship, Creativity, and Innovation, Craig Vear describes how Artificial Intelligence and animation can be used to enhance the graphic score experience. He claims that these technologies are "the logical development of graphic score experiments from the latter part of the twentieth century. An interesting element of these is that they have to move in order for them to be read; without movement, they are unintelligible.
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### Examples
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=> ../images/waterwalk.jpg section of waterwalk by John Cage
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Time-based pictographic scores such as Waterwalk by John Cage, uses a combination of time marking a pictographic notation as instruction on how and when to perform certain actions.
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Pictographic scores such as Stripsody by Cathy Berberian use only drawings and text, foregoing any sort of time reference. This allows the performer to interpret the piece as they like.
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=> ../images/relativepitch.jpg
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Line staves showing approximate pitch, with the actual pitches being decided upon performance.
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Altered notation can be seen in George Crumb's work, where he uses traditional notation but presents the music on the page in a graphic or nontraditional manner such as spirals or circles. One example of altered notation is Crumb's Makrokosmos" for Amplified Piano. Crumb's score contained three detailed pages of instructions, with movements including Primeval Sounds, Crucifixus and Spiral Galaxy.
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### As abstract visual reference
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=> ../images/solitude.jpg Hans-Christoph Steiner's score for Solitude, created using Pure Data's data structures
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Time-based abstract representation, can be seen in Hans-Christoph Steiner's score for Solitude in which the music is represented using symbols and illustrations. Note that here, time is still represented horizontally from left to right like in a pitch graph system, and thus implies that the piece has a specific form.
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### Links
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=> https://1000scores.com/ 1000 Scores: Pieces for Here, Now and Later
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=> http://davidhall.io/visualising-music-graphic-scores/ Graphic notation: a brief history of visualizing music
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=> http://www.graphicscores.com/ A website documenting graphic scores by 12 well-known contemporary musicians and composers
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=> https://www.youtube.com/watch?v=0dNLAhL46xM Cathy Berberian performing Stripsody with graphic score (YouTube)
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credit: Hans-Christoph Steiner's score for Solitude, created using Pure Data's data structures, by Davigoli at English Wikipedia GPLv2
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=> https://en.wikipedia.org/wiki/Graphic_notation_(music) Text adapted from Graphic notation (music), Wikipedia, CC BY SA
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# Tutorials
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The documents below are all mirrors of content collected elsewhere on the www.
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=> field-recording-part1.gmi A Practical Guide to Field Recording Part 1
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=> field-recording-part2.gmi A Practical Guide to Field Recording Part 2
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=> retro-game-sounds.gmi Making Retro Video Game Sounds: Introductions to Trackers
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=> field-recording-tips.gmi Field Recordings Tips
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=> ../index.gmi Back to hosted files
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=> ../../index.gmi Back to ~lettuce gemlog home
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# Musical game pieces
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> Zorn’s composition takes its name from a simulation game published in 1977 in the war-game magazine, Strategy & Tactics, which simulates “the Allied break-out from the Normandy peninsula in the summer of 1944, which culminated in the encirclement of some 160,000 German troops in the ‘Falaise Pocket’ ” (quoted in Brackett 2010, 44). Both the board game and musical composition provide a set of rules within which players negotiate. More specifically, one of the crucial features of Zorn’s composition is that it provides a formal structure for collective improvisation, rather than any particular musical content, such as a set of harmonies. The piece thus facilitates improvised interactions between musicians with highly contrasting backgrounds and/or aesthetics.
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=> https://soundamerican.org/issues/change/john-zorn-completes-cobra from John Zorn Completes Cobra in Sound American
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=> https://en.wikipedia.org/wiki/Game_piece_(music) This section is adapted from Wikipedia, the free encyclopedia, CC BY SA 4.0
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Game piece is a concept of experimental music having its roots with composers Iannis Xenakis, Christian Wolff, John Zorn and Mathius Shadow-Sky. Game pieces may be considered controlled improvisation. An essential characteristic is that there is no pre-arranged sequence of events. They unfold freely according to certain rules, like in a sports game. Therefore, game pieces have elements of improvisation. A number of methods can be used to determine the direction and evolution of the music, including hand gestures. Zorn's game piece "Cobra", which has been recorded several times for various labels, uses a combination of cards and gestures and can be performed by an ensemble of any size and composition. Zorn's game pieces, written in the late 1970s and mid-1980s, include Cobra, Hockey, Lacrosse, and Xu Feng.
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Mathius Shadow-Sky (born 1961) developed music gaming system founded on Roger Caillois, Gilles Deleuze, and Lewis Caroll's concepts to create new 'scoring' for music. Starting in 1980 with Ludus Musicae Temporarium for an 'archisonic lamps consort', followed by several music games among them: The Ephemerodes Card of Chrones in 1984 for a broken piano orchestra, a temporal music game based on elastic rhythms interactions (within nonoctave scales for sliding morphing harmony).
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As well as a sports game, a game piece may also be considered analogous to language: The performance is directed by a well-defined set of rules (a grammar) but by no means fixed or predetermined (just as all sentences generated by the same grammar are not the same). The length of a piece may be arbitrary, just as a sentence can be of any imaginable length while still conforming to a strictly defined syntax.
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In Formalized Music (2001), Iannis Xenakis mentions two pieces in his oeuvre that utilize game theory: Duel (1959) and Stratégie (1962). The first of these, Duel, involves an orchestra that is broken into two groups, each with a separate conductor. Each conductor chooses from a palette of six modules, and points are assigned to each conductor based on the combinations of modules that occurred. Stratégie expands this process to a larger orchestra, and it simplifies the rules to make performance easier.
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German experimental group Einsturzende Neubauten developed a 600 card game piece named Dave. Vocalist Blixa Bargeld describes the card game as "not too much of an aleatoric thing as it is a navigation system". Dave is used as an improvisational spur in live performance and was used extensively in the composing and recording of Alles in Allem.
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=> ../images/brotzmann.jpg Brotzmann's Signs and Images card games
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Free jazz saxophonist Peter Brotzmann devised, designed and illustrated two card games, Signs and Images, in the early 2000s to be used by the Chicago Tentet. Signs consists of twenty-five cards and Images fifteen. The games were released by Brotzmann as a limited edition in 2002.
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### Links
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=> http://musicgames.wikidot.com/ Games for Music: Game Archive for Musicians of All Levels
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=> https://www.youtube.com/watch?v=UdNdSJUf_8I John Zorn Cobra by New England Conservatory (YouTube)
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=> https://post-punk.com/40-years-of-einsturzende-neubauten-blixa-bargeld-on-the-phases-of-making-an-album/ 40 Years of Einstürzende Neubauten: Blixa Bargeld on the Phases of Making an Album
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### Credits:
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=> https://commons.wikimedia.org/wiki/File:Signs_and_Images,_game_piece_cards_made_by_Peter_Brotzmann.jpg Brotzmann's Signs and Images card games image by Rattyexaltations on Wikipedia CC BY SA 4.0
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=> https://en.wikipedia.org/wiki/Game_piece_(music) Game piece (music) section adapted from Wikipedia, the free encyclopedia, CC BY SA 4.0
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@ -116,8 +116,6 @@ For the second article in our four-part series, we’ll start digging into makin
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CC BY NC SA 3.0
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=> ./index.gmi Back to tutorials
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---
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=> ../index.gmi Back to hosted files
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=> ../../index.gmi Back to ~lettuce gemlog home
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