This page is not exhaustive, nor is it intended to be. It is a collection of a few of the most important or interesting articles from over the years, along with some favorite review quotes. Many more reviews are excerpted in the biography accessible elsewhere on this site.
Contents:
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Journal
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Date
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Title
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Comments
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Leonardo Music Journal | Vol. 12, 2002 | Human Bodies, Computer Music | essay will also appear in forthcoming book, Creative Life |
Literaturen Vestnikî | 14-20 April, 2994 | Human Bodies, Computer Music | Bulgarian Translation of English |
MusikTexte | Number 100, February 2004 | Kunst und Politik: Nach dem Elften September | essay will also appear in forthcoming book, Creative Life |
WOZ | March 1999 | Gender Improvisieren | interview |
Ars Electronica | 1996 | At A Dead End? | essay published in the 1996 edition of Ars Electronica. Widely reprinted in many languages, usually with the title Why Computer Music Sucks, which it was given in a reprint which appeared in Resonance. |
January 14, 2003 "Creating Layered Sounds to Match Layered Animations:
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April 28, 1992.
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September 9, 1989.
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January 27, 1980.
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Jounal
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Date
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Tittle
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Comments
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San Francisco Bay Guardian | March 13, 1993 | Stop the Osterizer, I Want to Get In | Derk Richardson |
By almost any measure, Bob Ostertag is an extreme radical. His raw material is the world. He digs his trowel into the wet cement of everyday life, where nothing is really permanently set, anyway, and plasters it in impressionistic smears and pointillistic dabs across the walls of our perception... His strategies range somewhere between those of John Cage, academic computer musicians, brutally expressive free improvisers, and Che Guevara... |
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Soho Weekly News | 1979 (exact date unknown) | Brats in the Musical Playpen | Michael Shore |
With the "New Music, New York" series happening at the Kitchen, it is important to note the existence of another experimental music scene. I'm referring to the wild rebel underbelly of "free" musicians which includes Eugene Chadbourne, John Zorn, and Bob Ostertag. This is one scene that is below the underground, without even as much established recognition as the established school represented at the Kitchen. |
Journal
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Date
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Title
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Author
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Comments
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Mouvement: Revue Indisciplinaire des Arts Vivants | No. 20, Janvier-Février 2003 | Le Corps Animé | Hervé Joubert-Laurencin | on Between Science and Garbage |
Journal
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Date
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Title
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Author
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MusikTexte | Number 100, February 2004 | Kunst und Politik: Nach dem Elften September | Bob Ostertag |
MusikTexte | Number 100, February 2004 | Musik - Moral - Militar: Sampling in Bob Ostertag's Musik | Jens Hauser |
Schnitt: Das Film Magazin | #32 | Die Gemalte Projektion | interview |
Die Zeit | August 2, 1991 | Zeit zum Horen | Konrad Heidkamp |
WOZ | 1999 | Gender Improvisieren | interview |
Die Zeit | May 12, 1995 | Komponist im Cyberspace | Thomas Meisgang |
Jazzthetik | (date not clear) | Bob Ostertag | Christian Clement |
Schwabilche Beitung | March 26, 1999 | Godzilla und John Cage machen gemeinsam Larm | Pierre La Qua |
Neue Zeitschrift fur Musik | May, 1996 | Remis der Realitat | Peter Niklas Wilson |
Wespennes | Number 106 | Jenseits der Partitur: Bob Ostertag's Klang-Arbeit im elektromagnetishen Feld | Peter Niklas Wilson |
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