{"id":40908,"date":"2016-02-16T12:30:11","date_gmt":"2016-02-16T10:30:11","guid":{"rendered":"http:\/\/modisti.tk\/15\/?page_id=40908"},"modified":"2019-07-03T16:04:40","modified_gmt":"2019-07-03T14:04:40","slug":"hurly-burly","status":"publish","type":"page","link":"https:\/\/modisti.com\/15\/hurly-burly\/","title":{"rendered":"Hurly Burly"},"content":{"rendered":"<p>La revista Hurly Burly naci\u00f3 con vocaci\u00f3n informativa para trasladar a los entonces socios del CEDI (Centro de Encuentro para el Desarrollo Interactivo), aquellos textos relacionados con la improvisaci\u00f3n libre que, por no estar traducidos al castellano o por cualquier otra causa resultan inaccesibles.<\/p>\n<p>Nuestra tarea informativa encontr\u00f3, despu\u00e9s de tres a\u00f1os y dieciseis n\u00fameros en la interactividad ofrecida por internet una via alternativa para ofrecer, a todos los interesados en este tipo de manifestaciones, mucho mas que simplemente informaci\u00f3n. Por lo tanto, y no solamente por razones ecol\u00f3gicas, dicha publicaci\u00f3n, se hizo en ese momento mucho mas importante en la red que sobre el papel para convertirse en <a title=\"Modisti\" href=\"http:\/\/modisti.com\" target=\"_blank\" rel=\"noopener\">modisti<\/a>.<\/p>\n<p>Lee todos los n\u00fameros: S\u00f3lo para <a href=\"http:\/\/modisti.com\/about\/\">usuarios activos<\/a> \/ Read all releases: Only for <a href=\"http:\/\/modisti.com\/about\/\">active users<\/a>.<\/p>\n<p>[eyesonly level=&#8221;administrator, editor, author, contributor, subscriber&#8221;]<br \/>\nLa revista Hurly Burly naci\u00f3 con vocaci\u00f3n informativa para trasladar a los entonces socios del CEDI (Centro de Encuentro para el Desarrollo de la Improvisaci\u00f3n), aquellos textos relacionados con la improvisaci\u00f3n libre que, por no estar traducidos al castellano o por cualquier otra causa resultan inaccesibles.<\/p>\n<p>Nuestra tarea informativa encontr\u00f3, despu\u00e9s de tres a\u00f1os y dieciseis n\u00fameros en la interactividad ofrecida por internet una via alternativa para ofrecer, a todos los interesados en este tipo de manifestaciones, mucho mas que simplemente informaci\u00f3n. Por lo tanto, y no solamente por razones ecol\u00f3gicas, dicha publicaci\u00f3n, se hizo en ese momento mucho mas importante en la red que sobre el papel para convertirse en <a href=\"http:\/\/modisti.com\" title=\"Modisti\" target=\"_blank\">modisti<\/a>.<\/p>\n<p><code><script language=\"javascript\">\/\/ <![CDATA[\nfunction Show16(popUpPage) { window.open(popUpPage, 'window','toolbar=0,scrollbars=0,location=0,statusbar=0,menubar=0,resizable=1,width=1200,height=900');\n}\n\/\/ ]]><\/script><br \/>\n<\/code><\/p>\n<table>\n<tbody>\n<tr>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<ul>\n <a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/embed_widget\/s\/tosv6vtxuwjer1omqbtodm3vea67a1o5?view=&#038;sort=&#038;direction=ASC&#038;theme=gray')\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/02\/hurlyburly16.jpg\" alt=\"hurlyburly16\" width=\"200\" height=\"283\" class=\"alignnone size-full wp-image-1044\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">16<br \/>\n<\/strong>Enero 2001<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-16<\/strong> La realidad virtual auditiva y sus aplicaciones<br \/>\nAuditory Virtal Reality and its Applications<br \/>\nby Jens Blauert<\/li>\n<li><strong>pg 17-24<\/strong> Entrevista con \/ Interview width: Steve Roden<br \/>\npor \/ by Rogelio Pereira<\/li>\n<li><strong>pg 25 &#8211; 27<\/strong> Impresiones \/ Impressions<br \/>\npor \/ by : Raquel Mezquita<\/li>\n<li><strong>pg 28 &#8211; 33<\/strong>: Discos \/ CD Reviews<\/li>\n<\/ul>\n<\/td>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\"><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/qxsbcj55mymtrtvdkt3sc3cym0z392za')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/02\/hurlyburly15.jpg\" alt=\"hurlyburly15\" width=\"200\" height=\"281\" class=\"alignnone size-full wp-image-1089\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">15<\/strong><br \/>\nOctubre 2000<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-15<\/strong>Pensar de una manera y actuar de otra. Elementos poliestil\u00edsticos de la m\u00fasica de Miles de los sesenta. (I)<br \/>\nThinking one thing and doin another. Polystylistic elements in 70&#8217;s Miles<br \/>\npor \/by  Anthony Burr<\/li>\n<li><strong>pg 16-20<\/strong> Entrevista con \/ Interview width: Stevie Wishart &#038; Jim Denley\n<\/li>\n<li><strong>pg 21 &#8211; 24<\/strong> Variaciones impertinentes contra formalismos estrechos<br \/>\nImpertinent variations against narrow formalisms<br \/>\npor \/ by Daniel Varela<\/li>\n<li><strong>pg 25 &#8211; 27<\/strong> Malpartida Impressiones \/Impressions<br \/>\npor \/ by Raquel Mezquita<\/li>\n<li><strong>pg 28 &#8211; 33<\/strong>: Discos \/ CD Reviews<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/xzajndrggbkoon5b2d4pkx1tvrl0k2b0')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/02\/hurlyburly14.jpg\" alt=\"hurlyburly14\" width=\"200\" height=\"282\" class=\"alignnone size-full wp-image-1091\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">14<\/strong><br \/>\nJulio 200<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-9<\/strong> Escultura Sonora y m\u00fasica Electr\u00f3nica \/ Sound Sculpture &#038; electronic music<br \/>\npor\/by : Roger Sutherland<\/li>\n<li><strong>pg 10-20<\/strong> Fred Frith: La Espiritualidad en la musica Fred Frith: Spirituality in music<br \/>\npor\/ by :Antonio Murga\n<\/li>\n<li><strong>pg 21 &#8211; 22<\/strong> Impresiones \/ Impressions<br \/>\npor\/ by :Raquel Mezquita<\/p>\n<li><strong>pg 23 &#8211; 24<\/strong> Net Opera por\/ by :Concha Jerez Jos\u00e9 Iges\n<\/li>\n<li><strong>pg 25 &#8211; 27<\/strong> Encuentros CEDI \/ CEDI encounters<\/li>\n<li><strong>pg 28 &#8211; 33<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/jp8h2ktjyut7apya4054ygxazs11abod')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly13.jpg\" alt=\"hurlyburly13\" width=\"200\" height=\"286\" class=\"alignnone size-full wp-image-1102\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">13<\/strong><br \/>\nAbril 2000<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-13<\/strong> La muerte de la Scratch Orchestra. Una visi\u00f3n personal \/ The Death of Scracht Orchestra. A personal Account.<br \/>\npor\/by : Roger Sutherland<\/li>\n<li><strong>pg 14-18<\/strong> Cornelius Cardew. El gran aprendizaje del blues de la resistencia. The great learning of the resistance blues.<br \/>\npor\/ by : Daniel Varela.\n<\/li>\n<li><strong>pg 19 &#8211; 20<\/strong> Impresiones \/ Impressions<br \/>\npor\/ by :Raquel Mezquita<\/p>\n<li><strong>pg 21 &#8211; 26<\/strong> Encuentros \/ Encounters\n<\/li>\n<li><strong>pg 27<\/strong> Pistas Digitales por\/by : Jes\u00fas Moreno<\/li>\n<li><strong>pg 28 &#8211; 33<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/da2qptmw2o8lie6j1gwabg3pvafwuiap')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly12.jpg\" alt=\"hurlyburly12\" width=\"200\" height=\"284\" class=\"alignnone size-full wp-image-1105\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">12<\/strong><br \/>\nEnero 2000<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-10<\/strong> Improvisaci\u00f3n libre en la did\u00e1ctica de la m\u00fasica \/ Free improvisation in the didactics of music,<br \/>\npor\/by : Jose Manuel Vega<\/li>\n<li><strong>pg 12-19<\/strong> El lado oculto de la polipoes\u00eda de Enzo Minarelli \/ The other side of Enzo Minarelli&#8217;s polypoerey<br \/>\npor\/ by :Antonio Murga\n<\/li>\n<li><strong>pg 20 &#8211; 21<\/strong> Impresiones \/ Impressions<br \/>\npor\/ by :Raquel Mezquita<\/p>\n<li><strong>pg 23 &#8211; 24<\/strong> Net Opera por\/ by :Concha Jerez Jos\u00e9 Iges\n<\/li>\n<li><strong>pg 22 &#8211; 26<\/strong> Encuentros CEDI \/ CEDI encounters<\/li>\n<li><strong>pg 27<\/strong> Pistas Digitales por\/by : Jes\u00fas Moreno<\/li>\n<li><strong>pg 28 &#8211; 33<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/aku89q4pcrjtj2ty0rsar7e4zwnsjj6l')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly11.jpg\" alt=\"hurlyburly11\" width=\"200\" height=\"278\" class=\"alignnone size-full wp-image-1108\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">11<\/strong><br \/>\nOctubre 1999<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-11<\/strong> Geopol\u00edtica de la Cultura y desplazamiento de la m\u00fasica en el arte contempor\u00e1neo \/ Geopolitics of culture and the displacement of music in contemporary art.<br \/>\npor\/by : No\u00e9 Cornago<\/li>\n<li><strong>pg 12-16<\/strong> Daniel Kientzy: un m\u00fasico de escena \/ A musician of the stage<br \/>\npor\/ by : Rogelio Pereira.\n<\/li>\n<li><strong>pg 18 &#8211; 22<\/strong> Encuentros \/ Encounters <\/li>\n<li><strong>pg 23<\/strong> Impresiones \/ Impressions<br \/>\npor\/ by :Raquel Mezquita<\/p>\n<li><strong>pg 27<\/strong> Pistas Digitales por\/by : Jes\u00fas Moreno<\/li>\n<li><strong>pg 28 &#8211; 33<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/c95a4kv7f969baxp62zdl6b88oy6coya')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly10.jpg\" alt=\"hurlyburly10\" width=\"200\" height=\"284\" class=\"alignnone size-full wp-image-1113\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">10<\/strong><br \/>\nJulio 1999<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-9<\/strong> Est\u00e9tica de la improvisaci\u00f3n, un r\u00e1pido recorrido \/ Aesthetics of improvisation: A rebounding zoom,<br \/>\npor\/by : Katherine Hayles<\/li>\n<li><strong>pg 10-17<\/strong> Auto-entrevista \/ self-interview<br \/>\npor\/ by :Morphog\u00e9nesis\n<\/li>\n<li><strong>pg 18 &#8211; 25<\/strong> Conferencia Simposium CEDI<br \/>\npor\/ by :Andres Bosshard\n<\/li>\n<li><strong>pg 26 &#8211; 33<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/k7xbnissbr3t3gh8jtr3wacd0130eu1f')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly9.jpg\" alt=\"hurlyburly9\" width=\"200\" height=\"273\" class=\"alignnone size-full wp-image-1117\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">9<\/strong><br \/>\nAbril 1999<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-12<\/strong> Operaciones aleatorias: la paradoja Cageana y la Ciencia Contempor\u00e1nea (II) \/Chance operations: Cagean Paradox and contemporary Science (II)<br \/>\npor\/by : Katherine Hayles<\/li>\n<li><strong>pg 14-19<\/strong> FormayPatr\u00f3n\/Shape&#038;Pattern<br \/>\npor\/ by : Pedro L\u00f3pez.\n<\/li>\n<li><strong>pg 20 &#8211; 25<\/strong> En la habitaci\u00f3n oscura \/ In a darkened room<br \/>\npor \/ by: SOK <\/li>\n<li><strong>pg 26 &#8211; 33<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/48n6uvqb638waeluurhnsvu7ezjr65gf')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly8.jpg\" alt=\"hurlyburly8\" width=\"200\" height=\"284\" class=\"alignnone size-full wp-image-1120\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">8<\/strong><br \/>\nEnero 1999<br \/>\n<a href=\"http:\/\/www.diskpol.com\/product_info.php?manufacturers_id=2401&#038;products_id=12021&#038;osCsid=c3695484ef818e41ef8f63c157dea889\" title=\"Awake Hu\" target=\"_blank\">Included CD Markus Breuss: Awake Hu<\/a><\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-8<\/strong> Operaciones aleatorias: la paradoja Cageana y la Ciencia Contempor\u00e1nea (I) \/Chance operations: Cagean Paradox and contemporary Science (I)<br \/>\npor\/by : Katherine Hayles<\/li>\n<li><strong>pg 9-16<\/strong> MultimediaIII<br \/>\npor\/ by : Roger Sutherland\n<\/li>\n<li><strong>pg 17 &#8211; 22<\/strong> Encuentro de Improvisadores \/ Meeting of improvisers\n<\/li>\n<li><strong>pg 23 &#8211; 27<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/vcnumzbdjvhixb1ltfqjhu1i06kasics')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly7.jpg\" alt=\"hurlyburly7\" width=\"200\" height=\"278\" class=\"alignnone size-full wp-image-1122\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">7<\/strong><br \/>\nOctubre 1998<br \/>\n<a href=\"https:\/\/pedrolopez.org\/metalogica\/\" title=\"metalogica\" target=\"_blank\">Included CD Modisti: Metal\u00f3gica<\/a><\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-11<\/strong> Intermedia II<br \/>\npor\/by : Roger Sutherland<\/li>\n<li><strong>pg 12-22<\/strong> La Voz\/ The Voice : Coloquio\n<\/li>\n<li><strong>pg 27 &#8211; 27<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/6x3lmjbf2aj763cl5zppqo2jy7519rbd')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly6.jpg\" alt=\"hurlyburly6\" width=\"200\" height=\"283\" class=\"alignnone size-full wp-image-1127\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">6<\/strong><br \/>\nJulio 1998<br \/>\n<a href=\"http:\/\/modisti.com\/netlabel\/?p=406\" title=\"Live in Madrid\" target=\"_blank\">Included CD Voice Crack . Live in Madrid<\/a><\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-11<\/strong> Intermedia<br \/>\npor\/by : Roger Sutherland<\/li>\n<li><strong>pg 12-17<\/strong> La Ciudad Resonante, The Resounding City<br \/>\npor\/ by : Jos\u00e9 Iges\n<\/li>\n<li><strong>pg 18 &#8211; 22<\/strong> Ciclos\u00f3nica \/ Ciclosonic<br \/>\npor\/ by : Luis Levin\n<\/li>\n<li><strong>pg 23 &#8211; 27<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/wh5ocl75i0xzaoyup17uoc6i4uhfjzam')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly5.jpg\" alt=\"hurlyburly5\" width=\"200\" height=\"283\" class=\"alignnone size-full wp-image-1133\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">5<\/strong><br \/>\nApril 1998<br \/>\n<a href=\"http:\/\/modisti.com\/netlabel\/?p=383\" title=\"Live in Madrid\" target=\"_blank\">Included CD \ufeffHans Reichel &#038; R\u00fcdiger Carl<\/a><\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-9<\/strong> Esculturas Sonoras II\/ Sound Sculptures II<br \/>\npor\/by : Roger Sutherland<\/li>\n<li><strong>pg 10-14<\/strong> Conferencia Eddie Pr\u00e9vost \/ Ed-<br \/>\ndie Pr\u00e9vost Adress<\/p>\n<\/li>\n<li><strong>pg 15 &#8211; 21<\/strong> Composici\u00f3n social e improvisaci\u00f3n cotidiana del mundo sonoro \/ Social Composition and quotidian improvisation of the sound world<br \/>\npor\/ by : No\u00e9 Cornago\n<\/li>\n<li><strong>pg 22 &#8211; 24<\/strong> The Ex\n<\/li>\n<li><strong>pg 24 &#8211; 26<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/zpdupfq9yef11bkpafg5c93jagmu43vx')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly4.jpg\" alt=\"hurlyburly4\" width=\"200\" height=\"282\" class=\"alignnone size-full wp-image-1152\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">4<\/strong><br \/>\nEnero 1998<br \/>\n<a href=\"http:\/\/modisti.com\/netlabel\/?p=392\" title=\"Live in Madrid\" target=\"_blank\">Included CD : Hiperion &#8211; Hurta Cordel 97<\/a><\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pg 4-6<\/strong> Esculturas Sonoras<br \/>\npor\/by : Roger Sutherland<\/li>\n<li><strong>pg 8-10<\/strong> Instrumentos Inventados<br \/>\npor : Antol\u00edn Olea\n<\/li>\n<li><strong>pg 11 &#8211; 13<\/strong> \u00bfQu\u00e9 es improvisaci\u00f3n libre?<br \/>\npor : Christian Munthe\n<\/li>\n<li><strong>pg 14 &#8211; 20<\/strong>M\u00fasica Improvisada<\/li>\n<p>por: Roger Sutherland<\/p>\n<li><strong>pg 21 &#8211; 23<\/strong>Discos<\/li>\n<\/ul>\n<\/td>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/0wgk2xrm75w9jg2oc8t2v38ktsfw3na7')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly3.jpg\" alt=\"hurlyburly3\" width=\"200\" height=\"282\" class=\"alignnone size-full wp-image-1155\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">3<\/strong><br \/>\nApril 1998\n<\/p>\n<ul>\n<li><strong>pg 4-6<\/strong> John Stevens<br \/>\npor: Martin Davidson<\/li>\n<li><strong>pg 7-9<\/strong> .Grupos de Improvisaci\u00f3n Libre\n<\/li>\n<li><strong>pg 10 &#8211; 13<\/strong> Musica improvisada<br \/>\npor: Roger Sutherland\n<\/li>\n<li><strong>pg 14 &#8211; 17<\/strong> AMM y la Pr\u00e1ctica de la autoinvenci\u00f3n II<br \/>\npor: Eddie Pr\u00e9vost<\/li>\n<li><strong>pg 18 &#8211; 21<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/gw9c0pj4yio4assfjglpvzgdqyi935wt')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly2.jpg\" alt=\"hurlyburly2\" width=\"200\" height=\"283\" class=\"alignnone size-full wp-image-1157\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">2<\/strong><br \/>\nJulio 1997<br \/>\n<\/span><\/p>\n<p><\/a><\/p>\n<ul>\n<li><strong>pag 2<\/strong> Festival Hurta Cordel 97\n<\/li>\n<li><strong>pg 4-7<\/strong> M\u00fasica Improvisada y Chamanismo<br \/>\npor: Tim Hodgkinson\n<\/li>\n<li><strong>pg 8 &#8211; 9<\/strong> Entrevista Voice Crack\n<\/li>\n<li><strong>pg 10 &#8211; 11<\/strong>Por qu\u00e9 no mola la composici\u00f3n por ordenador<br \/>\npor Bob Obstertag<\/li>\n<li><strong>pg 12 &#8211; 16<\/strong>\u00abNing\u00fan sonido es inocente\u00bb<br \/>\npor Eddie Pr\u00e9vost<\/li>\n<li><strong>pg 14<\/strong>Discos<\/li>\n<\/ul>\n<\/td>\n<td style=\"width:450px; border-color:#fff; border-style:solid; border-width:1px;\">\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/nil5imkrkp7gpaw5vj6bg31vjdac3h31')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pedrolopez.org\/wp-content\/uploads\/2015\/03\/hurlyburly1.jpg\" alt=\"hurlyburly1\" width=\"200\" height=\"282\" class=\"alignnone size-full wp-image-1168\" \/><\/ul>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">1<\/strong><br \/>\nApril 1997\n<\/p>\n<ul>\n<li><strong>pg 4-6<\/strong> John Stevens<br \/>\npor: Martin Davidson<\/li>\n<li><strong>pg 7-9<\/strong> .Grupos de Improvisaci\u00f3n Libre\n<\/li>\n<li><strong>pg 10 &#8211; 13<\/strong> Musica improvisada<br \/>\npor: Roger Sutherland\n<\/li>\n<li><strong>pg 14 &#8211; 17<\/strong> AMM y la Pr\u00e1ctica de la autoinvenci\u00f3n II<br \/>\npor: Eddie Pr\u00e9vost<\/li>\n<li><strong>pg 18 &#8211; 21<\/strong>Discos\/\tCD Reviews<\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<p style=\"text-align: center;\"><strong><span style=\"font-size:20px;\">Festival Hurta Cordel 96<\/strong><br \/>\nJunio 1996<\/p>\n<p><a href=\"#\" onMouseUp=\"Show16('https:\/\/app.box.com\/s\/n3d7x46k59wfw6vai2oyzhnyld43yb0k')\"><\/p>\n<ul><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/modisti.com\/15\/wp-content\/uploads\/2019\/07\/hc96.jpg\" alt=\"hurtacordel\" width=\"200\" height=\"282\" class=\"alignnone size-full wp-image-1168\" \/><\/ul>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>[\/eyesonly]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La revista Hurly Burly naci\u00f3 con vocaci\u00f3n informativa para trasladar a los entonces socios del CEDI (Centro de Encuentro para el Desarrollo Interactivo), aquellos textos<\/p>\n","protected":false},"author":1,"featured_media":40909,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-40908","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/pages\/40908","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/comments?post=40908"}],"version-history":[{"count":6,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/pages\/40908\/revisions"}],"predecessor-version":[{"id":42321,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/pages\/40908\/revisions\/42321"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media\/40909"}],"wp:attachment":[{"href":"https:\/\/modisti.com\/15\/wp-json\/wp\/v2\/media?parent=40908"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}