English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

131 Sebastian Berweck: Michael, I always thought of your work as a composer as that of a sound researcher, as somebody who tries to get new sounds out of objects and instruments. However, I did not see you in the line of Merzbow or early Einstürzende Neubauten and was therefore quite surprised when you labeled your music as “noise music.” Therefore, my first question is a very general one: what constitutes noise music in your view and where do you see yourself in this context?

Beyond Pitch Organisation: an interview with Michael Maierhof