[no subject]

It would be purely
>symbolic and lack a depth that language can not express.
there are ways in language that could mirror this process you mentioned 
here, i.e.  orph est rai axaii, where the phonemes and te morphemes meet on 
a slaughter field. It is abstract in a sense that math is also abstract, and 
their are creative formulas which can make rational the language involved in 
the poem. anyway...



So it seems with
>the writing of artists, it is their perception that we attend to, not their
>grammar and perfect tense.  Would an artists sound or vision be distorted 
>by
>proper language?  For example the writings of, Andrew M. McKenzie (Halfer
>Trio) are purely narrations of a churning wonderful mind, in its own
>context. I feel that 'academia' turns away from 'independent' artists
>causing isolation.  In this isolation a new language and context is formed
>that 'academia' may find naive.  Does being 'naive' allow an artist to
>'find' a sound or vision that may be ignored or overlooked by the
>'establishment'?
I think that the pockets of isolation or the restricted codes that develop 
in isolation occur as the result of academia and the desire to change. There 
is also a little bit of fetishism and obsession in their as well. Proper 
language is very restricted and well, archaic. The idea that that confers 
that their is one language which is proper and that every tongued person is 
supposed to abide by has lost its credibility although sometimes we desire 
such for interpretation. The idea of putting expression into language is 
like putting a ballon in a small pickle jar, it will fit but not denote the 
volume or robusticity of the ballon. the jar is just full and we get the 
sense of what was that jar thinking. Trying to put anything into language is 
difficult, but equally challenging. The ideal artist in my mind is one that 
can hold an unique and prolific vision but at the same be completely clear 
and far reaching in his/her articulations. I myself haven't and probably 
will never reach that in my life, but admire and respect those that can. 
some of the authors in this book seem to suggest they have the ability to do 
both, but in my opinion they do acheive this. of course this is my opinion, 
a wanna be scholar who lacks little artistic vision.
I listened to the accompanying disc last evening sortly after writing the 
commentary and really enjoyed the disc dereailed from the book. Chrsitof 
migone track is reminiscent to chartier, spec and o/r...short and sweet and 
the m/s track is deliciously high frequencied to the point of psychological 
recognition only.
although I have some qualms about the book and had my expectations 
shattered, it would be more than worth the money and time to throw my ideas 
into the glitchmaking machine of nothingness; by buying the book and 
informing everyone else that I, just some haphazard academic with nothing 
better to do than spit on a desirable publication am wrong.

in respect.
ad.ll

"What passes for reality seems to me mostly a load of
old rubbish invented by not very inventive minds. The
reality that interests me is strange and flickering
and haunting"
  -Russell Hoban, the Medusa Frequency

>
>With all respects,
>Marc McNulty
>
>----- Original Message -----
>From: "duul _drv" <thisoutleague@xxxxxxxxxxx>
>To: <microsound@xxxxxxxxxxxxx>
>Sent: Friday, January 14, 2000 2:32 AM
>Subject: Re: [microsound] site of sound
>
>
> > I feel slightly compelled to reply to this investigation. I bought the
>book
> > thinking I would read the entire publication from front to back in the
> > matter of hours, which I usually do with enlivening books(bataille's
>'story
> > of the eye'). This book after a couple of read articles sits on my shelf
> > abandoned, and has been for some time now. The potential of this book,
>well
> > for me was very high and thought this mightbe the book that answer all 
>my
> > questions about lowercase, microwave and audio art. also the idea of the
> > book intrigues me more than the articles. The book is very aesthetically
> > appealing without a doubt in layout & graphics, size, and quality of 
>paper
> > in and on the cover, and the accompanying cd is such a great idea that 
>if
>I
> > ever publish a book I want to mimic labelle and roden's idea. The cd is 
>an
> > aubile version of the articles, or the sound interpretations that 
>inspired
> > the writing. after reading one of the written articles, uber die stille
>1997
> > by christina kubisch i just had to hear the accompanying track on the
>disc,
> > and did so over and over. Living in winnipeg, mb in canada I rarely get
>the
> > chance to participate in performance such as hers, so having the disc as 
>a
> > conduit for a fuller understanding of her ideas was so helpful. This is
> > probably the greatest thing about this book. One of my criticism is, 
>being
> > from the academia I was hoping for more academic writing, and I was a
>little
> > let down by some of the non academic and poor writing. I am not making 
>the
> > claim that academia is the only field for good writing, but one can 
>sense
>an
> > absence of writing quality in these articles. My own writing is by far 
>not
> > the best, or even of the high academia I claiming these are not, so 
>please
> > don't make the impression I am letting my ego write this review. I think
> > that it takes a very skilled artist to be both expressive in their
>prefered
> > medium and in language. The potential for the latter is great, but I 
>found
> > in this book that the writing was more representative of the style of
>sound
> > creation, using methods and language like they would use sound in the
> > creation of a composition, than an academic explication. The ideas are
>very
> > abstract, often too abstract too be made coherent and distributed like
> > juxtaposing sounds, "distribution of place that is extended towards the
>past
> > and towards the future; this is exactly what allows the place to exist
> > there" (p.138)Although suiting for the time and era our thinking is in
>right
> > now, the ultra modernist and hyperfocused state is no excuse for poor 
>and
> > unclear writing. There are a lot of problems in our use of language and
>the
> > reasons we use language, I find some of the symptoms of these problems 
>in
> > this book. (sorry for the divergence) My want for the academia version 
>of
> > this style of sound should have not prompted me to want this book, but
> > because it comes as a book, and my views on publishing are so narrow I
> > expected a book and I was let down. two pieces are very inspirational in
>the
> > package; the alison knowles article 'untitled' and the composition by
>achim
> > wollsheid "piece(for a listener)". Both engage the listener in an active
> > role opposed to a passive role of interpretation. Something I am very
> > interested in and find very challenging.
> >
> > sorry if this has gone on for too long. I just felt like responding in
>very
> > personal length
> > ad.ll
> >
> >
> > "What passes for reality seems to me mostly a load of
> > old rubbish invented by not very inventive minds. The
> > reality that interests me is strange and flickering
> > and haunting"
> >   -Russell Hoban, the Medusa Frequency
> >
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>
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