RE: [microsound] 7/29/00 SF microFestivalTapeMusic

[Kenric McDowell <kenric@xxxxxxxxx>]

Anybody go to this?
I left halfway through. The pieces were all very well produced and the
listening environment was nothing to complain about (4 Event 20/20s in
front, 2 in back) but somehow all the music sounded the same. Enormous
masculine crescendos of noise and lots of DSP muscle flexing, flamboyant
uses of pan. None of it really added up to much in terms of ideas or
emotional impact, though. Maybe the second half was better. Did anyone else
on the list go?

-Kenric

-----Original Message-----
From: Matt J. Ingalls [mailto:ingalls@xxxxxxxxx]
Sent: Monday, July 24, 2000 9:47 AM
To: microsound@xxxxxxxxxxxxx
Subject: [microsound] 7/29/00 SF microFestivalTapeMusic



the SAN FRANCISCO TAPE MUSIC CENTER presents:
================================================
microFestival(musique Acousmatique [Rendered on Tape])

           Saturday, July 29, 2000 - 9pm
           THE CLIT STOP @ THE DELIVERY ROOM
           557 Howard Street, San Francisco
           (Downtown, between 1st and 2nd)
           (415) 896-6434
           $6 - $10 sliding scale
           www.concentric.net/~Mingalls/tape
	  more info: mingalls@xxxxxxxxxxxxxx

In homage to [and in the tradition of] the 1960's San Francisco Tape
Music Center (and its primogenital Center for Contemporary Music at
Mills College) the San Francisco Tape Music Center is dedicated to
presenting performances of audio ART diffused through a surround-sound
multi-speaker environment.
==========================================

PROGRAMME (see web page for notes and bios)

Matthew Adkins (England) Melt (1994) 11:50
Elainie Lillios (Denton, TX) Arturo (1999) 13:35
Hideko Kawamoto (Denton, TX/Japan)
   Night Ascends from the Ear like a Butterfly (1999) 8:10
Robert Dow (Scotland) Season of Mists (1998) 9:35

INTERVAL

Adrian Moore (England) SuperStrings (1999) 12:25
Maggi Payne (Berkeley) Apparent Horizon (1996) 11:50
Jonty Harrison (England) Unsound Objects (1995) 12:59

INTERVAL

David Slusser (Oakland) Kubrick (1998) 1:30
Joseph Anderson (Oakland) Kyai Pranaja (1998) 19:00
Jo Thomas (England) Dark Noise (1999) 10:25
Jean-Claude Risset (France) Invisible Irene (1995) 12:18



THIS IS A NEW ART
The works on the microFestival, all composed in the 1990's, are a good
example of [what we think is] the eminent renaissance of audio ART. All
the pieces presented here transcend simplistic notions of music and its
materials and its "instruments." The recording/playback media itself is
treated not as a stand-in for an absent performer, a poor man's
orchestra, but as a vital and unique territory for exploration/
exploitation. The works presented coexist in many worlds, blurring the
line between composition, field recordings, sound design, "cinema for
the ear," virtual [audio] reality, "radio" drama, and sound synthesis.


THIS ART DOES NOT DEPEND UPON THE POSTURING OF PERFORMERS
[which one "purchases" in all commodified "entertainments"] Neither
does it worship the technology with which it was produced, nor does it
fetishize the physical medium in which it is contained. There is no
stage with beautiful people spinning knobs and punching keys for the
audience to idolize here!


THIS MAY NOT BE MUSIC
[in the same way cinema is NOT theatre]. A darkened room filled with
loudspeakers becomes a beach with children playing in the hands of
Jonty Harrison, a cobbled street for Robert Dow, a dark consciousness
with Jo Thomas, a haiku without words for Hideko Kawamoto, a Tarot
reader's parlor for Elainie Lillios, a subatomic world of antecedents
and consequents for Adrian Moore, the incarnation of a woman for Jean-
Claude Risset, an unspoken mind-space for Maggi Payne, an abstract
expressionist portrait for David Slusser, an afternoon halucination
with Matthew Adkins, a place of mystical conjuring for Joseph Anderson.
It becomes a space where anything can happen. Perhaps this is why this
new ART defies music.











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