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

["Matt J. Ingalls" <ingalls@xxxxxxxxx>]

feel like i should say nothing - since i was one of the presenters here -
but i was there so heres some of my impressions:

there were actually 12 speakers - 4 in front - another 2 in front facing
away from audience for diffuse/distant imaging - a pair hung in rafters,
the 2 in back, and another pair low sides.

i guess i would agree w/ masculine pelvic-pounding stuff but we actually
held back on the programming of that kind - i would say the last set was
way more droney/ambient but they still had plenty pan/diffusion in them
aswe.. actually i dont think there was much DSP - many of those pieces
were done mostly mixing sounds recorded with close(or on?) stereomic -

for me, about every piece was packed-full of ideas and "emotional impact"
- id be curious to hear what music you do find like that...

and although i think that concert was pretty diverse - i do see your point
and some of that was intentional [if we are going to setup all these
speakers we better choose music that takes advantage of the setup] and
some of that was just the difficulty of programming 3 hours of music..

-matt


 > 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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