RE: Off-ICMC.PLANTATION

[integer@xxxxxxxxxxxxxxx]

>>At 5:50 AM 2000/9/4, RhFriedl@xxxxxxx wrote:
>>> I dont wish Christoph Charles to organize a festival with more than 50
>>> musicians, most of them only arriving for the soundcheck - and than they
>>> should discuss first, who has to play in which room (:-)
>>
>>This kind of discussion is important, necessary, indispensable
>>in any event of any scale.
>>



tumultuous applause gives way to rhythmic clapping.

RhFriedl@xxxxxxx = very `tense`
= _organizing events comme ca = 01 shortkut 2 m9nd aktivity++
+ in direkt opposizie avec the very `skope` of ICMC.
why not let the life forms self organize +?

for: ICMC bagatele = adore the plantation style system
they are operating. orchestra conductor.
[= the insekts in the garden superior]

= ICMC = ultra mort + 0+0 sans the artists.
much as any system = 0+0 sans life forms.
ultra mort + ultra mortal.

= 2 witness the marionettes call
for `grateful that this event was organized`
= 01 cause 4 permit someone to smile.
please do consult 01 publik garden + edukate your s.elves.
fortunately nature does not your thoughts oblige else
01 garden would negatively be.

= ICMC must be `grateful` if any entity must be `grateful` [keyword]
= the artists facilitating the event should \ must + NOT [keyword++]
bow to the korporat `curators` [this becomes 01 keyword aussi]
= the system > als.


01 d!zorgan!zaz!e = SUPERIOR.

`curators` + ICMC = GOD hence totally disposable.
jetzt = dze ze!t.  - dephlekting 1 of the marionettes` komments - "get a life".

friendly.nn.





Netochka Nezvanova
f3.MASCHIN3NKUNST
@www.eusocial.com
17.hzV.tRL.478
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>At 5:50 AM 2000/9/4, RhFriedl@xxxxxxx wrote:
>> I dont wish Christoph Charles to organize a festival with more than 50
>> musicians, most of them only arriving for the soundcheck - and than they
>> should discuss first, who has to play in which room (:-)
>
>This kind of discussion is important, necessary, indispensable
>in any event of any scale.
>
>> Thats true (I said: even: "please go down and play now") - the audience in
>> the other room has already been waiting for Charles performance more than 15
>> minutes, while I was searching the musician. Thats why I could not take care,
>> that the doors stayed closed while Bernhard G箔ter (written without "h")
>> played.
>
>No precise schedule had been fixed beforehand,
>only the order of the performances.
>To have an intermission between two performances seems quite normal.
>Mr Friedl could have closed the door from the beginning of the piece,
>instead of talking with his friends, standing at the entrance
>of the hall for the first fifteen minutes. What they were speaking
>about was quite distinguishable. No relation with me.
>
>> As Mr.Charles did not start to perform, the audience in the downstair room
>> got nervous and went upstairs into the concert of Bernhard Guenter and
>> disturbed his silent music.
>
>I don't believe that an audience who attends such an evening,
>going on from 10PM to 2AM, where (almost) everybody is
>smoking and drinking wine and beer, would become so nervous
>if one of the pauses is 15 minutes longer.
>Because of the whole organization, the audience "disturbed"
>not only Guenter's but ALL concerts, by going in and out the rooms.
>To say that it was "my" audience and "my" fault
>reflects perfectly Mr Friedl's state of mind.
>
>> This political attitude was the main reason that Guenters performace has been
>> disturbed. If somebody is really convienced only to play in the moment he
>> likes, than he shouldnt sign a contract and take care, not to be sceduled in
>> festivals.
>
>When no schedule is fixed and no discussion about these issues has been done,
>and when the organizer can't be trusted, the musician will act as he thinks
>is best.
>
>> The true highlight of Mr charles was, that before writing this message to all
>> the e-mailgroups he knows, he came to me after the concert and excused
>> himself several times in order to get his fee. That's probably what Mr.
>> charles calls a political attitude.
>
>I am not sure who apologized to whom,
>I agreed we should have discussed that before,
>although I emailed about this issues long before the concert :
>the choice of the room, my position in the room,
>the order of the performances, I got no answer,
>I should probably have insisted on talking about these,
>but as Mr Friedl ignored my suggestions -
>they were probably lost in the organisation panic -,
>I also lost interest in discussing them further.
>I know it is a big task to organize such a festival,
>and on the first day Mr Friedl was obviously very tense
>and not in his normal state. The situation of the afternoon was
>quite chaotic: the soundcheck was scheduled at 3PM
>and began only at 8PM.
>
>As for the fee, it was the lowest I was ever paid in Germany,
>receiving it or not would not have made a big difference in my budget.
>It was symbolic, but as I have done my two concerts on Monday
>and Tuesday, I had no reason to refuse it.
>
>If Mr Friedl ever organizes other events of this kind,
>I suggest that he doesn't ignore the musicians' suggestions,
>and discusses the contents of the contract before the concert.
>The musicians should sign this contract before the concert, not after.
>Above all I suggest he remains polite.
>
>All the above details are just boring, but after having been thinking
>of them for a few days, I felt it was important not to remain silent
>about Mr Friedl. Although I never experienced such an attitude,
>Mr Friedl is certainly not the only one, and there are still many things
>to expose about the "tyrrany of the programmers" (cf. Jerome Joy),
>which lead them to tell the musicians they invite : "if you don't obey
>me right now I cancel your concert". I thought this issue could be
>discussed furthermore on the mailing lists which seem concerned.
>
>At 11:03 PM 2000/9/2, jerome joy wrote:
>
>> And consequently, that raises very interesting questions related indeed to
>> the new musical practices and to the new technological mutations.
>> It is the situation of concert which is questioning here, indeed the new
>> music electroacoustic or electronica is coming here at a nodal point
>> between the fixed musics (it seems to me that it is the case of Gunther)
>> and the improvised and controlled musics, is confronted with the
>> organization in the concerts.
>> Obviously the fact that a festival or that a concert takes the image "
>> fashion " to align as many musicians and composers who carry this new music
>> (I can add here that the programming of this off-icmc is enough enticing
>> and relevant) doesn't seem astonishing but is nevertheless symptomatic.
>> The new electroacoustic music wanted to leave the concert hall without
>> finding new situations and constraints of representation, or well rather by
>> accepting by defect the situation of the improvised scene and the music
>> resulting from the "very advanced" rock'n'roll... while being short and by
>> using short cuts.
>>
>> In the same manner the composers and the musicians working on these
>> experimental contents, confront themselves with rigid and inappropriate
>> situations when they play in situations of traditional concert
>> (electroacoustic and instrumental).
>> On the two sides, we're finding the hegemony and the tyranny of the
>> programmers who are undoubtedly not also close to the contents to these new
>> musics and their constraints certainly not enough marked. Indeed, I think
>> that we should more integrate the questionnings about the representation
>> and the realization in concert, that is an integral part of the today
>> composition. No more concessions!
>>
>> To play in a concert does not go from oneself! it is about a spectacle in
>> the literal meaning of the term... And also by there, wouldn't one have to
>> leave these small phantasms which haunt us? for the composer coming from
>> electroacoustic, to play on scene becomes a blow of projector and a
>> considerable resumption of ego , this one who was accustomed to the
>> confined air of the studios and to the work at the table (or rather with
>> the computer).
>>
>> The fusion of the studio, the homestudio, the media and the concert, where
>> now all the steps of the composition and the play are found unified in real
>> time (production, composition, transmission, representation), sets up new
>> musical practices which are not inevitably comptatible with the already
>> existing standards of representation. The position of the public will not
>> be any more the same one, because these new musics work now on situations
>> of listening in contexts not validated by " the history ". It is what would
>> define a new experimental situation and this is inevitably interesting.
>
>-
>christophe charles
>Musashino Art University_Media Art Lab
>185-0087 Tokyo Kodairashi Ogawacho 1-736
>tel +81(0)42-342-6070
>http://kubric.musabi.ac.jp/charles
>
>
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