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RE: [microsound] glitch musicians need to party more!
Gunnar wrote:
...IDM is such a ridiculous term. In fact when someone uses it on a
web site or in conversation I know it might be a good idea to just >move on
quickly and don't look back. Who in the world came up with it >anyway? I
bet it was the same type of person who came up with "glitch >music" I'm
almost embarrassed to even use them in this e-mail.
yeah brother.
how many of us have attempted to describe this whole Microsound thing to
uninformed friends/colleagues/girlfriends? We say Microsound/glitch: the
(typical) response is a furrowed brow, then we launch into a crash course
history of the electroAcoustic family tree, and ultimately we feel like
we're just scratching the surface of this new *musical* phenomenon. Often it
feels like genre titles are consigned to lowest-common-denominator status,
*IDM* ostensibly the corniest of them all. But that's their nature, I guess:
a highly reductive, catch-all phrase that works best as a header on some
record store shelf.
so, like many of you m-sound subscribers, i write to think. And after
writing an essay about the topic of all things *glitch*, i arrived at tons
of questions (and some answers). Here's the title, plus a sample paragraph.
dig.
Oops, I Did It Again:
the representation of error in contemporary *glitch* media
"A "glitch" ceases to be a glitch once it is exploited, and represented, as
such. To construct a music of snips and samples birthed from "glitchy"
origins (e.g. the lilt of a skipping CD, the accidental damaging--and
subsequent sampling--of a filter) means that the end result of the "error
process" is hopefully MORE sounds that resemble the initial error.
Eventually this "error process" becomes a staged, non-erroneous process
intended to arrive at sounds--maybe even an entire range of sounds--that
adhere to the qualities and characteristics of the initial, primary
accident."
release the hounds,
Bob M a y n a r d
"...this is by no means the whole story." -Fred Jameson
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