RE: [microsound]: What is microsound ?

[Scott Handley <thesubtlebody@xxxxxxxxx>]

Chris Bissonette:
> microsound seems to be
> derived from post digital themes i.e.. skipping cds,
> glitching and other
> digital audio refuse. Hence, revealing the source of
> inspiration. 

This makes sense, but it doesn't seem necessary to
something being "micro".  Why must the microsound work
_reveal_ anything about its origins, or "inspiration"?
 Sometimes the concealment and sweeping away of one's
tracks makes for exciting and thought-provoking
listening.  One rather popular (and, the utopian in me
wishes, influential) example might be Jim O'Rourke
talking about the "questioning" that
characterizes/informs his work; this questioning takes
on a micro form, say, in TAMPER, wherein the oboes are
processed into obscurity.  Jim wishes people would
say, 'WHere are the fucking oboes?' because that was
his point: to obscure the origin of the sounds, and
make people think not about tape, but oboes, and what
oboes mean, and why the sound an oboe makes should
signify something.  That's not a great example, but it
comes to mind.  O'Rourke now seems to spend a lot of
energy trying these kinds of experiments with genres,
but I think that strays a little but from the micro
obsession with material-as-such.  Material is what
you're referring to, but I don't think any kind of
reference to an antecedent/origin/source is necessary;
this is only sometimes the case.  

Kendric M:
> Isn't there some
> obfuscation and mystery
> that happens when one is on the other side of the
> powerbook? Microsound
> often rewards focused listening but the process of
> creation is largely
> undisclosed, especially when the artist uses his or
> her own software
> (tmtowtdi).

I really hate to use O'Rourke for another example, but
I'm reminded of his comments on Keith Rowe's tabletop
guitar/electronics in the liners for the LAMINAL
collection; JO talks about how even after he learned
_how_ Rowe made the sounds, there was still a mystery
in how he _composed_ with the sounds, how he used them
and integrated them into an interactive (??)
environment.  I love this, this is so microsound: the
rejection of _instrumental reason_.  (I've used this
pun before, sorry.)  The rejection of
instru-mentality.  I.e. "death to rock guitars!"  I'm
not so sure about this, but it would seem that the
microsound composer would try to get beyond the
cultural conditioning of instrument-as-tool; why else
would we see so much electro-acoustic (improv)
performance where it's difficult/impossible to tell
"who is playing what".  It would seem that
overdependence on (certain) software(s) might lead to
a resurgence of instrumentalism and a corresponding
decrease in microsonic inquiry.  Just some thoughts...
 

Taylor 12k Deupree:
>maybe microsound is a "lifestyle".. like hip hop is
to rap music..

My injured bank account tells me this is so.  

----s, send food please

NP: Art Ensemble of Chicago, LES STANCES DE SOPHIE

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