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Re: [microsound] oval armani

Perhaps the use of outdated technologies/software is one way
to better address the problems of 'ready-made' parameters
and 'art-as-new-tech-demo' syndrome? 

I'm often wondering about the 'random-number' feature in
applications: how does one program _randomness? Is there
really such a thing? 

How much does/did microsound/microtonal works depend on the
existence of contact mics?

After a while, Cage primarily seems to be a self-serving,
staged cultural polemic. 


On Fri, 28 Dec 2001, Kenric McDowell wrote:

> Giving up compositional decisions in favor of a chance procedure 
> inevitably gives control to some other force. In the case of most music 
> made on computers that force is another person, a software designer. My 
> point is that this type of disinterestedness is politically and 
> artistically dangerous. Maybe a violin or a radio isn't any different, 
> but the marketing and construction of a contemporary software package is 
> less benign than that of a radio or a violin. Put another way, a radio 
> or even a violin can become a readymade whereas many software packages 
> are paramaterized with a certain agenda. It's hard to shake off the 
> packaging and see it as an unmotivated object.
> It just feels bad.
> I'm still trying to figure this out though. :-)

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