RE: [microsound] What a press kit should contain

[mark <mark@xxxxxxxxxxxxx>]

I think Nathan says here a lot of what I wanted to say whilst 
reading this thread however I have a couple of points to add. 

Firstly do not mistake the medias use of the term "post-modern" 
with the actual philosphy. For the media I agree it has become 
a "One-size fits all" phrase that has much the same negative 
connataions as the word "Art" for them. 

One of the primary differences  between Modernist philosphies 
and those of the "Post-" variaty is that the latter all have an 
awareness of their context in the world and seek in some way to 
subvert it whilst the former where trying to generate a fresh 
context (again in the context of an email these are only very
 broad brush strokes). 

It is inevitable that micosound by its very nature is drawn to these 
more recent philosophys (although the concepts have been around 
for a very long time - witness Tristram Shandy) because it is 
largely concerned with recontextualising (or in more lay terms 
fucking up and messing with) sound derived from other 
sources. Don't forget though another strong root is from the 
whole heartedly Modernist Computer music of the 60's and 70's.

mark 




> -----Original Message-----
> From: Nathan Snider [mailto:snider@xxxxxxxxxxxxxxxx]
> Sent: 14 January 2002 07:46
> To: microsound
> Subject: Re: [microsound] What a press kit should contain
> 
> 
> > its very easy to label stuff as post-modern, but does it 
> mean anything?
> > do really understand the term modernity? i respcet alot of 
> the stuff that
> > people do in the clicks scene. AFAIK i am the ONLY dj who 
> will play this
> > kinda music in his set.
> > but i feel the term post-modern has become a cheap way to 
> claim a sort of
> > pseudo intelectual tone.
> > *u will have to excuse me english is not my mother tounge*
> > the fact that micromusic is intelctual does not mean that 
> this is a post
> > modern music. i don`t see any connection between derida and SND.
> > you might say deconstuction -but this will only be on the 
> very shallow
> > meaning.
> > TCB
> 
> I might have overstated myself earlier.  Let me try again 
> with a couple
> examples.
> 
> Glitch is music that expresses awareness of the structure 
> that it inhabits,
> playing with it, exposing the limits.  Glitch can only exist within a
> structure, since it "lives" by shaking that structure apart.  
> Perhaps it is
> only superficially deconstructionist, but I'd be hard pressed 
> to find ANY
> example of music that is "deeply" deconstructionist in a 
> Derridian sense.
> 
> Generative music requires that the artist strike a balance 
> between imposing
> and exposing structures, and the results are necessarily 
> self-referential.
> This seems quite postmodern to me.  It does contain a strong hint of
> modernism, like a kind of deism where the artist is god, but 
> ultimately,
> it's more like a reference to modernism than modernism per 
> se.  If we're
> still talking Derrida, then in generative art, the artist 
> designs a "center"
> for the structure, but in doing so, must acknowledge that the 
> center is
> arbitrary.
> 
> I think that it would be slightly disingenuous to stick to 
> these schematic
> parallels between art and philosophy, though.  Artistic 
> movements are a lot
> less monolithic than their philosophical couterparts, and they
> cross-pollinate like mad.  Postmodernism contains elements of 
> both modernism
> and romanticism, each of which contained elements of previous 
> movements,
> etc. etc...  The oppositions between art movements are 
> present, but not to
> the degree that they are in philosophy.  The term 
> "postmodernism" has become
> over-used, and as such, it's an easy target.  It's inevitable 
> that we will
> move away from it artistically and philosophically, but I 
> don't think that
> has happened yet.
> 
> -nathan snider
> 
> 
> 
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