RE: [microsound] Re: grabbing people by the balls (dumbtype et al )

[Philip Sherburne <psherburne@xxxxxxxxxxxxxxxxxxx>]

jacek. jacek. shoot. sorry! it is clearly too early for me to be writing
email.
thanks for your reply.

this sentence especially:
> It should be rather seen as an artistic
> attempt
> to invoke physical changes in the surrounding material world.

especially interesting in the context of phill niblock, i think. his piece
at FCMM this year used a number of videos of people doing physical labor,
and i couldn't help but tie it to the physical labor of sound waves. this
may have been my own perception though.

in defense of sensorband -- and i admit that i may have been overhasty in
saying that voluminous noise is disrespectful to the audience, because in
fact the audience does have the choice. at times, of course, the volume
sneaks up on you -- such as with f. lopez, so that you can't really
apprehend the volume until after the piece is done. and i'll also admit that
some of my frustration with karkowski's performance was at myself, because i
was determined to "take" as much as i could without plugging my ears, and
afterwards felt like i'd shaved about 5% off my hearing. having a deaf
father, i'm pretty paranoid about these kind of things. so much of my
reaction is a very personal response.  is there any "responsible" limit on a
performance's volume? i guess i'm undecided there. (i also managed to blow
out my ears at matt herbert's sonar DJ set, and was just as pissed at myself
then.)

but what i was going to say about sensorband -- unfortunately SFMOMA didn't
have the ideal venue for their sound; i don't really know what the acoustics
of the theater there are but they didn't seem conducive to the spatial
aspects of sensorband's sound, which came out much more clearly in a
montreal performance in a much more acoustically friendly room. at SFMOMA,
in fact, the ventilation system in the ceiling was rattling from the
vibrations, creating its own sound that at times threatened to drown out
sensorband's high end. so it's unfortunate that a piece in many ways about
"pure" sound (or that's how i take it) was restricted by the particulars of
its space. 

anyway, i should probably just stop talking now.
ta
phil


> -----Original Message-----
> From: Jacek Staniszewski [mailto:jacek.staniszewski@xxxxxxxxxxx]
> Sent: Thursday, March 07, 2002 10:11 AM
> To: microsound
> Subject: Re: [microsound] Re: grabbing people by the balls 
> (dumbtype et
> al)
> 
> 
> 
> ----- Original Message -----
> From: "Philip Sherburne" <psherburne@xxxxxxxxxxxxxxxxxxx>
> To: "'microsound'" <microsound@xxxxxxxxxxxxx>
> Sent: Thursday, March 07, 2002 6:21 PM
> Subject: RE: [microsound] Re: grabbing people by the balls 
> (dumbtype et al)
> 
> 
> >
> >
> > janek,
> > i'm not sure what you mean by "rigamarole of the week," but 
> i don't think
> > that my review should be cause for fear.
> 
> hey philip::
> no problems::i meant aesthetic endpoint, where enthusiasts of 
> more cultured,
> civilized (errm colonized?) sound and brain-dead noisesters 
> will ultimately
> disagree
> over obvious stylistic discrepancies of both directions.
> i don't want to go into this. THIS is not my context: arguing 
> in the name
> of some specific sound/genre/listening milieu/whatever. i can 
> easily enjoy
> Masonna AND, say, Morr Music products (even listened simultaneously
> from 2 sources). I'm not particularly selective, one could say ::>
> 
> if you actually read my piece
> > you'll note that it's an attempt to come to terms with karkowski's
> > performance, and my own violent reaction (at least in the 
> imagination) is
> a
> > very honest appraisal -- and, i should hope, a damn sight 
> better than
> either
> > the simple fanboy "this is brand-name noise, therefore good," or its
> > opposite, the polite and chastened "this was noisy, therefore bad."
> 
> i appreciate that. it's just difficult to refer to 
> barely-there, objective,
> perception
> of such events - the aspect of unusually high volume of performance
> reappears
> on the sacred ground of modern composition (Phill Niblock, 
> Xenakis etc) and
> could be found in Russolo's (et al) writings. As such, it's 
> not the 80s
> invention
> of grim black-clad TOPYclones. It should be rather seen as an artistic
> attempt
> to invoke physical changes in the surrounding material world.
> >
> > re: fascistic, you'll note that it was my term. and re: the 
> post-colonial
> > post you quoted, that was not mine.
> 
> OK, i take it then::> yes post-colonial was someone else's - 
> didn't mean to
> ascribe it to you specifically.
> and, oh, my 1st name is jacek. anyway.
> 
> r
> >j<
> 
> >
> > ta,
> > phil
> >
> > 
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