Re: [microsound] field music / not field recordings

[pelagius pelagius <pela_gius@xxxxxxxxxxx>]

> From: "scott allison" <lipistal3@xxxxxxxxxxx>
> Has anyone on this list ever considered thinking about sound as a field in 
> the ways artists such as pollack or newman considered themselves field 
> painters?
>
> The idea that no central points exist, and the painting is something that 
> continues off the canvas. There is alot more to this than stated, but you 
> get the base general idea.

This sounds somewhat similar to the idea that the music exists beyond the 
confines of the album and that a recording is simply a window into a stream 
of sound that has a life of its own.  I seem to remember reading Miles Davis 
talking about this idea in connection to his electric period.

I think you would also find a connection to the music of LaMonte Young and 
Terry Riley which seems to exist outside of time.  I'm also reminded of the 
organ performance of John Cage's "As Slow As Possible" that is going to last 
several hundred years.

Another angle to look at it would be within the idea of editing, remixing, 
etc.-- every choice is just one of infinite possibilities and is just a 
small glimpse into a sound world that exists outside of the artist.

I think that Stockhausen probably theorized along these lines as well though 
I can't think of anything concrete off the top of my head.  Like you I'm 
just thinking out loud here.

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