Re: [microsound] field music / not field recordings

[Nelson Provazi <nprovazi@xxxxxxxxxx>]

I believe jackson pollock shouldn´t be included in this analogy. Pollock´s
works are more related especifically to the act of painting, not to the
final work. he affirmed that his works came out directly from his
unconscious (he did not organized the field like Barnett Newman, although
sometimes they are put by mistake in the same movement - field painting).
I believe sound (just like it is being produced now - and like the way Kim
Cascone analised it) should be more related to Marcel Duchamp, Don Judd and
maybe minimalism. Strong connection between art and life (sounds encountered
in usual life being used as instruments). The idea that works can go further
than the painted field appears because sound (the way is being produced now)
is avoiding ups and downs, trying to get closer and closer to what we now
conceive as silence. Again, another connection with John Cage.
The idea that music should exist in the fine line between real and unreal
came also into my mind now. Rauschenberg is another artists that started
something like that.
Of course, we are all thinking loud here :)

Nelson

> >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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