Re: [microsound] physical filter

[billashline@xxxxxxxxxxxx (Bill Ashline)]

No it's not flame bait and it's not what Kim is saying below.  This idea gets spelled out in his interview with CTheory.  The laptop affords an immediacy with musical concepts that one devises that are not limited by the proficiency in motor skills required to play a traditional acoustic instrument.  I think Kim is quite right on this point.  The only major limitation is in the audience's reception of the performative once they've discovered there's very little to see.  When one is conditioned to appreciate adept motor skills displayed in the live performance, this is what Kim calls gestural theatre.  Anthony Braxton called it the "sweat factor."  Either way, it has nothing to do with the creation of sonar concepts or what goes in the performative space.

Kenric McDowell <kenricm@xxxxxxxxxxxxxx> wrote:

>Don't mean to be rude but this kinda seems like flamebait....
>I mean, we all know that there are physical, mechanical, technological, 
>cultural, etc. forces acting in every situation and that there is no 
>'pure' expression that exists outside of any technological, cultural, 
>etc. situation. And that the filter of 'physical actions' is called the 
>body, which exists and has an influence whether or not you choose to 
>recognize it.
>
>Right?
>
>If anything I'd point to the filter of instrument design as it relates 
>to harmony and the atomic units of traditional music (notes).
>The point about exchange value is a good one, though.
>
>
>-km
>
>
>
>> On Mon, 11 Nov 2002 14:15:41 -0800
>> Kim wrote:
>>
>>> no...I'm describing the 'filter' of having to translate musical ideas 
>>> into
>>> physical actions required to play a traditional instrument...laptops 
>>> remove
>>> this filter and this is part of what people feel they're missing out 
>>> on in
>>> the 'exchange value' involved in a musical performance...too busy to 
>>> go in
>>> detail...
>
>
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His face is turned towards the past.  Where we preceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet.  The angel would like to stay, awaken the dead, and make whole what has been smashed.  But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.  This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward.  This storm is what we call progress.
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