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Re: [microsound] physical filter



> My contention is that the physical relationship to an instrument is not
> completely motivated by theatricality and that it does in fact have a
> lot to do with the creation of sonic concepts.

totally..... and although Kim and others claim that the laptop can remove
the physical interface/skills
of performance that most traditional instruments have. using a laptop itself
inevitably involves a
physical relationship, (usually quite static and tunnelled :). This
interface in itself will influence the
creation of 'sonic cioncepts', Until we can beam our concepts from our
brains into the performance medium
 we will be influenced by our tools. I am reminded of what Brian Eno
referred to as computers encouraging
'word processing music' where our creation of sonic processes and ideas
becomes based on watching
number boxes count, control panels open and fft bands resolve....

Tom
www.nullpointer.co.uk

----- Original Message -----
From: "Kenric McDowell" <kenricm@xxxxxxxxxxxxxx>
To: "microsound" <microsound@xxxxxxxxxxxxx>
Sent: Tuesday, November 12, 2002 11:46 PM
Subject: Re: [microsound] physical filter

> Thanks for clearing that up. I get it now: The precise execution of
> musical ideas without dramatic presentation fails to meet the
> expectations of an audience accustomed to theatricality.
>
> My contention is that the physical relationship to an instrument is not
> completely motivated by theatricality and that it does in fact have a
> lot to do with the creation of sonic concepts. These are two assumptions
> that deprive us of an area of potential thought and exploration in music
> making.
> The presumed removal of the body from the process of creation is in
> itself a filter.
>
>
> -km
>
> On Tuesday, November 12, 2002, at 03:01 PM, Bill Ashline wrote:
>
> > 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.
> >
> >
> >
> >
>
>
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