Re: [microsound] arranging & the like

["::\)" <r3dshift@xxxxxxxxxxxxx>]

well, I'm no audio god, but here's my 2 cents, esp. since graham asked me
this via private mail a week ago....

a trick that works for me, ever in pursuit of odd syncopations, is to throw
stuff together quickly and randomly, or to just randomize it.  from there, I
apply various filters, frequency accentuations, permutations, and
contraceptives (are you still reading this? :p  ) to the "product" until I
can perceive subtle rhythms within the mass of chaos.  from there, I strip
away everything but the good stuff.  this gives me a bass from which to work
and forces me into thinking about the audio and or music differently than I
would had I conceptualized it before starting.  of course, sometimes I'm
just shooting for a nice flowing series of textures, in which case
syncopation is not something I take into consideration.

I hope this makes sense, I'm pretty tired.

-Joe

----- Original Message ----- 
From: "graham" <grahammiller@xxxxxxxxxxxx>
To: "microsound" <microsound@xxxxxxxxxxxxx>
Sent: Friday, May 09, 2003 10:40 PM
Subject: Re: [microsound] arranging & the like

> this is good stuff! yay - a discussion!
>
> to take things one step further, i'd say the aesthetics at work within the
> microsound movement - in terms of arrangement - are much more prevalent in
the
> realm of graphic design than that of music per se. a while back i
mentioned
> last year's mutek logo as one of its best representations: monochromatic,
> geometric, and yet flawed (a chip is missing). and yet, simultaneously
this
> 'flaw' is still a geometric 'perfection' of sorts - as in: it can be
described
> mathematically, a vector based graphic. and yet still there's this piece
> missing - we know something is 'wrong' with the picture - a Perfectly
rendered
> 'wrongness.' anyway, that reminds me of much of this music and much of the
> stuff in the domain of glitch techno. despite all these glitches, there is
> still this 'perfect' mathematical beauty within the shards themselves...
these
> perfect little vector graphics of sounds, as triangular, as irregular as
they
> might be... like when things blow up in tron... still not enough
computation
> power to render chaos convincingly...
>
> still though, the layout, the organization, the irregularity and almost
> perfectly (anally) organized lack of symmetry that prevails in so-called
hip
> modern graphic design (designers republic, buro destruct, ect) is often a
> template or map for the organized chaos of many microsound pieces. i mean,
if
> john cage was drawing pictures instead of notation, if miles davis was
doing
> these things as well, why not assume this kind of graphic design as a sort
of
> score of sorts - adobe illustrator instead of logic audio! vector graphics
run
> through the virtual shredder instead of quarter notes and treble clefs...
>
> a perfect example of what i'm on about is the autechre video for
gantz_graff by
> (the sublime) alex rutterford. amazing stuff that lays it out more
eloquently
> than any issue of computer music journal could ever hope to.
>
> ultimately there is no difference between any artistic discipline, i
think.  my
> interests in film, graphic design, sound design in music always come back
to
> the same (chipped) square.
>
> anyway, forgive the rant - i'm into a few becks and it's time for avant
mutek
> soon:)
>
> graham
>
> p.s. check this: http://www.beflix.com/index.html
>
> scott allison wrote:
>
> > >Tim,
> > >I've thought about this some.  My observation is that a lot of
microsound
> > >sounds the way a lot of minimalist painting looks, in that the
arrangement
> > >is not in juggling lots of separate forms, but in creating a surface
that
> > >is all of a piece, but constantly changing at the same time.  Like
looking
> > >at a wall (brick,painted) - it's all the same thing, but the variety
within
> > >that limitation is endless.
> >
> > eM...
> >
> > hehehe...
> >
> > Agree. slowly I have been working on a series called "Various Fields"
with
> > the above concept in mind. Stopped for a while on it cause I got tired
of
> > computer sounds. But working with more organic acoustic sounds, softer
> > sounds, warmer sounds, seems to fit/reflect the art influcening this
> > project, took me awhile to come to this point.
> >
> > best
> > scott allison
> >
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