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Re: [microsound] w(h)ither the past?
//sorry to duberv for double post. was supposed to be to list.
>> And a lot of microsound seems not to refer to the past, or anything
else at all for that matter.
>
> except itself, it's processes, and the culture(s) of those processes
Well, it must relate to it's listener. If it didn't, we wouldn't be able
to talk about it. And we must also assume that the creator has a
relationship with the music. And the creator is a person that is
inextricably connected with the rest of the world. It is impossible to
remove the artist's voice from their work. Every work of art is filtered
through the perceptions of the artist.
If you think that's weak logic, try this. Microsound and other
experimental music from all points of history share the notion of
rejecting convention, which unites them and also defines them in
relationship to their contemporary and historical conventional
counterparts. In otherwords, if radio stations all played noise music and
you heard noise music at the dentist's office then bach would sound
radical.
It is possible to think about certain things as separate and
self-sustaining entities, and rightly so lest we be overwhelmed by
complexity, but there are no such things.
Without getting metaphysical, I can name two ways that a work of art can
be conceived: as the sum of external history and out of the culmination of
the artist's experiences or any combination, in part or in whole, of the
two.
I guess this means that it can be damn near impossible to discern the
connections between a piece of art and the rest of the world sometimes.
So I pose a question. We are all on this list, presumably, because we
have some attraction to/appreciation of microsound. Why? What led you
here? What's the connection?
Side note. Perhaps Boulez's comment was an observation rather than an
edict. New art is necessarily defined by the fact that it destroys old
art either through denial or direct deconstruction.
Rant is over. I promise not to say anything for awhile ::)
best.e
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