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Re: [microsound] sony
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> is it bad for a guy to make a few bucks selling glitches to people
> who don't care that they are not really glitches anymore?
"Monsters cannot be announced.
One cannot say: 'here are our monsters',
without immediately turning the monsters into pets."
-Derrida
Let's try and get away from the discussion as to whether this is "good"
or "bad" and talk a little more explicitly about what implications this
will have for the genre of microsound. Up to now, microsound has been a
relatively marginal cultural form, but more and more - and this is
perhaps due just as much to Kim's CMJ article as to j.frede's loop CD's
- microsound is emerging into the mainstream (both commercial and
academic), and this to me means that it risks losing a lot of the
critical edge it's maintained up till now. The more it becomes codified,
analyzed, schematized and so on, the more it becomes an object of
knowledge that risks being co-opted by some of the same structures it
initially opposed, or at least tried to escape. This can be seen as both
a loss and a gain: it's a loss of the kind of criticality mcrsnd has had
up till now, but it also potentially enables new kinds of
oppositionality/criticality; you don't have to be marginal to be
effectively critical - just ask Radiohead.
So how do people think mcrsnd can maintain its critical edge as it
becomes less and less marginal and emerges more and more into the
mainstream(s)? Or is that important?
Phil
"The gravest danger our Nation faces
lies at the crossroads of
radicalism and technology."
George W. Bush
17 September 2002
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Phil Thomson
http://www.sfu.ca/~pthomson/
http://centibel.vze.com/
http://groups.yahoo.com/group/databenders/
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