RE: [microsound] re: 7econds - new microsound project

[ndk <ndkent@xxxxxxxxxxxxx>]

> >From: ndk <ndkent@xxxxxxxxxxxxx>
> >Now what strikes me regarding these calculations is that audio in a
> >sound art context is already intrinsically a time based medium. It
> >differs greatly from a general examination of information (including
> >info conveyed through audio) because these media have an indeterminate
> >time dimension that can be optimally assigned
> 
> True but in the realm of electronic music time has become plastic so perhaps 
> we can reassign the audio information in a more condensed or optimized 
> arrangement.

I note the use of the word "reassign" rather than "assign". It's key
distinction when it comes to the workability of "7 Seconds" theories.
Now I'm sure one can reassign an existing dimension to anything for the
practicality or experimentation's sake of doing so but the question
posed becomes very different. 

  I've considered this before and wondered why we bother with 
> fancy compression schemes when we could simply time compress music and allow 
> others to re-expand it or not as they wish. 

In a time based art form time is an intrinsic dimension.

> The challenge then is to 
> construct musical information that can survive such compression intact.

Just as the TV commercials that still get a sell point across when fast forwarded.

 One can of course attempt to construct something with flexible
dimensions and then perhaps assign a fixed optimum dimension to it. One
has to consider that the result would be quite different than
constructing to an assigned parameter let alone the reassignment of an
existing dimension


> 
> Anyone remember blipverts from Max Headroom (or was that Videodrome)?  I'm 
> also reminded of Raymond Scott's audio logos which were short bursts of 
> electronic music used to brand a product on the radio or TV.  The concept is 
> of course still in use but I believe he was the originator.

I think the Blipvert from Max Headroom and some of the Videodrome ideas
are ones of subliminal re-encoding information onto a carrier. The fear
in these stories was given as something in their delivery method made
them a means of not merely conveying info but irresistibly controlling people.

Scott seemed to be extending the concept of the "NBC" 3 tone micro-theme
already long used on radio. His leap, as I read it, was a single
distinctive sound can be more effective and efficient yet have the same
function as an identifying signature melody. 

 The next posted reply also dealt with "the minimum amount of sonic
information required to
instigate signification". Associative identification and memorability is
certainly an interesting though quite different time related subtopic
that doesn't completely relate to the proposed exercise (recipe?)
project with it's assigned values. I'm not convinced the values below in
7 seconds relate much to conveying information in this medium past being
challenging to construct.

> a strong structural element (i.e., A-B-A, A-B-B-A, A-B-C-A,
> etc)...(it can be layered as well...for example: one layer consists of one
> sort of structure and another consists of a different one)
> - the piece should NOT be monochromatic (i.e., it should use different types
> of sounds)

nick
www.artskool.biz

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