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Re: [microsound] SCREAM Festival?



I also liked Tom Flaherty's piece the most. Since it was the opening work, I really got my hopes up... only to be generally disappointed.

Carl Stone was also great, but the piece he premiered wasn't as good as the works he played last year at the MAK Center in West Hollywood - what an amazing evening that was!

On the disappointing side, I was surprised by the amatuerish quality of some of the performers. And yeah, some of the sounds just sounded old, not even with the irony of "retro" cloaking them -- just old and tired.

But, nevertheless, I am excited about the venue, and its agenda of experimental works. And it was great to see the place nearly full, with all kinds of people in attendance -- support for experimental, non-mainstream music here in LA was so heartening to see. Too bad the prices were so high - even the student tickets were $12.

-- D. Jean Hester
www.divestudio.org
Interviewer: "Must an artist be a programmer to make truly original online art?"
John Simon: "Truly original? You Modernist! Whether you make art or not, understanding programming is an amazing understanding."
from "Code as Creative Writing: An Interview with John Simon"






From: Richard Zvonar <zvonar@xxxxxxxxxx>
Reply-To: microsound <microsound@xxxxxxxxxxxxx>
To: microsound <microsound@xxxxxxxxxxxxx>
Subject: Re: [microsound] SCREAM Festival?
Date: Tue, 2 Dec 2003 14:17:14 -0800

At 1:26 PM -0800 12/2/03, D. Jean Hester wrote:
Anyone go to the SCREAM Festival last night, at Redcat?

I thought the loudspeakers were mounted too high.

I also thought the price of admission was high.

I liked Tom Flaherty's piece the best - just him, his cello, and his PowerBook. Mostly live sampling and processing of the cello sounds (with a few sounds pre-sampled) using Max/MSP.

Carl Stone's was his usual adroit interweaving of sampled materials. Good sonic imagination and handling of the performance system (again, Max/MSP), but I personally prefer some of his earlier work where the sources were more readily identifiable.

I won't comment on the rest, except to say that I thought all the pieces were well made and well executed but that some of them had a sound palette that seemed a bit dated.

Most pieces went well enough, though the trombone piece had to be reconceived on the spot due to a flakey pitch to MIDI interface and Mark Trayle had a minor restart due to a bad audio connection.
--


______________________________________________________________
Richard Zvonar, PhD
(818) 788-2202
http://www.zvonar.com
http://RZCybernetics.com

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