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Re: [microsound] matthew herbert big band/ manifesto of mistakes
On Mon, 1 Dec 2003 04:16:47 +0100 (CET), "Samuel Campbell"
<theguyfive@xxxxxxxxx> said:
> How can one hear the Bjork interview if she wanted?
qlist
>
> s.
>
> --- graham miller <grahammiller@xxxxxxxxxxxx>
> schrieb: > your story reminds me of bjrk interview i
> saw where
> > suddenly a car alarm
> > goes off in thebackground and in the middle of the
> > interview she starts
> > singing along with the alarm, harmonizing and
> > syncopating with it, weaving
> > in and out of pitches as if it were a sampled loop.
> > it was really quite
> > beautiful, and tells volumns about the way she
> > rationalizes sound and music.
> > music of the spheres, and what not...
> >
> > g.
> >
> > Alex Young wrote:
> >
> > > I agree with you, but imagine inventing your own
> > laws of physics
> > > instead!
> > >
> > > It's funny you said 'think of csound or a synth as
> > its own
> > > microuniverse'
> > > because I've been doing exactly that recently.
> > >
> > > Yesterday I was sitting on a train waiting to get
> > off at Clapham
> > > Junction
> > > (a London station I have to go through every day
> > which is now my arch
> > > nemesis.) I noticed a low frequency drone (the
> > pitch was about A),
> > > but I found the sound compelling because the train
> > was generating it
> > > by accident. I found it easy to imagine an
> > arpeggio playing over the
> > > top and then I realised I could easily model this
> > on a synth.
> > >
> > > It occurred to me that if I considered the synth
> > like a little universe
> > > I could map values between other things (like the
> > train or planets
> > > circling the Sun) quite easily. Not that
> > original, but to me it was
> > > quite
> > > inspiring.
> > >
> > > So I soon as I got home I loaded a analog synth up
> > on my computer
> > > and set the LFO to control the voltage of a
> > triangle oscillator and
> > > played a low A, and it sounded pretty much like
> > the train.
> > >
> > > Now all I need is a degree in mathematics so I can
> > create my own
> > > version of string theory and use that to create
> > abstract physical laws
> > > for sound generation...
> > >
> > > On Saturday, November 29, 2003, at 04:00 pm,
> > graham miller wrote:
> > >
> > > > some would argue we're using 'someone' else's
> > laws of physics as well:)
> > > >
> > > > besides, i'm not sure originality has much to do
> > with this illusion
> > > > 'pure'
> > > > authorship. look at (good) hip hop. look at
> > akufen. emergency broadcast
> > > > network. or any other artists who work in with
> > samples, collage,
> > > > pastiche.
> > > > the artristry, the innovation and the
> > originality lie in recombinance.
> > > > i
> > > > mean no one would ever accuse a sculpturer for
> > using granite or marble
> > > > or
> > > > some other readility available raw material as
> > 'source material.' even
> > > > at
> > > > the digital level, the ones and zeros of
> > composition, could be equated
> > > > to
> > > > elements, hydrogen, helium, carbon... creating
> > molecular models using
> > > > those
> > > > elements, which adhere to the laws of physics
> > (the analogy here being a
> > > > patch or a model with a programme or
> > synthesizer) no one would doubt
> > > > the
> > > > creativity, innovation or originality. think of
> > csound or a synth as
> > > > its
> > > > own microuniverse, with its own 'physical' laws.
> > > >
> > > > ultimately, though, these are all just tools for
> > getting sounds. some
> > > > are
> > > > or more suited than others of certain sounds. if
> > i wanted to lay a
> > > > kazoo
> > > > track down i'd get a kazoo.
> > > >
> > > > g.
> > > >
> > > > Alex Young wrote:
> > > >
> > > >> I was thinking about how I have enjoyed using
> > csound because my
> > > >> technical knowledge
> > > >> of how sound can be created and manipulated has
> > increased somewhat.
> > > >> Now I
> > > >> occasionally write my own little programs to
> > generate wave files to
> > > >> use
> > > >> in compositions.
> > > >>
> > > >> But if you're using PD/csound/etc, you're still
> > using someone's
> > > >> interpretation of how
> > > >> something should be done, and even 'their idea
> > of how sounds should be
> > > >> used' to
> > > >> an extent; if you write your own software from
> > scratch you're still
> > > >> using a language
> > > >> someone else created and doing something
> > according to their methods.
> > > >>
> > > >> I could take this argument further, but all it
> > says to me is whether
> > > >> you're programming a
> > > >> synth patch, programming software or merely
> > using presets to compose a
> > > >> nice
> > > >> phrase, _in a way_ it's all the same.
> > > >>
> > > >> Despite this, I sometimes liken composers who
> > build their own software
> > > >> to mathematicians
> > > >> like Gauss and Reinman. Traditional
> > mathematicians stuck on Euclid's
> > > >> 2D plane found it
> > > >> hard to conceive the curved space they defined,
> > until many years after
> > > >> their deaths. In
> > > >> a similar way, some traditional composers today
> > and fans of popular
> > > >> music find it hard to
> > > >> understand how someone is able to make
> > incredible music from writing
> > > >> software; sometimes
> > > >> never even using a traditional instrument.
> > Hopefully people will
> > > >> start
> > > >> to 'get' computer
> > > >> science a little bit more over time and be able
> > to look at your PD
> > > >> works and my crazy broken
> > > >> Python and C++ programs and say 'yeah, I get
> > what he was trying to
> > > >> do.'
> > > >>
> > > >> Add generative art into the mix and you can
> > confuse people a whole lot
> > > >> more. You can also
> > > >> have nifty arguments about whether programmers
> > are artists - and upset
> > > >> computer
> > > >> scientists and artists in one go! I've made
> > that mistake a few times.
> > > >>
> > > >> On Saturday, November 29, 2003, at 12:58 am,
> > derek holzer wrote:
> > > >>
> > > >>> It also brings me back to the reason I started
> > working with Pure Data
> > > >>> in the first place: I didn't want to use
> > anybody else's sounds, nor
> > > >>> their idea of how sounds should be used, nor
> > their ready-made
> > > >>> synthesizers or patches, nor even their idea
> > of how I should
> > > >>> graphically interface with said synth or
> > patch. If I spend all week
> > > >>> making a granular synthesis patch from scratch
> > which I honestly
> > > >>> beleive to be my own [no matter if I borrow
> > tricks from others], I
> > > >>> am
> > > >>> much more satisfied than by messing with the
> > default settings of some
> > > >>> commerically available one. It is the thing
> > that seperates the
> > > >>> user/consumer from the artist, for me.
> >
> === message truncated ==>
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Tjeerd Sietsma
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