Re: [microsound] the landscape(s) of microsound

[Thanos Chrysakis <azimuths@xxxxxxxxxxxxx>]

on 14/1/04 9:56 pm, Glenn Bach at gbach@xxxxxxxxx wrote:

> I have a question for the group.  How many of you practitioners are
> influenced or inspired by a sense of place in making your work?  By
> place I mean a specific geographical location (the city or town in which
> you live or were born, or visited), a dialogue between general and
> specific space (desert ecology vs. Joshua Tree, CA), or a sense of the
> vernacular landscape (apartment buildings, public plazas, billboards,
> freeway overpasses, storefront signage, etc.)?

In a culture that is Time-orientated as ours (for good reasons- see below),
the notion of place by itself and in relation with artistic practices is of
paramount importance.

Even If I'm not using field-recordings in my works in a consistent way I'm
very inspired and influenced of particular places and the sense that they
have generated to me.

The impressions, the thoughts that have been generated from a place,
a location, a site,  some-times have been catalysts of doing some of my
work. Not always in a conscious way.

Actually, as in my work I'm more into making new places, new locations,
places of the mind?? :)...which nevertheless are places that you can dwell;)
I can see that some times happens... that an impression, a memory  of a
particular place -and in the particular context that I experienced it
(weather, period of the day, if I was alone or with company)- has been crept
into, ...my work! or in other words it seems  that whatever has been
experienced in the place  envelopes with its particularities a work.
it's true::Body & Mind are operating in a complementary way.


Now it seems that Time in our culture has been given a privileged position,
leaving neglected vital spatially notions and questions. As Michel Serres
has put it aptly "time is the most immediate and simplest aesthetic
projection of ordered structure. With time, the aesthetics is in order
and those in political power are quite pleased. Spaces are repressed
because they are possibly, better yet, certainly, disorderly...Reason, the
political powers that be, prefer order than disorder, time than space,
history than multiplicities"




> The timbre and structure of microsound and its related tributaries
> generally suggest an abstract non-place (no there, there) or
> interstitial subatomic realm, as opposed to, say, phonography and field
> recordings, which are sonic snapshots of specific analog locales and
> which can also stand for a "type" of landscape (barking dogs recorded in
> rural Kansas, for instance, may also suggest a similar sound experience
> in a suburb in New Jersey).  (Apologies for the U.S.-specific references!)
> 
> (As an example, one of microsound's predecessors, Detroit Techno, has
> been interpreted as reflecting in some ways the stark and industrial
> landscape from which it emerged.  Does this carry through to its
> evolutionary/devolutionary strains?  Tobias?)
> 
> Is this something that you think about--your work being grounded in the
> place it was made?  Or is the "utopia" of the internet and its absence
> of material geography (although signals are filtered through servers and
> routers that sit in air-conditioned rooms that exist SOMEWHERE) a model
> for a disembodied aesthetic?  A combination of the two?  Neither?  Other?

I think that in order to do a flight you need a good stand on the ground
first...!

If I'm not wrong I think Heidegger has said that the spirit shows-appears
itself in geographical terms.
So, even if microsound works exist in a non-place in an immaterial
mindography...We're listening them in
particular places. Also, there are different geographies. Mental and
Physical geographies intersect.


cheers
Thanos

"Inside and Outside are
Inseparable. The world
is wholly inside and I am
wholly outside myself"
Maurice Merleau-Ponty

> G.
> 
> 
> Kim Cascone wrote:
>> have all the microsound philosophers been driven off the list
>> due to the noise?
> 
> 
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