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



"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?"

on this topic there's an interesting book (forgive me if you've all read
it...) by richard coyne: technoromanticism, MIT Press, 1999. it goes quite a
way in shedding critical light on the utopian pretensions of both the
internet and more specifically theorists of virtual reality.

for what it's worth: i am very concerned by the environment i live in (sonic
and otherwise) viz. athens, greece. i often wander around with a microphone
and a minidisc recorder capting sounds that i feel are defining of this
environment.

to go back to a previous thread: one of the curses of contemporary music
production is the use of samples that one gets off the net (i've done this
of course, so cursed be i). if that's not "ear-washing" then what is?

[sorry, getting late here and i'm babbling]

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