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Re: [microsound] minimalism [substraction #3]



[#3rd hearing)

> Boundary minimalism by
> definition, should always be short lived.  Once it has established its
> limits it really has nowhere else to go.  Its continuation along a linear
> trajectory veers toward essentialism. It attempts to occupy a position which
> is both at the extremities and at the origin. I find this type of
> essentialism - of "pure art" - which finds its voice in the writings of
> Greenberg, Fried, et al. - extremely problematic. I agree with Julian that
> the much of the new (boundary) minimalism, including his example of Taku
> Sugimoto, does not offer anything new, does not push the boundaries any
> further, and in my opinion gets mired in a kind of Zen essentialism.



All of which a priori dismisses the other, the structures of the moment:
think fast, prove the new, for the meaning, telos, end, progress, narrative
of historical sublimation, etc., and dismisses what is to be found, as that
which is not found, in music that has moved in fluxes of time for thousands
of years and at the margins to a "Western music" continually chasing its own
tail in the search for its original relics, apparently needed to
monumentalize its stupendous achievements. Its progress.

New things are better.

As short lived as death.

If where we go, we all go, is death, then the limit of boundary minimalism
is a short limit indeed, and a vast one. Of course easily dismissable, for
it goes nowhere but death.

By establishing the "boundary" as essential to "boundary minimalism" as a
category, the fold of time is given to its own demise under the vestige of a
critique that erects a boundary's scaffolding only to to tear it down. With
scattered applause.







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