Re: [microsound] Re: on working methods for live performance

[zero zero-1 <slacklavish@xxxxxxxxx>]

yup...we need to be open about it, but being open should mean being able to say 'I think this stinks' so that 
people have their bubbles burst.  what i mean is that i find all these labels we use to work against us.  In my 
experience, when I try to approach local promoters of 'audio on the edge' and 'experimental' and 'glitch' etc, i 
get turned away because I dont play the *right kind* of experimental.   And because I don't want to sit around all 
night talking about what other *artists* are doing and what gear/software they use, I'm not cool.  I know this 
doesn't apply to all of you out there, but holy shit, doesn't anybody realize we need to be sticking together to 
PUSH MORE BOUNDARIES instead of sitting back like technerds defending our working methods?  I mean, 
chances are, if you feel the need to defend the fact that you use a laptop, it's because you know the criticism is 
accurate.

audio went down hill when it tried to be intelligent and couldn't pull it off.  

now I want everyone who has finished reading this to shut your computer off, smoke a joint, drink a beer, take 
some acid, eat some mushrooms....

and for god's sake, let's have fun out there.


s[a(k

Quoting Patrick Norris <untitledartist@xxxxxxxxxxx>:

> >From: Auralbeeste@xxxxxxx
> >Reply-To: microsound <microsound@xxxxxxxxxxxxx>
> the only point I really wanted to make on this subject is...don't y'all
> take 
> enough shit outside the list for the validity of the algorythms or methods 
> used in composition or performance to knock some method because it seems 
> less valid.  To some none of this is valid music (people like my 
> grandmother, who upon hearing one of my c.d.s asked me if I would like to 
> take the radio to the dining room where it gets better reception). We
> should 
> be willing to be as open in our interpretation of live performance as we
> are 
> about our interpretation of music.
> 
> p
> 
> 
> 
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