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



To me it sounds like maybe there is a subtle difference between live performance and maybe what could be live presentation.

Arrons post about presenting his field recordings helps to frame the importance of the difference between performance and presentation but that does'nt mean a presentation is not a peformance. Arron is more about presenting his field recordigns that he has sifted through and edited and arranged into some sort of compostion. We as listeners get to enjoy simply listening to what he is presenting.

Personally I think both approaches are vaild and rewarding. The idea that someone has to be doing everything live could actually be more egotiscal than someone simply pressing play in ths context. It takes a lot of ego to stand there and rock out, while it could be said that simply pressing play is a very egoless act.

Phil Niblock performed a few years ago (I was lucky enough to attend), he was simply playing cds, nothing more than pressing play on cd player's, but what made the perfomance amazing was the shared experince and the killer multi-channel PA plus the fact it was three hours of amazingly loud drones, in this example, there really was'nt anything for the artist to perform (no knobs to tweek behind a laptop), he was presenting his sound/art.

On a historical note, Max Neuhaus came up with what most consider the first live electronic performance, realizations of John Cages' score Fontana Mix called "Feed". (This work is not for the faint of heart, so those into soft pretty microsound I would suggest staying as far away from this as you possible can, think no input sine wave samplers from hell, great stuff if you can handle it). He also coined the term "sound installation"

Scott

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