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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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