Re: [microsound] our first .microsound poll

[Arie van Schutterhoef <arsche@xxxxxxxxx>]

> More perspectives are better than less perspectives.
-I agree fully. To what extent it's likely, is another
 matter. Simplifications or dumbing, is often more
 appreciated.


>When people are active both as artists and theoretical
>writers, they quite often contradictory in their acts.
>Examples?
-I was actually thinking about Henry & Schaeffer in their
 statements about musique concrete, but also about Meyer-Eppler
 at the WDR-Studio in Koln, Germany. In both cases, statements
 were made that the new electronic means would make acousticial
 instruments unimportant. Now you can view these statements in
 the light of their content or in the light of the revolutionary
 elan that was taking place just after the Second World War in Europe,
 which basically ruined its cultural life. I'm inclined to do
 both.

>True, often performances come out being lousy other times successful
>(regardless of whoever it is doing truly live electronic music, (there was a
>long thread discussing what might constitute live electronic music recently
>on this list, in Cages example I think he fits into the performance side,
>all sound making being generated in real time, and as a result sometimes a
>performance is successful, other times awful, chance has a hand in the
>matter as the composition takes place in the moment, although Cage did
>create performance strategies... of which seem to influence the work of
>people like Steve Roden for a contemporary relationship, he talks about
>using strategies in most of his work, doesn't mean his work is always good).
-If you are adressing here the level of quality of live electronic
 music concerts, I think rehearsing and decent preparation can overcome
 a lot of the 'awfullness' you are referring to. To what extent 'live'
 is important is open for discussion

>Cage seemed more interested in the results of the information derived from
>chance operations (again read Tomkins),
-As any good composer would be. Think Xenakis was kind of similar.

>the whole idea being that you might
>discover something that you/your ego would have never made and thus
>informing new ideas/solutions.
-Which is a very succesfull method indeed.

>Often times this practice results in (for
>better or worse - loose connections or entropic noise,
>but it can also provide for new ideas and new relationships in meaning).
-Depends on the interpretations and the needs.

>Saying Cage made lousy art is to general of a statement,
>(not to suggest
>that your statement is saying he made lousy art,it seems you are speaking in
>more general terms here.) (but one needs to be really specific if saying
>Cage made lousy art, he produced work in so many fields, are we referring to
>his sound work (which recording/performance in particular, and by what
>system are we using to say its lousy?), or maybe the rock paintings he did
>as artist in residence VA tech (which are considered stunning and highly
>sought after),
-I actually quite like the works of the composer Cage;
 i also think he's a good writer in any sense of the word.

>artistic judgment can also depend on what sort of cultural filter
>we look/hear through,
-Intriguing question is, how wide or limited should this filter be?


>Artists are allowed to make things people might not like, I
>commend that action, because that shows someone is willing to take a risk
>and do something that might not be accepted or considered popular,
-There are only instincts to follow, whether the supposed audience likes
 it or not.

>also helps to keeps life fresh.
-Which is the best way to sabotage presumption...

AvS

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