Interesting topic!
I embraced the name Quiet American at the time I did my first field
recording compositions with an idea that my raw recordings would be
associated with just my name, and compositional work tied to a specific
project idea ~ partly because the oft-remarked oxymoronic aspect of the
name appealed to my language fetish, and I liked the book and its politics
so much; but also because I thought a clean break was nice between what I
could take credit for (composing) and just presenting (recordings).
I think it's nice to have the option of using different avatars for
different kinds of work -- about having work interpreted independent of
preconceptions based on a given [un]known name. And of course using
different project names avoids (cough) brand dilution when you try
something new...
Increasingly I find myself in a middle ground where my name (Aaron Ximm)
has a (extremely small) public life of its own, though, in relation to all
aspects of my work -- which is interesting as in my case it's also a
chosen identity of sorts. (Ximm is my wedding anniversary in roman
numerals, 10-1-2000, American style with month first).
On the other hand I agree that a "bare" name has overtones of humility and
directness that is very appealing. And seriousness ~ it's hard to escape
too that "real" (ie institutionally recognized) [plastic] artists and
composers traditionally just use their names, and rock and roll bands use
"cool names." Different traditions the former but ones some of us aspire
to, if not professionally or aesthetically, at least in the way the public
accords respect to those disciplines (for reasons we needn't argue about!
:) ).
Timely topic, I've been thinking about how I feel about Ximm growing in
respect to QA as a public face as my anniversary just came and went this
weekend ~ I found myself thinking, God help me if I should ever get
divorced! :)
aaron
ghede@xxxxxxxx
http://www.quietamerican.org
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