[microsound] tolerance: aesthetics: microsound

[devslashnull <dev@xxxxxxxxxxx>]

what has been interesting to me in all the recent posts related to 
politics/fascism/futurists, etc. (and which was my original interest 
and motivation in participating in said discussion) is in discovering 
and discussing the relationship of microsound techniques/aesthetics of 
the practicioners on the list to an underlying purist "fascism".

Ian Andrews mentioned that John Cage once described minimalist music as 
fascist. In many discussions on the list there are typically posts that 
tend to place "true" microsound practices solely in the realm of "pure" 
programming and mathematics, discounting those whose artistic practice 
utilizes a more inclusive palette of techniques, sources and approaches.

I have always identified with the use of the "post-digital" term, since 
for me it seemed to cut the tether on much of this purist approach to 
making music with digital technology, in much the same way that 
"post-modern" seemed to signify a break with the modernist approach 
where very stringent rules surrounding materials, tools and aesthetic 
approaches gradually shifted creative output into very narrow and 
increasingly irrelevant terrain.

I often get the impression on this list that many practicioners of 
"microsound" place themselves in a similar position aesthetically.

Not to discount the variety and diversity of approaches to audio 
production and music composition I am exposed to via this list, there 
does at times, arise a foul scent of fascism (per Cage's use of the 
term).


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