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Re: [microsound] early cd skipping

I am very interested in your point... many times in latinamerica we come to things that just cannot be circunscribed in the
"global" media/communications circuit, even in the times of internet, so our history tends to be a patchwork of local anecdotes and folklore,
plus some really learned guys who again have a mostly very academic circle which renders their valuable insights almost null by lack of
quorum.

A lot of music experimentation and local production is invisible to the rest of the world... and I assume it will be the same in
other parts of the world that a) don't speak english as their main language and b) are developing their economy. This is just the opinion of a musician
but I think that "history" nowadays is defined by the economically prevallent english speaking countries, which is not to say that lots of things are not happening in other parts and go largely unreported. So I would place very little importance on concepts like "innovation" as this is hard to define in view of what I wrote above. It seems that things "don't exist" till you guys "discover it", since you have the means and the economic/political stability to diffuse your art and critically reflect upon it. Don't get me wrong, I for one am grateful that somebody can do it !! it's just that sometimes I wish statements were a bit less pretentious and more open as a recognition to the musics we(you) don't yet know.

all the best,

Julio.




On 14 Dec 2004, at 19:35, Peter Price wrote:

You have made the point I am interested in examining, which is how historical memory and issues of precedence become inscribed. How does one situate their own practice against history as it is curated by those who are in the cultural position to curate?


On Wednesday, December 15, 2004, at 12:40 AM, Ian Andrews wrote:

I produced a track with CD skipping in 1986. I would not regard myself as a
pioneer, nor do I think that the track was particularly innovative in regard
to the context of the time, a context in which experimentation with the
malfunction of analogue and emerging digital equipment was widespread within
the community of experimental electronic music. Many of us were sawing into
records and gluing them back together, using damaged cassette decks, radios,
VCRs, whatever. It was not a radical step to do the same with CDs.

The track was released on cassette (Zeroville) in 1987 on Lymph and later
re-released on CCP.

peace-out

ian

Peter Pricewrote:

Does anyone have any info on the earliest examples of the sound of
skipping cd's or other clearly digital "glitch" oriented process as a
compositional device?

The usual reference is to Oval in the "early 90's," but as the CD is an
early 80's technology I figure there must be recorded examples of
people abusing cd's in the 80's.

Anyone?


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