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Re: [microsound] maths science and electronic music




On Apr 12, 2005, at 5:07 PM, W.C Schrimshaw wrote:
as an improvising musician i find it impossible to sepparate the process
from a piece as a piece is a performance and a performance a process on
display. i may be being a bit romantic but i quite like the idea that by
exposing the process or labor behind a piece exposses certain ideological
connnections that every piece of art innevitably has.

i agree with the first part, but not the second. i find that the idea of "exposing the process" is a little like giving a lecture about what your art "means." a dangerous activity.


you do and then you have, whatever it is. inescapable
timeline.

particulary with imorovisation i find that you do and then its gone,
rather than you do and then you have. sure you have fragments left over,
recordings and such, or preparded/found materials that you might have
taken along to a session but they only find a meaning in the act of doing,
once the doing stops it's gone again.

ah, see, i factor memory in here. physical objects are irrelevant.


me:
intent was certainly the
key for cage and duchamp and that was interesting then for historical
and
political reasons but that was over 50 years ago.

bruce:
or 50 years ahead of its time?

there are of course resonances with cage's work that are still relevant to
much art today but its a bit boring witnessing a 'radical' avant garde
piece that covers that same old ground.

even though i was making a little joke, i still think these ideas have a lot
of relevancy. of course it's all about what you do with them, no? the thing i got
from those ideas was to let go of the idea of "doing something new" and try and
just do without thinking too much. as an improvisor (as i am) i'm sure you would
agree with that. the archeology of ideas is a fascinating study.
cheers
b


bruce tovsky
www.skeletonhome.com


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