Re: [microsound] process and preset [was: Re: [microsound] ovalprocess - Average laptop geek?]

[jeff gburek <tsazmaniac@xxxxxxxxx>]

and people were using literally anything
> they could get their hands on

well, i'm still one of those using anything they can
get their hands on!


just a quick reply. for sure, what you say was brought
home to me by the film (hence my shine on potential
nostalgia because i remember personally when people
started doing this at block parties--and the codes and
phrases you can still hear these in rap circa 1989,
when it was by then a big auditorium event the equal
of heavy metal)

what you seem to be saying is that the well-crafted
work makes the use of the preset irrelevant by force
of your pleasure in the work causing you to forget
what maybe went into it, or to not want to look
further. i don't know if you are saying this but this
is what comes to mind when you say these things. i
don't trust this disappearance... i find it to be the
equivalent of airbrushing photographs...

 but when a music starts to use the concept of the
defective, that is a different story

best, jeff gburek 
--- andrew benson <cloudmachine99@xxxxxxxxx> wrote:

> The reference to hip-hop here is an interesting one,
> although I would take a slightly different angle. 
> When "wild style" was made, hip hop was still a poor
> man's art, .  Bricolage served as
> a
> defining framework.  Sure you can hear the same
> sounds
> on a lot of those records, but it was the context
> that
> made it unique. In a well-crafted context "presets"
> disappear.  To me it's about engaging the medium,
> and
> trying to make informed aesthetic decisions, not
> just
> running from every 303 I see.  
> andrew
> 
> --- jeff gburek <tsazmaniac@xxxxxxxxx> wrote:
> 
> > 
> > "the important sound of things falling apart"
> > 
> > if you watch charles ahearn's film "wild
> style"--abt
> > old school rap, back in the day, when it was a
> > couple
> > of turntables, analog mixer and maybe a sampler
> and
> > raw rimes on top of it--you see a scene--staged or
> > not--of Busy Bee doing a promo on the ghetto
> street
> > corner, lietrally laying down some lines with some
> > friends snapping fingers beside him, saying "come
> to
> > the show, we will be there, this is who we
> > are"...this
> > kind of primordial "presentationalism" (let's call
> > it)
> > made me not exactly nostalgic but then more
> emphatic
> > about critiquing "presets" as unquestioned
> formulas
> > in
> > the electronic music being made today--on the
> level
> > of
> > the "loop": repetition is a form-lending process
> > that
> > ensures a narrative teleology (sorry for the cant,
> > but
> > i think that does describe it best) and it also
> can
> > just be too easy, too simple, too "given"--- so i
> > come
> > to a critique of this process because i have heard
> > within the birth of something called
> > electro-acoustic
> > music ( which i define as way of using interfaces
> > rather than a genre defined by
> > intelligentsia-approved
> > "heroes") a strain that has quickly been impacted
> by
> > the arrival of laptops and the form-lending habits
> > that come with their use. in trying to avoid
> certain
> > of these pitfalls in my own work, the discussion
> of
> > indeterminacy in relation to music made with
> > computers
> > is important to me. how are patterns of
> > predictability
> > to be undermined and so opened to improvisation,
> > singularity, and-- for me most
> important--something
> > like an anti-aesthetic --not to repeat "fuck god,
> so
> > glad we are alone" paradigms but to create what is
> > really strange and perhaps unredeemable and have
> > this
> > again be a big question posed for value...
> > 
> > if art speaks for itself, what speaks for what
> > cannot
> > be considered art? my contention is that art is
> just
> > a
> > way that we realize our own narcssism and
> > self-importance over and over again... but that
> > there
> > is another way of working out of art and science
> > into
> > a different actualization...
> > 
> > jeff gburek
> > 
> > www.djalma.com 
> > 
> > --- "Mr.D" <craque@xxxxxxxxxx> wrote:
> > > this discussion reminds me of the
> > > work of composers like Partch,
> > > Nancarrow and even Scriabin who
> > > approached the realization of their
> > > ideas as problems to be solved.
> > > 
> > > while none of them have anything
> > > to do with electronic music, they
> > > all took "presets" and used them
> > > either in new ways or modified to
> > > fit their needs. the "process" of
> > > doing this had really nothing to do
> > > with the work itself, but was 
> > > essential to its creation.
> > > 
> > > the results of these efforts are
> > > evident in how the piece works,
> > > how it looks & sounds. i can figure
> > > out how to make something appear
> > > a certain way (eg. monolake track)
> > > without ever using the same tools,
> > > and at the same time use ALL the
> > > same presets and never sound
> > > anything like the original.
> > > 
> > > in other words, using tools another
> > > artist uses does not a chicken make!
> > > i also dont agree that this is a 
> > > discussion of ethics; if anything it's
> > > symantics, because one composer's
> > > process may include any number
> > > of "presets", including itself.
> > > 
> > > i guess i am firmly in the
> > > art-speaks-for-itself camp. the
> > > act of imitation is a natural step
> > > in the creative process, so i think
> > > comparing the relative merits of a
> > > piece based on its origin isnt quite
> > > fair to the artist or participant,
> > > though as theory and philosophy
> > > the creative process remains
> > > infinitely fascinating.
> > > 
> > > matt
> > > ___
> > > http://craque.net
> > > 
> > >
> >
>
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> 
> Andrew Benson
> www.cloudmachines.net
> 
> 
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