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



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, and people were using literally anything
they could get their hands on.  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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> 
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Andrew Benson
www.cloudmachines.net


		
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