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Re: [microsound] guitar distortion as the 1st glitch aesthetic?



Good day to you.
 
It's an interesting thought. I too encountered the comparison last year when writing up some notes for my MMus, also on glitch music and the aesthetics attached to it. The other major 'pre-digital' music that can be heard employing methods of glitch is scratch turntablism, although we could also go back to Cage and his 'imaginary landscape' or 'cartidge music'  [and various other pieces for that matter!]. All these  works explore and encourage chance indeterminacy, that hint of the unexpected and untamed which makes the genre for me. Let the machinery have it's say!
 
People indulging in the malpractice of traditional uses of a technoilogy for the creation of new ideas is certainly not a new thing and I'm sure there are countless examples of earlier music that exploit this idea [hey, maybe even the 'breaking up' of the scale into equal temperaments was a small nod towards it... just a miscellaneous thought that i had!], but what categorises 'glitch' is surely it's specific intentions to promote the mishaps of a system in their entirety, take a flip-side view of the tools we're presented with. And yes, if we assume that a glitch is something that can be 'captured' and reused,  the feedback and distortion of rock can ceratinly be seen as a precursor of sorts.
 
Sorry for the rambling.....
D*

graham miller <grahammiller@xxxxxxxxxxxx> wrote:
hello all my microsound friends

it occurred to me that overdriven guitar amps, and their eventual
(inevitably?) incorporation into the rock aesthetic is one of the
greatest examples of 'glitch' (or as cascone calls it, 'the aesthetics
of failure') at and early point, prior to digital technology. i'm
looking for the definite papers to cite or a paper i'm writing on
'glitch music.' (actually a master's) any ideas? believe it or not,
it's not something that's been heavily investigated, especially in its
relationship to 'post-digital' music... i think it starts here, at sense
of a technology 'broken' or malfunctioning use with sheer intent of
generating a sound that was never intended... the basis of rock music, i
think (especially if one wants to differentiate between 'rock' and rock
n' roll.' i know the brief history adn process involved, but i'm looking
for the details and actually events in which music became 'overdriven'?

thanks so much

graham

p.s. i'll post a copy once it's done!


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