Re: [microsound] striated and smooth (was: music is the ultimate incorruptible)

[jeff gburek <tsazmaniac@xxxxxxxxx>]

  also
> that a very long series,
> deployed across adequate emptiness, can both be and
> not be a series.  

this is quiet nice for the guitar. but on the other
working with electronics and various resonance fields
there is a realtionship between thresholds that i find
interesting: when is there or is there not sound, who
hears it etc.


i like
> that you can listen to a kind of metaphysical
> problem (the nature of a
> series) being staged because it generates very
> interesting problems of
> selection/timbre as you are doing the performance. 
> also interesting in what
> it eliminates as options--for me as pianist, this
> includes the whoel range
> of strange sonic phenomena resulting from harmonics
> used as a kind of
> saturation device 

yes, i think i understand. lingering of overtones as a
kind of self-accompaniement that reassures you of
continutity. whereas the test is to stand into the
horror vacui. to resist filling the field.


> i am less convinced that the cluster of approaches
> lumped together under the
> unfortunate rubrc of reductionist are interesting as
> a total approach---i
> have worked with folk who see it in that way.  for
> me, it is a constraint.

well it is a dead thing more or less. it was really at
a peak for me here in berlin in the year 2000. but
nowadays, it doesnt have the edge it used to. my
interest is largely what must of neccesity come out of
the playing out of this constraint in my own process. 

> 
> malfatti (i'll check back through the thread later
> to see if i have the name
> right) i do not know but am curous and so will
> explore.  

his name is radu malfatti. an austrian. very
outspoken. here is a link to an interview.
http://www.paristransatlantic.com/magazine/interviews/malfatti.html


he played with the polwechsel group for a while and
actually the group with him is my favorite music under
that name. malfatti inspired to a degree the essay
written by mattin called "a second subterranean
ethics" perhaps the last useful defence of something
about the dynamics of listening and reaction against
saturated sound environments.
http://www.mattin.org/essays/asecondsubterranean.htm


best, jeff

j.ff gbk

http://www.futurevessel.com/orphansound/

http://www.mattin.org/desetxea.html

http://www.djalma.com

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