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

[jeff gburek <tsazmaniac@xxxxxxxxx>]

there is no lack of access to the process at all. its
all there. your idea is that you decide later what is
useful to another moment in time. but that is equally
an improvisation. i've spent years on projects in this
manner. and in the end when you "finalize" something,
it still only reprsents the prejudices and
preoccupations of the particular moment. the idea of
thoughtful improvisation is that you heighten
awareness to all the possibilites present. and that
you appreciater them there. the idea your articulating
is the exploitationist stance. improvisation is
interesting in and of itself. there shall be no
result. but constant rervision. 

--- Jason Hollis <contact@xxxxxxxxx> wrote:

> First off, great thread, and I like these two
> responses particularly. =]
> 
> "This leads to a lack of  access to the process
> itself. "
> 
> I would amend this, as an experimentor/improvisor
> myself, to read 'lack of 
> *conscious* access to the process itself';
> You know what you're doing, to whatever degree and
> on some level, or you 
> wouldn't be capable of doing it or so inclined.
> Skill and desire and need and talent must enter into
> the equation somewhere, 
> eh?  One would hope, anyway.
> 
> Like my own approach for example;
> - Improvise via a wide variety of means and record
> to the best available 
> medium
> - revisit (possibly many years) later and extract
> useable content as it 
> presents itself
> - recombine/mutate/refashion in a more conscious
> (but still not completely 
> deterministic) way into a more structured and final
> output form
> 
> Setting out to make a specific 'thing' as such is
> usually not part of that 
> process, except as it presents itself in that moment
> from the content being 
> worked.
> Kind of like a sculptor 'seeing the shape in the
> stone'.
> *shrug*
> YMMV.
> 
> ~ !J!
> http://www.endif.org
> http://www.crunchpod.com
> http://www.thirdwavecollective.com
> 
> 
> 
> --------------
> 
> On Mar 18, 2006, at 5:16 AM, jeff gburek wrote:
> > what is interesting is
> > that all improvisors have attitudes in their work.
> but
> > they seem often nowhere near as forthcoming about
> the
> > ideas as are composers. maybe because composers
> had to
> > justify their relation to the open, to immanence,
> to a
> > system predicated on closure? whereas improvisors
> just
> > dont care to explain anything to anyone, fuck da
> > police, anarchism etc.?
> 
> But could it be also that "improvisors" (in your
> terminology, if I
> understand it correctly, non-academic and
> non-deterministic
> performance) don't have access to how they created
> their work?  That
> it is, to use the over-used term, instinctual?  That
> perhaps
> "composers" who use non-deterministic practices do
> so with a defined,
> pre-determined purpose in mind that exists before
> the work is heard?
> For improvisors, the non-determinism happens on the
> spot; while there
> is definitely much that goes on prior to the
> performance to lay the
> ground for the improvisation experience (and is
> determined in some
> sense), the actual experience itself may take place
> without the
> improvisor knowing exactly how it happened.  This
> leads to a lack of
> access to the process itself.  Not bad, just what
> happens.
> 
> nick
> 
> 
> 
> 
> 
>
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j.ff gbk

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

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

http://www.djalma.com

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