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

[Jason Hollis <contact@xxxxxxxxx>]

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



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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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