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Re: [microsound] culture industrytraps/opposing commodification of experimental music




on the other hand you have to bother burning it on an unstable CDR. mark the CDR. and CDR:s dont look as good in the listening room as packaged CD:s.


I did buy downloads but have now completely stopped. I only buy quality. real packaged CD:s.

I am still using downloads in the form of podcasting (audio and video) to an ipod I listen to in the car etc. and I like the temporary nature - most of the music released today (microsound or not) do not have the qualities necessary for a permanent CD-release - but as temporary part of a podcast flow they make more sense.





10 mar 2006 kl. 14.09 skrev phoenSND:

I've recently been purchasing/downloads for Kim Cascone, Alva Noto, 12K etc
on emusic.
If it's something I really want, I don't have a problem paying for it. I
would love the packaging sure
but I end up getting more songs for the dollar when I dont have to pay for
the packaging and shipping (and you
don't have to wait). I can see why this distribution is doing quite well.


cheers!


On 3/10/06, Revolution #9 <hendrix@xxxxxxxx> wrote:


as I already pointed out, there can be no major turn-arounds in culture
perception until major turn around in global economic system....
if culture industry is just one branch of world capitalist system, then
action must be took towards the whole, not towards its one part...


we all know or guess wrong and harmful influences of "mass culture", of
its ideologies and its system of values, its ways of functioning...
that's the reason why we are now on this list, although with various
musical/cultural/political preferences...


all we are (I am) saying is that all this "net" phenomenon: copyleft
(against "copyright"), net labels, free downloads, new forms of distribution
- are just potential markers of what is possible if once socio- economical
base of world society is changed...
this phenomenon brings new ways of approaching culture, of deliberating
culture (music): its purpose and its role...
it is powerful social declaration....as experimental music itself is -
powerful, progressive social declaration that defies mystifications,
simplifications and always is on a - search...


I see this topic inseparably connected to the discussion that was led on
last year's Erstquake 2 festival in NYC...
there was a forum day where Keith Rowe, Jullien Ottavi and Dion Workman
spoke about "new forms of distributing experimental music"...
Ottavi himself is occupied with investigation of perception of a commodity
which contains "experimental music" on it...
like cd-media...I will supply links soon...



it is pretty logic step forward for experimental music; on its way of
subversion of common/traditional perception and experience of music - it
came to this phase,
which yet has to develop....




d.


p.s. one more time - www.mattin.org







===========================
                Die Kunst ist tot
Es lebe die neue Maschinenkunst Tatlins
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[dissecting audio w/ sonic possibilities]
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