Re: [microsound] Re: secrets needed: ryoichi kurokawa

[David Powers <cyborgk@xxxxxxxxx>]

I see your point, but here in Chicago, we get a lot of young artists
influenced by conceptual art, that in my opinion make truly banal
stuff. They think that their concept is more important than their
interaction with the materials; as a result, the stuff has no depth,
and indeed tends to be overly simple. Such stuff could really use some
more complexity to succeed, from my point of view.

Maybe it's a matter of taste, but I can't think of a lot of
particularly simple stuff that moves me. Of course, without examples,
it's hard to know precisely what you mean. There's more than one way
to be simple, and more than one kind of complexity - ie. surface
complexity, symbolic complexity, conceptual complexity... Is "In C" by
Terry Riley simple, or complex?

To move beyond the human realm, I like rain, wind, clouds, rust - all
of these things seem complex and chaotic to me. Simplicity is more a
human trait, based on the reductive pattern imposing capacity of the
human brain.

If the process is irrelevant, I ask you this: if I painted an exact
copy of a Picasso painting, am I then as great an artist as Picasso?
After all, the process may be different, but the end result is the
same!

~David

On 9/15/06, steinbrüchel <steinbruchel@xxxxxxxxxxx> wrote:
> so, basically you're arguing that music has to be complicated in order to be
> "good" music. why does it matter in what process the piece of music was
> created in order to be labeled "good" or "bad" music? i know a lot of very,
> very simple structured and composed music which touches me far more then
> whatever complicated programmed stuff...
>
> as all of you have guessed, i very much disagree with this comment and only
> can say again, that the process (also read: tools, programs, software,
> whatever, etc.) is completely irrelevant.
>
> ralph
>
>
> --
>
> .:.: http://www.synchron.ch :.:.
>
>
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