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Re: [microsound] secrets needed: ryoichi kurokawa

aLEKs

I wasn't writing with a specific point in mind.  I don't think I'm
the only one ever to do such a thing on a list.

I was using recent posts and responses to them to rant or whatever in
relation to those posts.  I am not so sure that it's an obvious logic
to most of the serious artists on list, I don't know many of them,
either personally or through their work, or both, but I can say that
taking something from every basket, expanding my reference to beyond
this very small list, and accepting that I be stating the obvious, I
felt like writing it.

I felt that it may contribute to discussion, either of the technical
nature of the video in question (I'm sure I'm not the only one of the
serious artists here that is comfortable discussing max/msp/jitter or
techniques of video processing), or maybe something grad schooly like
"artistic inquiry."

I expanded Graham's simply query and Ralph's simple response into an
"issue" that artist's should deal with, curious or no.  It was
something to do and my brain needed a little excercise.

while "it is not relevant etc" is Very Blanket, sometimes I have a
great affinity with it, and it is a fine starting point for some
sporting debate about something relevant.  I do not feel it is
ridiculous.  Also, I am glad you agree with me.

b
fraufraulein.com

On Sep 13, 2006, at 2:08 PM, aleks vasic wrote:

I think your missing the point.  Someone stated that "it is not
relevant how something is made", period.  Very Blanket statement.
Its an opinion with no point of reference.  Someone on this list
wanted to know the process for a reason.  Artist's are curious by
nature.  I do not see how anyone can make a comment on Grahams
query unless they had a point of reference, yourself included.
While your post was great, and i agree with much of it, i am sure
that its an obvious logic to most of the serious artist's on this
list.  It is what it is, a question, any thing past that on the
readers part is purely of an assumptuous  nature.


aLEKs


On Sep 13, 2006, at 1:58 PM, billy gomberg wrote:

oy.  jeez.  yeesh.

if there are (obviously / at least) two sides to things, then here
they are, ridiculous or no.

on one hand, it can be helpful (and at least relieve some
curiousity) to know the ones-and-zeros or whatever of a specific
artwork.  this does not necessarily bring with it a deeper
understanding of the work itself (if one is to be had at all),
neither does it provide insight into one's own artistic practice.

I do not find it to be in any way ridiculous to willfully ignore
the technical trappings of a work.  ANY audience can view (and
maybe even understand!) a work simply by encountering it, and
while there "how'd they do that?" curiosity may be picqued, the
answer is not necessary for their enjoyment of the work.

GENERALLY, the most communicative parts of a work occur after the
technical production - in the viewing, audition, or performance.
I'll give that there are many, modern artworks that rely heavily
on their technical apparatus (or process) to communicate with an
audience.  but there is still a necessary narrative that occurs
after this, which relies on the exhibition of the work to the
audience.

THAT is the relevant part of the work.

(not to say that production expertise is worthless in relation to
artistic or conceptual whatever, rather that our experience of the
work contains the most information to be understood and enjoyed)

SO - no one is being ridiculous here.  please.

thanks, ralph, for reminding me of that small chip on my
shoulder.  I thought I misplaced it!

graham, I hope the small technical brief helps you with your
work.  I agree, it looks like Jitter mapping video to 3-D
whatevers.  not my specialty, but I recognize it.

billy g, bored at work

fraufraulein.com

On Sep 13, 2006, at 12:33 PM, Graham Miller wrote:

that is the most ridiculous thing i have ever heard.

On 13-Sep-06, at 5:15 AM, steinbrüchel wrote:

and i think it's really not relevant how something is made...
ralph.


Am 13.9.2006 11:12 Uhr schrieb "Roland Hausheer" unter
<roland@xxxxxxxxxxxxx>:

it's MAX/MSP Jitter, mostly mapping movies on 3d objects and other
effects.

best,
roland

ps: I think the copynature DVD is better...


Illustream.ch
Roland Hausheer
Am Wasser 55
8049 Zürich
phone 01 340 25 73
roland@xxxxxxxxxxxxx
Am 13.09.2006 um 06:36 schrieb Graham Miller:

and for your viewing pleasure:
http://homepage.mac.com/etrerk/readdvdsample/readmov.html

this blew me away at mutek. one of the best act of the
festival.  i
want to learn how this was done and how i might be able to do
this
kind of thing myself.

any guesses on the software used for this?  i must know!

this is the shit as far linking visuals to experiment glitch
microsound techno or whatever you want to call it. i know
rasternoton
does some really cool synced up stuff.

thanks a million in advance.

drooling graham

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