Re: [microsound] secrets needed: ryoichi kurokawa

[aleks vasic <bvasic@xxxxxxxxxxxxxxx>]

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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>>>>>
>>>>
>>>>
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>>>
>>> -- 
>>> http://www.synchron.ch .:.::.:.
>>>
>>>
>>>
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