Re: [microsound] Re: an interesting monolake answer

[Cooptrol <mail@xxxxxxxxxxxx>]

Yeah I have asked him some questions through mail and he showed himself
very concerned. Plus, he downloaded my software and liked it. I'm looking
for the possibility of inviting him to my country to give a master class.


> I wouldn't call myself a friend but I did have the opportunity to spend
> some time with him when he was in Sydney earlier this year. I found his
> humour, enthusiam and singular commitment to his projects and his
> aesthetic very inspiring.
>
>> Everybody is friend of Rob Henke?? He must be very achievable!
>>
>>
>>
>>
>>> yep it is a good thread. If you've ever spent some time speaking with
>>> Robert Henke you might imagine him saying this with a somewhat
>>> mischievious grin on his face. I suspect he is using the word evil here
>>> in
>>> a less than totally didactic manner. I think he is simply saying don't
>>> use
>>> your eyes in spite of your ears when producing music.
>>>
>>> Robert Henke is not afraid of the image.
>>>
>>> PS Ableton Live has a brilliant interface. I find it a transformative
>>> environment. This is one of the reason's for it's success.
>>>
>>>> Nice thread, thus Robert's provocative statement must be respected.
>>>>
>>>>> Visual representation of sound is evil.
>>>>
>>>> Perhaps aural representation of sound is *live* ? Only Miles could
>>>> tell
>>>> us
>>>> for sure.
>>>>
>>>> A defining distinction between BR (before recording) music and PR
>>>> (post
>>>> recording) music is that the former requires a visual representation
>>>> for
>>>> propagation, the latter does not. How much do we still need a visual
>>>> representation to concretize the musical conceptions we conjure in our
>>>> minds
>>>> (for those of us who still consider ourselves composers)? I want to
>>>> argue,
>>>> really not much at all anymore. In this regard there is an important
>>>> distinction between visual representation and abstraction. The latter
>>>> is
>>>> inevitable in music conception since any musical conception I know of,
>>>> whether a tonal fugue or the decision to listen intently to the sounds
>>>> outside your dwelling, involves abstraction; if nothing else, then by
>>>> virtue
>>>> of attention to the processes of auditory cognition. Abstraction is
>>>> indispensible but visual representation is not. The musical conception
>>>> of
>>>> a
>>>> piece that is implemented with Live can precede the software in a way
>>>> that
>>>> an 18th century piano sonata conception could not precede the
>>>> limitations
>>>> and affordances of european music notation. (Did Mozart ever complain
>>>> about
>>>> not being able to write 1/4 tones the way folks here are complaining
>>>> about
>>>> Live's loop-bias doing their heads in?)
>>>>
>>>> As a side note, I nominate the optional nature of PR music's visual
>>>> representation as a key reason why the wackiest looking music scores
>>>> show
>>>> up
>>>> in the 20th century. Once freed from necessity, some people get looser
>>>> with
>>>> the tool, or start twirling it around over their heads.
>>>>
>>>> Eric
>>>>
>>>
>>>
>>>
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>>>
>>
>>
>>
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>
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