Re: [microsound] Re: an interesting monolake answer

[noelsus@xxxxxxxxxxxxxxxx]

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
>>>
>>
>>
>>
>> ---------------------------------------------------------------------
>> To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
>> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
>> website: http://www.microsound.org
>>
>>
>
>
>
> ---------------------------------------------------------------------
> To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
> For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
> website: http://www.microsound.org
>
>



---------------------------------------------------------------------
To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
website: http://www.microsound.org