Re: [microsound] Re: an interesting monolake answer

[Kyle Klipowicz <kyleklip@xxxxxxxxx>]

I've never talked to him, but he looks to be pretty accessible in his video
tutorials.  I'm sure he's a downright likeable and approachable guy if you
meet him in person.  Seems a lot more cheerful and upbeat than his latest
dark, brooding tunes (which sound amazing, by the way).

~Kyle


On 12/21/06, Cooptrol <mail@xxxxxxxxxxxx> wrote:
>
> 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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