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Re: [microsound] miles of styles of philosophes



david, of course there is no way to "insert" emotions
into the body of the audience members. but, to take it
from the pint of view of theater, the evolution of
radical theater is partcularly useful to think about
in this context. particukarly polish theater,
developing a certain kind of guardedness concerning
the role of language or direct statement and putting
the responsibilty of the actors to become vessels for
a feeling or a form of thought that, owing to
repressive condtions, had to go partly unspoken. i
still have the feeling that this is quite essential to
creating certain kinds of work, although not every
work of art needs to adopt such principles. in a
certain way, as when pasolini spoke about each film
"reinventing" cinema, works have need to find a
plateau wherein they particpate in something actually
more archaic, to bring the origin forward so to speak.
there are degress to which i feel personally
disinterested in those kinds of theater that have
tried to "simulate" the so-called "dromenon" of the
greeks. and greek avant-garde music is filled with
this tendency too which, by and large, i find myself
before an off-putting kind of massive block that is
saying "HERE IS THIS EMOTION FEEL IT OR DIE". i think
of christou's work as being peculiarly free of this
overblown sentiment and when you hear the cacophony he
creates i get a sense of propulsion into emotional
territories that ask large questions. in a culture of
overkill, more sensitive people can find a feeling in
understatement. but the emotion particular to
microsound i find to be quite another story. there is
an emotional range that is interesting but, as has
been pointed out, if there are no words, it is more
likely that one experiences maybe a freedom from
emotions, a sense of clearing and possibility. we need
this feeling of course. but it is not the only thing
that needs expressing.
--- David Powers <cyborgk@xxxxxxxxx> wrote:

> On 1/30/07, Ian Reddy <dr144@xxxxxxxxxxxxxxxxxxx>
> wrote:
> > I think that in art, emotion is something either
> projected
> > onto the work or it is something acted out by the
> performer.
> > No work of art is a raw emotional outburst -
> that's impossible
> > as art and music are obviously mediated through
> the intellect
> > and already existing cultural forms.
> 
> Yes, I was hoping someone would point this out,
> thank you!
> 
> As I have insisted in the past, I  must once again
> point out how
> flawed I think the model of communication is, that
> implies that a
> creator is able to directly insert an emotion into a
> piece. This is
> impossible - emotion is a chemical response in the
> individual to
> various stimuli. The work of art is not a container.
> If an actor in a
> play is angry onstage, and starts screaming, it
> doesn't make me angry.
> 
> Emotion only exists in terms of probability. You can
> encode a set of
> gestures into a piece of music, that (given a
> culturally homogenous
> group with known conditioning) has a high
> probability of provoking an
> emotional response. However, if you played the music
> for someone who
> lacked the relevant cultural context and
> conditioning, there would be
> no emotional response.
> 
> Note that attempting to specifically provoke
> emotional responses is an
> aesthetic choice on the part of the creator.
> Alternately, creator can
> design artistic pieces using very minimal grammars
> and avoiding
> linguistic elements that provoke obvious responses.
> Such artwork may
> appear more cerebral to the average observer -
> though there is still
> the possibility that by virtue of its construction
> and the particular
> mindset and manner of observation, the artwork will
> nevertheless
> provoke an emotional response.
> 
> Finally, words are intimately connected with power
> and control. The
> level of conditioned response to language is high,
> so it's likely that
> lyric-based music does have a higher probability of
> provoking an
> emotional response in observers that can interpret
> the linguistic
> statements correctly (ie. you must know the language
> being used).
> 
> ~David
> 
>
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j.ff gbk

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