[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Re: [microsound] miles of styles of philosophes
--- Stephen Hastings-King <roachboy@xxxxxxxxx> wrote:
> afternoon better mood let's see.
> which buildings?
> why any number of those official respositories for the material you
> can
> collage together to form the "Great Conversation" within a particular
> genre--museyrooms galleries--clubs concert halls--all the spaces
> about which
> i cant help but be ambivalent--on the one hand, it's good to be able
> to see
> and listen to stuff--on the other, the sense of quarantine, of
> separation:
> from the processes that go into making things, from the aspects of
> social
> life from which they come, about which they speak (one way or
> another)
> toward which they are addressed. the Reification Biz.
Okay well in regards to my experiencing microsound.. it's almost
entirely at home via the internet wether downloaded or purchased
online..
"Great Conversation"?
> who authorizes?
> well at one level anyone who makes stuff authorizes themselves to
> engage a
> medium, the genres that operate, the traditions that structure each
> genre.
> but anyone who makes stuff also knows that this self-authorization,
> while
> necessary, only goes so far if you want to make your work public. to
> what
> end make your work public? any number of reasons. but if you do
> want to
> make your work public, it becomes quickly obvious that there are any
> number
> of intermediaries who occupy positions of cultural power by
> generating
> classifications, who construct producers by situating them through
> classification, who stream outputs toward or away from their
> audience.
> record labels, critics, radio folk, academics...and on the other
> side, those
> who control access to the special buildings within which the
> Authorized
> Objects of the moment are displayed/encountered.
> within aesthetic theory, in the end, it is the theorist who
> authorizes.
> this authorization is not neutral: it generally relies one way or
> another on
> the accepted canon of Legitimate Producers which happens to be in
> force at a
> given period.
> this seems to me neither good nor bad in itself: just the way of
> things.
> if you want your work to become public that is.
> if you dont, for whatever reason, then none of this applies directly.
> but if your work is not public, then what is it?
> i dont know the answer to that. i suspect there are many.
The internet. It used to be that if you wanted to make your work public
is was alot harder to do but now you can easily make yur work public
tot he entire world very cheaply with little effort.
Wether public or private is there any issues to do with any of this
that is specific to "microsound"?
> i dont really know what being a marxist means at this point.
Neither do I.
> variation:
> emotional responses to cultural objects is not unstructured. you
> dont get
> around political questions by referring to immediacy. immediacy is a
> kind
> of forgetting of these problems. that is why i said what i did about
> relativizing your responses. there are always rules that shape your
> reactions to what you encounter: there is no space outside. so the
> important issue, it seems to me anyway, is your relation to them.
I think I can agree to all of that but when you say cultural objects I
don't know how well that fits into abstraction or microsound. In
regards to visual arts and especially in the realm of computer graphics
I have encountered alot of resistance to abstraction. Perhaps that is
because there may no or very little cultural reference or recognizable
objects. I see the same issue being for music that does not beats or
lyrics or traditonal scales and tones.
Like the computer geek generation might like granular synthesis because
it reminds them of the sound of a modem while grandpa can't stand
anything but Lawrence Welk.
Which political questions did you have in mind?
-Adrian
---------------------------------------------------------------------
To unsubscribe, e-mail: microsound-unsubscribe@xxxxxxxxxxxxx
For additional commands, e-mail: microsound-help@xxxxxxxxxxxxx
website: http://www.microsound.org