Re: [microsound] formulaic microsound

[jeff gburek <tsazmaniac@xxxxxxxxx>]

david,

artists need to have the patience to ride out both the
general indifference communities may have initially to
their work (could last a lifetime) and the inevitable
indifference that sets in after the work becomes
accepted and then fashionable and imitated and
therefore percieved as exhausted. the artist of course
just keeps doing what turns him or her on in their
work, whether or not it can be popular.

of course one way that artists who really are
exhausted can prolong their fashionability is to be
attacked in some form by sources which are percieved
as conservative or backward or "just too stupid" to
really understand. it is not the art that becomes
invigorated but gas gets thrown on the scuttlebutt
fire and keeps them feeling oppressed and at war with
something and in the limelight. like "mother against
noise". 

i hear often the opinion that sound has no inherent
meaning and that one can't really make a "statement"
with music, for example. but when an artist has
something they are trying to "say" they will keep
pushing to make that statement until they feel it is
heard. no matter how it is percieved externally. one
supsects often that this "statement"--not something
obvious or at all easy to speak about--could exist
also in another form, another genre, another
methodology. 

i find that microsound is no different from other
musics in this regard. maybe there is something that,
if you chose to speak about it in this way, could be
percieved as dated. but there is always something
inside a work that tends to present itself again--like
the originary radical impulse--and that will strike us
as essential despite it seems to be suffering genre
codification.

it all depends on how and why we are thinking about
things in a certain way.

best, jg


--- "David @ Audiobulb" <dwnewman@xxxxxxxxxxx> wrote:

> Music has a history of creating structures that
> reflect an acceptable 
> aesthetic framework. From classical to rock. From
> jazz to IDM. Sounds are 
> placed within a composition and ultimate
> arrangements emerge.
> 
> At what point do the originators of a style and the
> creative champions of 
> style exhaust the potential expression to the point
> that what follows could 
> be described as formulaic - working from a template.
> 
> To what extent has this already occurred within
> microsound? Small field 
> elements extrapolated and stretched across minimal
> drones of noise with 
> underlying subtle textures developing and diffusing
> to the end point.
> 
> What enables the work in this genre/style to stay
> invigorated?
> 
> 
> David Newman
> Audiobulb Records
> 
> http://www.audiobulb.com
> http://www.audiobulb.com/ab-shop.htm
> http://www.myspace.com/audiobulb
> 
> 
>
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j.ff gbk

http://www.futurevessel.com/orphansound

http://www.idiosyncratics.net/netlabel.html

http://www.djalma.com

http://www.mattin.org/desetxea.html


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