Re: [microsound] formulaic microsound

[jeff gburek <tsazmaniac@xxxxxxxxx>]

thanos, i would only like to add to what you say that
i am not entirely sure that a particular work must
stand out with this radical impulse...my underlying
idea is that each artist has a "quirk" or "genius"
that is unique to themselves to cultivate and that we
can percieve this in all the works of an artist...that
is why i suggested also that shifting genre or even
field of production can reveal this quirk...

i say this also because i see it in my own process.
now that i have been concentrating more on drawing in
the last year, i discover myself involved with the
same kinds of preoccupations. before i was interested
in microsound i was interested in microtonality...but
in my visual art i see the same preoccupations with
splitting seeming unsplittable spaces...


to shift off this and back to seeing an artist's
output  over the long haul--like with mondrian, there
is a change, although the fundamental principle is
intact--there are also changes in certain concerns and
also stable concerns that perdure the life of
creativity...it is these latter that we must find for
ourselves...because, when a market for art is made of
fashionability and power politics of scenes, it is the
only thing an artist can say is inalienably his or her
own...this is arguably the last defense against a
consumerist system that is everywhere
destructive...and it is a personal ground of value to
stand against those destructive aspects of the culture
we live within...

you can see in every scriabin piece what is
scriabin...
the issues involving microsound becoming a diffused
and perhaps threatened aesthetic has a lot to do with
fast assimilation in the mechanical age of
reproduction and  the effects a sense-deadening
repetition of simulacra...

but we should guard against making our judgments of
artists based on this just as we should guard the
integrity of our own bodies and their creativity

best, jeff gburek 

--- Thanos Chrysakis <azimuths@xxxxxxxxxxxxx> wrote:

> >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.
> 
>  
> 
> jeff,
> 
> that's very interesting to say. styles may exhaust
> themselves but not
> specific works within a style. 
> 
> in my view, a skeleton, a specific way of
> structuring a piece of music, or a
> particular attitude towards the sound[let?s say
> microsound],  is exhausted
> when functions as a kind of safety for the artist,
> -even when it's supposed
> to be experimental. 
> 
> this goes for the listeners as well.
> 
>  
> 
> -
> 
> david
> 
> nice post.
> 
> >What enables the work in this genre/style to stay
> 
> > invigorated?
> 
>  
> 
> the same thing that keeps other musics invigorated;
> 
> musicians who take risks.
> 
>  
> 
>  
> 
> cheers,
> 
> Thanos
> 
>  
> 
> --
> http//:www.auralterrains.com
> 
>  
> 
> 


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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