[microsound] anyone up for a new project?

Tue Dec 15 18:20:12 EST 2009

I'm in!

2009/12/15  <microsound-request at or8.net>:
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> Today's Topics:
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>   1. Re: ***microacoustic music project*** (Neil Clopton)
>   2. Re: anyone up for a new project? (mat dalgleish)
>   3. Re: ***microacoustic music project*** (Magali Babin)
>   4. Re: anyone up for a new project? (justino at anihilo.com)
>   5. Re: anyone up for a new project? (Renato Fabbri)
>   6. Re: microsound Digest, Vol 12, Issue 6 (fdurso at comcast.net)
>   7. Re: post-laptop era? (michael trommer)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 15 Dec 2009 16:38:34 -0600
> From: Neil Clopton <djdualcore at gmail.com>
> To: microsound at or8.net
> Subject: Re: [microsound] ***microacoustic music project***
> Message-ID:
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> Content-Type: text/plain; charset="iso-8859-1"
>
> <childlike enthusiasm> This is going to be SO much fun! </childlike
> enthusiasm>
>
> -Neil
> --
> DJ Dual Core's Blog
> http://oldmixtapes.blogspot.com/
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> Message: 2
> Date: Tue, 15 Dec 2009 22:41:31 +0000
> From: mat dalgleish <matdalgleish at hotmail.com>
> To: <microsound at microsound.org>
> Subject: Re: [microsound] anyone up for a new project?
> Message-ID: <COL116-W257315CE821495D946A37CC2880 at phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
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>
> I certainly am...
>
>
>
>> Date: Tue, 15 Dec 2009 13:30:36 -0800
>> From: kim at anechoicmedia.com
>> To: microsound at or8.net
>> Subject: [microsound] anyone up for a new project?
>>
>> I have an idea
>> headcount please?
>> then I'll explain
>>
>> _______________________________________________
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>> microsound at microsound.org
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> Message: 3
> Date: Tue, 15 Dec 2009 17:49:34 -0500
> From: "Magali Babin" <ilagam at sympatico.ca>
> To: <microsound at microsound.org>
> Subject: Re: [microsound] ***microacoustic music project***
> Message-ID: <BLU0-SMTP50B6A1092B3432CEFFC8BBE880 at phx.gbl>
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>
> i'm interested too,yes!
> m.
>
>
>
>
>
> myspace.com/magalibabin
>
> http://www.electrocd.com/fr/bio/babin_ma/
>
> ----- Original Message -----
> From: "Kim Cascone" <kim at anechoicmedia.com>
> To: "microsound_list" <microsound at or8.net>
> Sent: Tuesday, December 15, 2009 5:29 PM
> Subject: [microsound] ***microacoustic music project***
>
>
>> .microsound community project: microacoustic music
>>
>> what is .microsound? what will it sound like in 10 years time?
>> is it purely music made via digital means or can it shape shift into using
>> acoustic musical instruments?
>> what is the sound of microacoustic music?
>> let's find out
>> each microsound member gets a chance to describe what microacoustic music
>> sounds like to them
>>
>>
>> GUIDELINES:
>>
>> - length: all works must be 2 minutes maximum
>>
>> - deadline: February 1 2010
>>
>> - mp3 files: filenames use only ALPHANUMERICS; i.e. NO spaces
>> (underbars_and-hyphens-are-OK), stereo, encoded at 192 - 320kbps and have
>> ID3 tags!! please make sure they have ID3 tags!
>> content: all sound sources are acoustic musical instruments
>> with NO processing other than the following:
>> - mixing/layering
>> - editing (cut 'n paste)
>> - slowing down or speeding up
>> - filtering/EQ
>>
>> instruments can be detuned, woodwinds played as percussion, stick a sax
>> mouthpiece on a bassoon, contact mic'd, deconstructed, use extended
>> techniques, destroyed or played 'properly' then (de)composed in editing
>>
>> files should be placed here:
>>
>> http://www.microsound.org/repository/
>>
>> there is also a link on the microsound.org front page
>>
>> ***you MUST be sub'd to the list before you are allowed to upload files
>>
>> the server checks for you against the list of sub'ers
>>
>> if you are having trouble write to Paulo or John and ask them to update
>> the list
>> (has to be done by hand IIRC)
>>
>> ___remember to name and tag your files properly or they will be taken
>> down___
>> _______________________________________________
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>
> ------------------------------
>
> Message: 4
> Date: Tue, 15 Dec 2009 17:53:50 -0500
> From: "justino at anihilo.com" <justino at anihilo.com>
> To: microsound at or8.net
> Subject: Re: [microsound] anyone up for a new project?
> Message-ID: <380-2200912215225350453 at M2W128.mail2web.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Hola Kim,
> Count me in
> paz
> jorge
>
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> ------------------------------
>
> Message: 5
> Date: Tue, 15 Dec 2009 21:05:12 -0200
> From: Renato Fabbri <renato.fabbri at gmail.com>
> To: microsound at microsound.org, justino at anihilo.com
> Subject: Re: [microsound] anyone up for a new project?
> Message-ID:
>        <1f50cb500912151505r54613dbdga33c8305141104a2 at mail.gmail.com>
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> 5 is my number, couldn't resist it...
>
> 2009/12/15 justino at anihilo.com <justino at anihilo.com>:
>> Hola Kim,
>> Count me in
>> paz
>> jorge
>>
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> --
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>
> ------------------------------
>
> Message: 6
> Date: Tue, 15 Dec 2009 23:14:31 +0000 (UTC)
> From: fdurso at comcast.net
> To: microsound at or8.net
> Subject: Re: [microsound] microsound Digest, Vol 12, Issue 6
> Message-ID:
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>
> I am
>
>
> Frank
>
>
> ----------------------------------- From: Kim Cascone < kim at anechoicmedia.com >
> To: microsound_list < microsound at or8.net >
> Subject: [microsound] anyone up for a new project?
> Message-ID: < 4B27FFFC.10408 at anechoicmedia.com >
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> I have an idea
> headcount please?
> then I'll explain
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> ------------------------------
>
> Message: 7
> Date: Tue, 15 Dec 2009 18:15:13 -0500
> From: michael trommer <trommer at sympatico.ca>
> To: <microsound at microsound.org>
> Subject: Re: [microsound] post-laptop era?
> Message-ID: <BLU0-SMTP60D8401C359EFC353C5143CF880 at phx.gbl>
> Content-Type: text/plain;       charset="US-ASCII"
>
> Re. computer with a non-computer interface - it seems to me that most
> digital gear is exactly that, be it an mpc or one of those 'workstation'
> keyboards.
>
> Re. the loss of musical traditions, I think that many
> hip-hop/glitch/house/techno artists would disagree - many would argue that
> the mpc/303/808/909 etc. is/are at the foundation of the style and sound of
> their music.
>
> Sampling as 'merely a sound effect', eh ? Wooh...there's a can of worms
> you've opened...
>
> i'd also be careful about positioning the 'old' 'real' aesthetics of a
> coltrane against the 'new' - it reminds me of when people were arguing that
> 'real' music was played on guitars (or whatever) and that anything played on
> electronic instruments wasn't 'real' music. As a kid it usually boiled down
> to a drunken argument of zeppelin vs. kraftwerk...stupid.
>
>
> On 12/15/09 3:00 PM, "David Powers" <cyborgk at gmail.com> wrote:
>
>> Personally I believe that there is a problem with this hypothesis.
>>
>> To begin with, I have yet to see a human/machine interface that gives
>> me the kind of nuance that I achieve when I play piano. Even if such
>> an interface existed, when encounters the problem of technological
>> obsolescence. The lifespan of technologies is too short, and for any
>> new instrument, there are no teachers and no tradition. Thus, it is
>> difficult if not impossible to achieve the kind of virtuosity that is
>> possible on more traditional instruments. This in turn means the range
>> of performance possibilities tends to be rather limited, or if I might
>> say so, even rather "amateurish".
>>
>> However, I am even more disturbed by a trend I see arising as a result
>> of the prevalence of digital music making: I believe that much
>> important musical knowledge is being lost. If one considers the great
>> musical traditions of the world, which for me would include Indian
>> classical, Chinese and Japanese music, West African drumming, European
>> classical, jazz, and contemporary compositional practices, there is a
>> huge range of harmonic, rhythmic, melodic, and timbral knowledge and
>> possibility available. Yet, most of this knowledge is being forgotten,
>> leading to extremely narrow musical practices. Instead of mastering
>> the structural aspects of these musics, one usually encounters them,
>> if at all, as directly sampled appropriations.
>>
>> The problem with this is that sampling (like the application of novel
>> dsp effects here and there) normally exists entirely at the surface;
>> it is in most cases merely a "sound effect". It has no impact on the
>> inner structure of a musical composition. Consider the difference
>> between the influence of Indian music on, say, John Coltrane's
>> saxophone improvisations, with a piece of music that merely samples a
>> sitar riff. The difference is obvious: by taking seriously the inner
>> structure of Indian music, and using the insights gained in this way,
>> Coltrane was able to produce a radical new musical space. Coltrane's
>> recording of "My Favorite Things" is precisely an Event, opening up
>> the space of freedom, proposing a new way of creating vibrations. One
>> might even say that at a certain level, the sitar sample is, in
>> Hegelian terms, an abstract negation of Indian music; it is simply an
>> empty signifier for an exotic Other; it refers to another tradition,
>> the better to avoid any real encounter, to keep this alien Other at a
>> distance. Coltrane's approach, on the other hand, is to wrestle with
>> the Other, not to reproduce it but to critically encounter it in order
>> to produce a synthesis that produces something really new, something
>> which is no longer just jazz, but is not Indian music either, nor is
>> it just a simple pastiche of the two.
>>
>> In conclusion, I would say that one must distinguish between mere
>> progress, which in our day and age is only the passing of time under
>> the rule of capital, and the radically new which comes as an Event
>> rupturing the structure of reality and opening up new possibilities
>> for freedom. Technological progress is not bringing more freedom, it
>> is not opening up new possibilities, precisely because progress
>> remains entirely within the coordinates of the market place and the
>> society of controlled consumption.
>>
>> If we wish to really discover what is new, in art as in life, perhaps
>> it is time to take a deep breath, to step back, and to not be afraid
>> of what is considered "old-fashioned" and traditional; not so that we
>> can slavishly recreate a tradition, but in order to find the seeds of
>> the new, the possibilities for freedom that lie dormant within the
>> accumulated cultural experience of the global human society.
>>
>> ~David
>>
>> On Tue, Dec 15, 2009 at 12:45 PM, Graham Miller
>> <grahammiller at sympatico.ca> wrote:
>>> the future is in control surfaces and human/machine interfaces...
>>>
>>> On 15-Dec-09, at 1:27 PM, Adern X wrote:
>>>
>>> IMHO in the last two years laptop moved from being a music generator to the
>>> state of a music controller. In other words, if some times ago laptop music
>>> used mostly sinewaves as input, now it seems more interesting doing realtime
>>> manipulation of samples (or somenting coming from audio inputs) or play with
>>> other (real?) instruments.
>>> The result is that it seems less "laptop-music" perhaps because, for me,
>>> music using sinewaves seems in a creative cul-de-sac.
>>> Hi!
>>> Il giorno 15/dic/09, alle ore 18:38, Kim Cascone ha scritto:
>>>
>>> over the past couple of years I've noticed interesting developments in new
>>> music
>>> one is the seemingly sudden plethora of laptop musicians
>>> the other is the death of laptop music
>>>
>>> interested in hearing opinions regarding the state of new music culture and
>>> .microsound
>>>
>>>
>>> _______________________________________________
>>> microsound mailing list
>>> microsound at microsound.org
>>> http://or8.net/mailman/listinfo/microsound
>>>
>>> Adern X
>>> http://www.xevor.net
>>> http://www.myspace.com/adernx
>>> "Boredom is the mother of creativity" (Ron Arad)
>>>
>>>
>>> _______________________________________________
>>> microsound mailing list
>>> microsound at microsound.org
>>> http://or8.net/mailman/listinfo/microsound
>>>
>>> _______________________________________________
>>> microsound mailing list
>>> microsound at microsound.org
>>> http://or8.net/mailman/listinfo/microsound
>>>
>>>
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> End of microsound Digest, Vol 12, Issue 9
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