Paul Lansky pulls the plug

[Don Craig]

I had forgotten how much fun it is to have a discussion with someone  
with such a different viewpoint.
I think we are going to wind up agreeing to disagree.

> I hate this attitude. My position has absolutely nothing to do with
> capitulating to an audience's limited conception of what good music is
> (or can be).
>
> I'm at work now and I don't have time to thrash it out further at the
> moment. I'll say for now that I suspect "giving them what they think
> they want" has a bit of the smell of the straw man about it.

Straw man? Possibly, but I was thinking of Adorno's "Culture Industry"  
and making a general
observation, not one specifically about your practice.

(Let me add here, that I don't claim to be free of the negative  
impacts and influences of the culture industry. My
high horse, such as it is, is really just a brightly painted rocking  
horse.)

>> My original post was prompted by some mild irritation at the  
>> implicit notion that the 'Academy' is inauthentic...
>
> Often it is, but sometimes it's absolutely the real thing. I've heard
> great stuff in concert halls -- including acousmatic stuff like Trevor
> Wishart's Vox-5 in quad (scared the crap out of me) and Lansky's Ride
> (a wide-ranging journey).

Throw in my general irritation with the whole notion of authenticity,  
which is so slippery and amorphous, and just
an aggravation to deal with, if one is honest about it.


>> , that one measures authenticity by the number of people who show up.
>
> Whoa, there. I *never* said that. I think you are reading something
> into my post that isn't there.

Again, this is not directed at you specifically. However, a social  
activity does require people to show up, no?
If only one person shows, is this sufficient? Is the music just as  
valuable, or less, or more?

>
> I realize that what I posted is utopian in the truest sense of the
> word - it can never happen! - but I find it valuable to get myself out
> of some easy habits of mind. Scott (scacinto)'s criticism is right on
> target, but even there some assumptions remain - that the point is for
> the audience to appreciate *my* care in preparing the work, that they
> should appreciate it all from start to finish (because it's *mine* and
> if they hear only part of it, it's somehow an insult to *me*), that
> *my* work should be the central focus - *my* *my* *my*. I think there
> is value in questioning those assumptions. Whether the result of that
> questioning is purely free of ego or not... I don't really care. But
> part of what artists do is to imagine something that doesn't exist
> yet, and I don't want to limit that imagination to the sonic product.

Okay, so now who's building straw men? I don't know any composers who
feel this way. (Admittedly, I can't see into their heart of hearts!) I  
agree with
the real points here. I think we both have utopian notions but differ  
on what
it should look like.  Yours somehow reminds me of American Idol (yeesh!)
and mine is probably the well-heeled, holding a snifter of brandy, and  
pissing
and moaning about the decay of civilization!

I don't know that there are any points to actually respond to in this  
post. We may have reached that
point of agreeable disagreement.

Don



_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[Mark Pasquesi]

dear gentlemen,

I'm lonely at times, especially in Calvinist banking country, for a willingness to exchange while maintaining difference.  Thanks so much for sharing the beginnings of this exchange - but please don't stop!! 

What I'd like to hear:
1) I'd love to hear more of your ideas on composition, and structures:  The name references such as Bach, or Beethoven, mean less to me than the details of their work to which you are referring.

2) Given that we are on the SC list, these aspects of computer assisted performing-composing come to mind, whether for audio or audio-visual work:
Pattern composing versus/integrated with linear composition.  Live space compositions versus pre-defined instrument.  Interactive-investigative versus interactive-trigger only.  Evoluative/open-ended versus defined end.  

I for one find that composing/mixing/developing max, pd, sc, logic, or protools changes my output, my thinking - that each instrumental 'universe' has it's inherent limits and formatting.

3) Where to perform?
First Space must be available first (or used) so that sound can be diffused:
Available Space is site specific- (city and politically specific)....

Where I live:
As an active member of Geneva's art community, we are losing most of our independent spaces - spaces that could define and create culture without the typical controls of clubs, bars, and high-rent concert halls.(At least 20% of the city's cultural budget goes to the opera hall and grand theatre)

Unlike my hometown of Chicago, the only spaces open to computer-based or alternative/experimental music were in squat spaces - at least since the 80's (except for techno and pop which had already demonstrated it's success elsewhere).  Though we are negotiating with the city for studios, we are having difficulty finding fixed performance spaces for low/no rent, which means:
1) that many alternative groups/artists that were able to come through, and have a guarantee of a performing wage plus travel assistance, has become much more limited.
Thus artists have had to have a defined audience that will definitely attend to be invited, or a defined audience pool, with funding, before being invited.  This has already been the case, since Geneva has only 3 alternative spaces with regular concerts left, all of whom are hassled at times by neighbors or the police. 
Chicago, in contrast, has at least 9 commercial bars which offered 3 bands for 7 bucks several times a weeks- which allowed an enormous range for experimenting for both audiences and artists. 
However, for electro-acoustic work in a serious atmosphere -
Geneva has Cave 12, a relatively well-known electro_acoustic lieu which has lost it's space, and Archipel (the festival). 

2) housing for visiting artists has also been reduced.
3) even bars open to alternative compositions have been harassed by police for noise and sound.

Current solutions:
1) political action and pressure (composing political space in oder to invite new art)
2) festival participation (Archipel, Bellouard)
3) traditional art spaces opening more to sound - private galleries, museums,
4) Cave 12, our lighthouse of alterative (no, not brit-pop alterno) music, now has a regularised relationship with 2 concert spaces (all subsidized, limiting rental costs, maximizing payment to composers/artists)
 
I'd be interested to hear how various sites for varied musics are being created/limited in your cities, and what strategies your communities are using to expand these.

Sincerely,

Mark Pasquesi
Geneva


--- On Tue, 8/5/08, Donald Craig <rhomboid@...> wrote:

From: Donald Craig <rhomboid@...>
Subject: Re: [sc-users] Paul Lansky pulls the plug
To: sc-users@...
Date: Tuesday, August 5, 2008, 7:03 PM

I had forgotten how much fun it is to have a discussion with someone  
with such a different viewpoint.
I think we are going to wind up agreeing to disagree.

> I hate this attitude. My position has absolutely nothing to do with
> capitulating to an audience's limited conception of what good music is
> (or can be).
>
> I'm at work now and I don't have time to thrash it out further at
the
> moment. I'll say for now that I suspect "giving them what they
think
> they want" has a bit of the smell of the straw man about it.

Straw man?
 Possibly, but I was thinking of Adorno's "Culture
Industry"  
and making a general
observation, not one specifically about your practice.

(Let me add here, that I don't claim to be free of the negative  
impacts and influences of the culture industry. My
high horse, such as it is, is really just a brightly painted rocking  
horse.)

>> My original post was prompted by some mild irritation at the  
>> implicit notion that the 'Academy' is inauthentic...
>
> Often it is, but sometimes it's absolutely the real thing. I've
heard
> great stuff in concert halls -- including acousmatic stuff like Trevor
> Wishart's Vox-5 in quad (scared the crap out of me) and Lansky's
Ride
> (a wide-ranging journey).

Throw in my general irritation with the whole notion of authenticity,  
which is so slippery and amorphous, and just
an aggravation to deal with, if one is honest about
 it.


>> , that one measures authenticity by the number of people who show up.
>
> Whoa, there. I *never* said that. I think you are reading something
> into my post that isn't there.

Again, this is not directed at you specifically. However, a social  
activity does require people to show up, no?
If only one person shows, is this sufficient? Is the music just as  
valuable, or less, or more?

>
> I realize that what I posted is utopian in the truest sense of the
> word - it can never happen! - but I find it valuable to get myself out
> of some easy habits of mind. Scott (scacinto)'s criticism is right on
> target, but even there some assumptions remain - that the point is for
> the audience to appreciate *my* care in preparing the work, that they
> should appreciate it all from start to finish (because it's *mine* and
> if they hear only part of it, it's
 somehow an insult to *me*), that
> *my* work should be the central focus - *my* *my* *my*. I think there
> is value in questioning those assumptions. Whether the result of that
> questioning is purely free of ego or not... I don't really care. But
> part of what artists do is to imagine something that doesn't exist
> yet, and I don't want to limit that imagination to the sonic product.

Okay, so now who's building straw men? I don't know any composers who
feel this way. (Admittedly, I can't see into their heart of hearts!) I  
agree with
the real points here. I think we both have utopian notions but differ  
on what
it should look like.  Yours somehow reminds me of American Idol (yeesh!)
and mine is probably the well-heeled, holding a snifter of brandy, and  
pissing
and moaning about the decay of civilization!

I don't know that there are any points to actually respond to in this 
 
post. We may have reached that
point of agreeable disagreement.

Don



_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe):
http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[curt-21]

whos Paul Lansky?
oh yeah that guy Radiohead sampled.

_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[Wyatt Fletcher]

Who's Radiohead?  Oh yeah, their that band that's in my 4 year old's fight club.

I kid... I kid... or do I?

-wyatt

"In the long run, I shall be happier to

be moderately praised in the new style,

than greatly praised in the ordinary."

                                     - Claudio Monteverdi

On Aug 5, 2008, at 3:57 PM, calvin harris wrote:

whos Paul Lansky?

oh yeah that guy Radiohead sampled.

_______________________________________________

sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880

archive: http://www.listarc.bham.ac.uk/marchives/sc-users/

search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[James Harkins-2]

On Aug 5, 2008, at 1:03 PM, Donald Craig wrote:

I had forgotten how much fun it is to have a discussion with someone with such a different viewpoint.

I think we are going to wind up agreeing to disagree.

Yes, it is lots of fun. Disagreement is okay with me, although based on your e-mail we might actually be agreeing to disengage. To me, disagreement implies some understanding of the other's position, but when I read something like this...

Yours somehow reminds me of American Idol (yeesh!)

... it feels like what I'm saying hasn't been understood at all.

Anyway, I've been there, done the Adorno thing, bought into the whole ball of wax, then looked again and found it wanting. So you may jokingly suggest that one should be a disciple of Adorno or else be a disciple of Simon Cowell, and that's okay with me because it has nothing to do with my goals.

Throw in my general irritation with the whole notion of authenticity, which is so slippery and amorphous, and just

an aggravation to deal with, if one is honest about it.

Here, we can agree to agree!

, that one measures authenticity by the number of people who show up.

Whoa, there. I *never* said that. I think you are reading something

into my post that isn't there.

Again, this is not directed at you specifically. However, a social activity does require people to show up, no?

If only one person shows, is this sufficient? Is the music just as valuable, or less, or more?

Broadly defined as interaction, a strange sort of disembodied interaction does take place if a composer produces a recording and somebody listens to it in private. Apropos this discussion, actually Lansky planted some of the seeds of my thinking when he visited Duke while I was in grad school to talk about Things She Carried. I specifically remember him mentioning that he wanted to create an electronic "opera" that would make sense to listen to in a living room. That is, it was not initially meant for concert diffusion then released in a compromised stereo form for home listening, but rather that home listening informed the very conception of the piece. Come to think of it, I didn't realize until this discussion how influential that remark has been for me.

Another influence is a performance (really, diffusion) of work by Bernhard Gunter at a festival. The sounds themselves were not so remarkable, mostly close mic'ed sounds of natural objects rustling, or being rubbed or struck together, but the change in the atmosphere of that space was astounding. Over the course of an hour, he had everyone in the room meditating -- breathing more calmly, listening carefully but without expectation or judgment, just the delight of discovery. It was very clear that we weren't meant to try to understand the music as structure or composition, and we weren't meant to appreciate composerly skill in assembling the sounds. But the sounds changed the way we sat in the room together. Everyone left smiling. And this was without trying -- I mentioned the meditation effect to him after the show, and he said he didn't know anything about meditation or Buddhism... but there it was.

In that vein, I'm trying to imagine ways of music making where it is not the composer (as authority figure?), or the sonic product, or the composer-performer axis that is privileged, but rather where the music somehow changes the space and fosters a different way of being (just being) together. That can happen with 2, 10 or 100 people in the room. Quantity is not quality. (My work hasn't done a lot of this yet, at least not so explicitly as a social happening, but several of my pieces since grad school have been moving noticeably in that direction.)

But anyway, my current piece is for violin and computer and will be performed in a recital hall. I'm not dogmatic about it. To me the concert hall is a space to be used, but not held axiomatically as an ideal.

Okay, so now who's building straw men? I don't know any composers who

feel this way. (Admittedly, I can't see into their heart of hearts!)

Yes, that was exaggerated and I meant it to tweak some nerves. I don't know any composers who would admit to feeling this way. But, let's try a thought experiment. Suppose some random sampling of composers are asked to produce a live set (or a CD, the live part is not important) to accompany a gallery opening, with the stipulation that the event is first and foremost a gallery opening and during the performance/diffusion, people will be milling about, talking, admiring the art, and maybe sitting down from time to time to listen carefully to the music. There would be no layout with rows of chairs facing the performers/speakers (though there could be chairs with cafe tables in the vicinity).

I expect some nontrivial percentage of those composers, especially university composers, would at least be uncomfortable with the arrangement, perhaps feeling that the effort of composition would be wasted for so little attention. Some might even feel that this sort of thing would be somehow beneath them. That was my point, that's all.

 mine is probably the well-heeled, holding a snifter of brandy, and pissing

and moaning about the decay of civilization!

You're probably too young to have become so old so fast. :)  (Positioning oneself above the decay of civilization is just another form of ego-stroking.)

I'm also very interested in Mark's questions about the practical realities of making non-traditional performance spaces happen, but I'm out of time for tonight.

hjh

: H. James Harkins

: jamshark70@...

: http://www.dewdrop-world.net

.::!:.:.......:.::........:..!.::.::...:..:...:.:.:.:..:

"Come said the Muse,

Sing me a song no poet has yet chanted,

Sing me the universal."  -- Whitman

[Sciss-3]

i don't think that's a band, wasn't that a song by the talking heads?

Am 06.08.2008 um 02:18 schrieb Wyatt Fletcher:

> Who's Radiohead?  Oh yeah, their that band that's in my 4 year  
> old's fight club.
>
> I kid... I kid... or do I?
>
> -wyatt
>
>
> "In the long run, I shall be happier to
> be moderately praised in the new style,
> than greatly praised in the ordinary."
>                                      - Claudio Monteverdi
>
> On Aug 5, 2008, at 3:57 PM, calvin harris wrote:
>
>> whos Paul Lansky?
>> oh yeah that guy Radiohead sampled.
>>
>> _______________________________________________
>> sc-users mailing list
>>
>> info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de: 
>> 8888/MusicTechnology/880
>> archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
>> search: http://www.listarc.bham.ac.uk/lists/sc-users/search/
>

_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[Josh Parmenter]

maybe:

" I Kid A, I Kid A ... "

would have been more appropriate?

Josh

On Aug 5, 2008, at 10:09 PM, Sciss wrote:

> i don't think that's a band, wasn't that a song by the talking heads?
>
> Am 06.08.2008 um 02:18 schrieb Wyatt Fletcher:
>
>> Who's Radiohead?  Oh yeah, their that band that's in my 4 year  
>> old's fight club.
>>
>> I kid... I kid... or do I?
>>
>> -wyatt
>>
>>
>> "In the long run, I shall be happier to
>> be moderately praised in the new style,
>> than greatly praised in the ordinary."
>>                                     - Claudio Monteverdi
>>
>> On Aug 5, 2008, at 3:57 PM, calvin harris wrote:
>>
>>> whos Paul Lansky?
>>> oh yeah that guy Radiohead sampled.
>>>
>>> _______________________________________________
>>> sc-users mailing list
>>>
>>> info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
>>> archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
>>> search: http://www.listarc.bham.ac.uk/lists/sc-users/search/
>>
>
>
> _______________________________________________
> sc-users mailing list
>
> info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
> archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
> search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

******************************************
/* Joshua D. Parmenter
http://www.realizedsound.net/josh/

“Every composer – at all times and in all cases – gives his own  
interpretation of how modern society is structured: whether actively  
or passively, consciously or unconsciously, he makes choices in this  
regard. He may be conservative or he may subject himself to continual  
renewal; or he may strive for a revolutionary, historical or social  
palingenesis." - Luigi Nono
*/


_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[kernel-12]

maybe you should just post some links to your tracks/music.. we might  
get a better idea of where you are both coming from.  isn't that the  
point of music (or one of them)? :)

but then i like these kind of discussions on the SC list.

kernel

On 5 Aug 2008, at 20:39, James Harkins wrote:

> On Aug 5, 2008, at 1:03 PM, Donald Craig wrote:
>
>> I had forgotten how much fun it is to have a discussion with  
>> someone with such a different viewpoint.
>> I think we are going to wind up agreeing to disagree.
>
> Yes, it is lots of fun. Disagreement is okay with me, although based  
> on your e-mail we might actually be agreeing to disengage. To me,  
> disagreement implies some understanding of the other's position, but  
> when I read something like this...
>
>> Yours somehow reminds me of American Idol (yeesh!)
>
> ... it feels like what I'm saying hasn't been understood at all.
>
> Anyway, I've been there, done the Adorno thing, bought into the  
> whole ball of wax, then looked again and found it wanting. So you  
> may jokingly suggest that one should be a disciple of Adorno or else  
> be a disciple of Simon Cowell, and that's okay with me because it  
> has nothing to do with my goals.
>
>> Throw in my general irritation with the whole notion of  
>> authenticity, which is so slippery and amorphous, and just
>> an aggravation to deal with, if one is honest about it.
>
> Here, we can agree to agree!
>
>>>> , that one measures authenticity by the number of people who show  
>>>> up.
>>>
>>> Whoa, there. I *never* said that. I think you are reading something
>>> into my post that isn't there.
>>
>> Again, this is not directed at you specifically. However, a social  
>> activity does require people to show up, no?
>> If only one person shows, is this sufficient? Is the music just as  
>> valuable, or less, or more?
>
> Broadly defined as interaction, a strange sort of disembodied  
> interaction does take place if a composer produces a recording and  
> somebody listens to it in private. Apropos this discussion, actually  
> Lansky planted some of the seeds of my thinking when he visited Duke  
> while I was in grad school to talk about Things She Carried. I  
> specifically remember him mentioning that he wanted to create an  
> electronic "opera" that would make sense to listen to in a living  
> room. That is, it was not initially meant for concert diffusion then  
> released in a compromised stereo form for home listening, but rather  
> that home listening informed the very conception of the piece. Come  
> to think of it, I didn't realize until this discussion how  
> influential that remark has been for me.
>
> Another influence is a performance (really, diffusion) of work by  
> Bernhard Gunter at a festival. The sounds themselves were not so  
> remarkable, mostly close mic'ed sounds of natural objects rustling,  
> or being rubbed or struck together, but the change in the atmosphere  
> of that space was astounding. Over the course of an hour, he had  
> everyone in the room meditating -- breathing more calmly, listening  
> carefully but without expectation or judgment, just the delight of  
> discovery. It was very clear that we weren't meant to try to  
> understand the music as structure or composition, and we weren't  
> meant to appreciate composerly skill in assembling the sounds. But  
> the sounds changed the way we sat in the room together. Everyone  
> left smiling. And this was without trying -- I mentioned the  
> meditation effect to him after the show, and he said he didn't know  
> anything about meditation or Buddhism... but there it was.
>
> In that vein, I'm trying to imagine ways of music making where it is  
> not the composer (as authority figure?), or the sonic product, or  
> the composer-performer axis that is privileged, but rather where the  
> music somehow changes the space and fosters a different way of being  
> (just being) together. That can happen with 2, 10 or 100 people in  
> the room. Quantity is not quality. (My work hasn't done a lot of  
> this yet, at least not so explicitly as a social happening, but  
> several of my pieces since grad school have been moving noticeably  
> in that direction.)
>
> But anyway, my current piece is for violin and computer and will be  
> performed in a recital hall. I'm not dogmatic about it. To me the  
> concert hall is a space to be used, but not held axiomatically as an  
> ideal.
>
>> Okay, so now who's building straw men? I don't know any composers who
>> feel this way. (Admittedly, I can't see into their heart of hearts!)
>
> Yes, that was exaggerated and I meant it to tweak some nerves. I  
> don't know any composers who would admit to feeling this way. But,  
> let's try a thought experiment. Suppose some random sampling of  
> composers are asked to produce a live set (or a CD, the live part is  
> not important) to accompany a gallery opening, with the stipulation  
> that the event is first and foremost a gallery opening and during  
> the performance/diffusion, people will be milling about, talking,  
> admiring the art, and maybe sitting down from time to time to listen  
> carefully to the music. There would be no layout with rows of chairs  
> facing the performers/speakers (though there could be chairs with  
> cafe tables in the vicinity).
>
> I expect some nontrivial percentage of those composers, especially  
> university composers, would at least be uncomfortable with the  
> arrangement, perhaps feeling that the effort of composition would be  
> wasted for so little attention. Some might even feel that this sort  
> of thing would be somehow beneath them. That was my point, that's all.
>
>>  mine is probably the well-heeled, holding a snifter of brandy, and  
>> pissing
>> and moaning about the decay of civilization!
>
> You're probably too young to have become so old so fast. :)  
> (Positioning oneself above the decay of civilization is just another  
> form of ego-stroking.)
>
> I'm also very interested in Mark's questions about the practical  
> realities of making non-traditional performance spaces happen, but  
> I'm out of time for tonight.
>
> hjh
>
>
> : H. James Harkins
> : jamshark70@...
> : http://www.dewdrop-world.net
> .::!:.:.......:.::........:..!.::.::...:..:...:.:.:.:..:
>
> "Come said the Muse,
> Sing me a song no poet has yet chanted,
> Sing me the universal."  -- Whitman
>

_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[James Harkins-2]

On Wed, Aug 6, 2008 at 11:15 AM, kernel <kernel@...> wrote:
> maybe you should just post some links to your tracks/music.. we might get a
> better idea of where you are both coming from.  isn't that the point of
> music (or one of them)? :)

Sure.

http://www.dewdrop-world.net/audio/mbk-exc.mp3 - An excerpt from my
first piece post-grad school (not SC), and the first of my electronic
works to have a really strong effect on my breathing.

http://www.dewdrop-world.net/audio/now_is.mp3 - SC + piano
improvisation, not long after I started using SC. The electronics are
pretty rudimentary compared to what I'm doing now (actually I'm lucky
my code didn't crash during the performance), but it's another calming
work. This piece would need some work before another performance.

http://www.dewdrop-world.net/audio/sangha-flower.mp3 - SC + Chinese
endblown flute (xiao). I've added more material since this first
performance.

In a different vein:
http://www.dewdrop-world.net/audio/runway2.mp3
http://www.dewdrop-world.net/audio/xiphidiopicus-percussus.mp3

And looking back more recently (2006) to danceclub influences that got
me out of a creative rut in grad school (back in 1995 or so):

http://www.dewdrop-world.net/audio/itch-duke-exc.mp3

hjh


--
James Harkins /// dewdrop world
jamshark70@...
http://www.dewdrop-world.net

"Come said the Muse,
Sing me a song no poet has yet chanted,
Sing me the universal." -- Whitman

_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[kernel-12]

> Sure.
>
> http://www.dewdrop-world.net/audio/mbk-exc.mp3 - An excerpt from my
> first piece post-grad school (not SC), and the first of my electronic
> works to have a really strong effect on my breathing.

that's awfully generous of you old boy!  you've got some interesting  
timbres in your pieces.  my girlfriend really liked the endblown flute  
piece btw.  my fav is probably xiphidiopicus-percussus.

kernel


_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[Don Craig]

Here's some stuff of mine:

First computer piece. Uses Csound and Common Music for algorithmic  
score generation.
http://www2.realizedsound.net:8080/music/Don%20Craig/MidnightLochNess.mp3

This was made using Common Lisp Music.
http://www2.realizedsound.net:8080/music/Don%20Craig/Assonaglyph.mp3

This was made with SuperCollider 2 as part of a video work I did. The  
video w/sound and just the sound:
http://www2.realizedsound.net:8080/music/Don%20Craig/TorAetherius.mov
http://www2.realizedsound.net:8080/music/Don%20Craig/TorAetherius.mp3

An occasional work for a b-day bash. Made with SC 3. I had fun doing a  
fairly pure musique concrete work:
http://www2.realizedsound.net:8080/music/Don%20Craig/Pod.mp3

Recent score for somebody else's video. Made with my own software. I  
believe this is
currently on exhibit in Germany somewhere.
http://www2.realizedsound.net:8080/music/Don%20Craig/metamorphosis_h264.mov


Donald Craig
rhomboid@...



On Aug 6, 2008, at 11:54 AM, James Harkins wrote:

> On Wed, Aug 6, 2008 at 11:15 AM, kernel <kernel@...>  
> wrote:
>> maybe you should just post some links to your tracks/music.. we  
>> might get a
>> better idea of where you are both coming from.  isn't that the  
>> point of
>> music (or one of them)? :)
>
> Sure.
>
> http://www.dewdrop-world.net/audio/mbk-exc.mp3 - An excerpt from my
> first piece post-grad school (not SC), and the first of my electronic
> works to have a really strong effect on my breathing.
>
> http://www.dewdrop-world.net/audio/now_is.mp3 - SC + piano
> improvisation, not long after I started using SC. The electronics are
> pretty rudimentary compared to what I'm doing now (actually I'm lucky
> my code didn't crash during the performance), but it's another calming
> work. This piece would need some work before another performance.
>
> http://www.dewdrop-world.net/audio/sangha-flower.mp3 - SC + Chinese
> endblown flute (xiao). I've added more material since this first
> performance.
>
> In a different vein:
> http://www.dewdrop-world.net/audio/runway2.mp3
> http://www.dewdrop-world.net/audio/xiphidiopicus-percussus.mp3
>
> And looking back more recently (2006) to danceclub influences that got
> me out of a creative rut in grad school (back in 1995 or so):
>
> http://www.dewdrop-world.net/audio/itch-duke-exc.mp3
>
> hjh
>
>
> --
> James Harkins /// dewdrop world
> jamshark70@...
> http://www.dewdrop-world.net
>
> "Come said the Muse,
> Sing me a song no poet has yet chanted,
> Sing me the universal." -- Whitman
>
> _______________________________________________
> sc-users mailing list
>
> info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
> archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
> search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

back to the topic ;)

My cents are that the instrumental context becomes more fashionable,
people are sure that the ALIENS won't actually land when they hear a weird sound,

Recently I utilize the instrumental context a lot to ease on the strangling
multitude of (mis)interpretations one keeps recieving, and can never account for.

And, yes, pulling the plug is obviously for real people, I mean, it is in the news :)

I wanted to robe my band as priests, involve sarcasm and call us The Dirty Priests,
cause it would put us in the Hungarian news, and we'dd have to change the name to
The Priests instead :)
But I was 20, when I am his age I hope to be doing something to the plug as well :)


z

> Here's some stuff of mine:
>
> First computer piece. Uses Csound and Common Music for algorithmic  
> score generation.
> http://www2.realizedsound.net:8080/music/Don%20Craig/MidnightLochNess.mp3
>
> This was made using Common Lisp Music.
> http://www2.realizedsound.net:8080/music/Don%20Craig/Assonaglyph.mp3
>
> This was made with SuperCollider 2 as part of a video work I did. The  
> video w/sound and just the sound:
> http://www2.realizedsound.net:8080/music/Don%20Craig/TorAetherius.mov
> http://www2.realizedsound.net:8080/music/Don%20Craig/TorAetherius.mp3
>
> An occasional work for a b-day bash. Made with SC 3. I had fun doing a  
> fairly pure musique concrete work:
> http://www2.realizedsound.net:8080/music/Don%20Craig/Pod.mp3
>
> Recent score for somebody else's video. Made with my own software. I  
> believe this is
> currently on exhibit in Germany somewhere.
> http://www2.realizedsound.net:8080/music/Don%20Craig/metamorphosis_h264.mov
>
>
> Donald Craig
> rhomboid@...
>
>
>
> On Aug 6, 2008, at 11:54 AM, James Harkins wrote:
>
> > On Wed, Aug 6, 2008 at 11:15 AM, kernel <kernel@...>  
> > wrote:
> >> maybe you should just post some links to your tracks/music.. we  
> >> might get a
> >> better idea of where you are both coming from.  isn't that the  
> >> point of
> >> music (or one of them)? :)
> >
> > Sure.
> >
> > http://www.dewdrop-world.net/audio/mbk-exc.mp3 - An excerpt from my
> > first piece post-grad school (not SC), and the first of my electronic
> > works to have a really strong effect on my breathing.
> >
> > http://www.dewdrop-world.net/audio/now_is.mp3 - SC + piano
> > improvisation, not long after I started using SC. The electronics are
> > pretty rudimentary compared to what I'm doing now (actually I'm lucky
> > my code didn't crash during the performance), but it's another calming
> > work. This piece would need some work before another performance.
> >
> > http://www.dewdrop-world.net/audio/sangha-flower.mp3 - SC + Chinese
> > endblown flute (xiao). I've added more material since this first
> > performance.
> >
> > In a different vein:
> > http://www.dewdrop-world.net/audio/runway2.mp3
> > http://www.dewdrop-world.net/audio/xiphidiopicus-percussus.mp3
> >
> > And looking back more recently (2006) to danceclub influences that got
> > me out of a creative rut in grad school (back in 1995 or so):
> >
> > http://www.dewdrop-world.net/audio/itch-duke-exc.mp3
> >
> > hjh
> >
> >
> > --
> > James Harkins /// dewdrop world
> > jamshark70@...
> > http://www.dewdrop-world.net
> >
> > "Come said the Muse,
> > Sing me a song no poet has yet chanted,
> > Sing me the universal." -- Whitman
> >
> > _______________________________________________
> > sc-users mailing list
> >
> > info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/

MusicTechnology/880
> > archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
> > search: http://www.listarc.bham.ac.uk/lists/sc-users/search/
>
>
> _______________________________________________
> sc-users mailing list
>
> info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/
880
> archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
> search: http://www.listarc.bham.ac.uk/lists/sc-users/search/
>
>



_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[James Harkins-2]

On Aug 7, 2008, at 2:34 PM, Donald Craig wrote:

Here's some stuff of mine:

Nice work, thanks for posting! (Makes me realize that my work doesn't do a lot with large dynamic contrasts... hmm....)

I especially appreciated that the music has a kind of humor that wasn't foreshadowed in any of the quasi-modernist aesthetics posed earlier. I was puzzled at first because some of the rhetoric struck me as a carbon copy of mid-century serialist apologetics, or should I say dogma (and the references to Adorno did little to counteract that impression). Your music makes it clear that there's a lot more going on. (I didn't get around to the videos because realizedsound was really slow when I was trying to access the files.)

That music certainly isn't bound to the concert hall setting anyway... so the disagreement may well be less than it seemed at first.

Speaking of the concert hall... scacinto's comment about other performing spaces eventually turning into another form of concert hall makes sense, and as I think about it more, it isn't necessarily a problem. Part of the reason why I pick on the concert hall is that it's the "native habitat" for the subculture of classical music listeners. When we hold new music or new media performances in the concert hall, the work might be interesting to all different kinds of people but we're asking those people to come into "our" space and play by the rules of a subculture that they may have no interest in (or might even have antipathy toward, pace Roll Over Beethoven). I don't have a problem with performance spaces where people gather for the main purpose of listening to music, but I think it's important to find/create spaces that would be appealing to people who don't think of themselves as being interested in what "composers" do.

hjh

: H. James Harkins

: jamshark70@...

: http://www.dewdrop-world.net

.::!:.:.......:.::........:..!.::.::...:..:...:.:.:.:..:

"Come said the Muse,

Sing me a song no poet has yet chanted,

Sing me the universal."  -- Whitman

[Paul Lansky]

james mccartney wrote:

Was SuperCollider the final straw..?

http://www.iht.com/articles/2008/08/06/arts/emusic.php

--
--- james mccartney

_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

I feel that I owe this group some more explanation:
It all really just comes down to wanting to do things I haven't
done before.  Back in the days when I was totally immersed in
computer music I never dreamt that I would do something
like write a percussion quartet or a 2-piano concerto.  But, somehow
these things happened and have led to other things and now I find
myself completely absorbed in the world of 'acoustic music'.  
My feeling is that life is short and it's too easy to simply sit back and rely
on things one has become good at, and it's no fun.
I really enjoy the feeling of being a beginner again. (Which
is a function SC supplied for for about 7 years...)

My remark about not liking electronic music is more complicated.
What I was trying to explain to the writer was my preference for
the computer as a kind of 'aural camera', as opposed to a machine
for inventing timbre.  But this was too complicated for this context.

'nuf said.  you get the point?

paul

[Marinos Koutsomichalis]

On 11 Αυγ 2008, at 9:31 ΜΜ, Paul Lansky wrote:

it's too easy to simply sit back and

rely 

on things one has become good at, and it's no fun.

So I guess when you will become "good" in scoring for acoustic ensembles, we would expect you to start painting or sth, right?? :-)

greetings

[nonprivate]

but that's exactly it! when he is good at ensemble stuff, why not take
up the painting? it's all the same thing. every artist should only do
what's interesting for them, otherwise what's the point?

p.s. paul i read in your interview, whether accurately reported or not,
that you couldn't make a computer sound like a violin. fair enough, but
since i got some great synthetic violin tones out of your supercollider
stk port, i had to chuckle.

Marinos Koutsomichalis wrote:

>
> On 11 Αυγ 2008, at 9:31 ΜΜ, Paul Lansky wrote:
>
>> it's too easy to simply sit back and
>>
>> rely
>>
>> on things one has become good at, and it's no fun.
>>
>
>
> So I guess when you will become "good" in scoring for acoustic
> ensembles, we would expect you to start painting or sth, right?? :-)
>
>
> greetings

_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[Paul Lansky]

Marinos Koutsomichalis wrote:

On 11 Αυγ 2008, at 9:31 ΜΜ, Paul Lansky wrote:

> it's too easy to simply sit back and
> rely
> on things one has become good at, and it's no fun.


So I guess when you will become "good" in scoring for acoustic  
ensembles, we would expect you to start painting or sth, right?? :-)


greetings

If, by the time I get good enough at writing instrumental music to be bored by it,
I'm still able to walk and feed myself, painting sounds like just the thing.
Thanks for the suggestion.

paul

[james mccartney]

On Mon, Aug 11, 2008 at 11:31 AM, Paul Lansky <paul@...> wrote:
>
> I feel that I owe this group some more explanation:

You don't owe us, really. And I felt I understood your motivation. But
I am always worried that I have led people astray with this thing I
wrote.. and one day they are going to wake up and think: "My god! I've
wasted my life trying to use this SuperCollider thing! I hate you
James!"  ha ha.

> My remark about not liking electronic music is more complicated.

I could understand that too.
I like modern art and music most, but I dislike most modern art and music.


--
--- james mccartney

_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[Jonathan Segel]

On Aug 11, 2008, at 6:43 PM, James McCartney wrote:
>
> I like modern art and music most, but I dislike most modern art and  
> music.

bravo.
__________________________
jonathan segel
jsegel@...
etc.


_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/

[Wyatt Fletcher]

> I like modern art and music most, but I dislike most modern art and  
> music.
>
If it matters, it probably doesn't like you much either. : P



_______________________________________________
sc-users mailing list

info (subscribe and unsubscribe): http://swiki.hfbk-hamburg.de:8888/MusicTechnology/880
archive: http://www.listarc.bham.ac.uk/marchives/sc-users/
search: http://www.listarc.bham.ac.uk/lists/sc-users/search/