----------empyre- soft-skinned space----------------------
Thank you very much Mr. Birringer for the compliment.
I am particularly glad you used the word beautiful, I feel the same way.
By contrast many people have found my sound work/music in the 1980s to be
beyond normal pain threshold levels.
Indeed a work like "Below the Walls of Jericho" (the first work on the CD) has
been used in three "scientific" tests to induce pain on the subject under
study.
Funny how those people in white coats , with all their answers, do not account
for aesthetic perception, and that oops, in this case this work maybe
considered beautiful by some people. That sort of throws off the
results I would say!
But I digress. The compliment is well taken, and i do want to respond to
two of the questions/comments, but i have to make dinner, walk the dog etc. So
perhaps later.
............
For bio, music excerpts, recordings,reviews etc go to:
http://www.electrocd.com/en/bio/dolden_pa/
To see a video of a chamber orchestra work go to:
http://vimeo.com/channels/575823/72579719
............
For bio, music excerpts, recordings,reviews etc go to:
http://www.electrocd.com/en/bio/dolden_pa/
To see a video of a chamber orchestra work go to:
http://vimeo.com/channels/575823/72579719
On Sunday, June 22, 2014 6:18:56 PM, Johannes Birringer
<johannes.birrin...@brunel.ac.uk> wrote:
----------empyre- soft-skinned space----------------------
dear all, dear Paul Dolden
still behind, but only a few days, naturally
I started to listen a bit, after Paul sent us a link to his work ('Below the
Walls of Jericho')
and was captivated by his 'Seuil de silences', and the density and complexity
of the music
and what it evoked...
.. exquisitely beautiful!
thanks for mentioning the link yo your work.
regards
Johannes Birringer
Wednesday, 18th: Sound Art, Technology and Innovation
Sent:Wednesday, June 18, 2014 3:43 PM
[Paul schreibt]
>>
Well I will start today, since I have not participated yet. (I am responsible
for question #2, about opera using recorded signals. N.B. "my question" was
more a joke i sent out to alot of friends with some sarcastic comment about
concert hall practice and its contemporary relevance.)
If you look at the many comments for the New York Times article, people are
scandalized that an opera company would think of using samples to replace the
orchestra to keep costs down. One thinks immediately of Foucault's discussion
of authenticity in the arts. But I do not want to go in that direction please.
As much as I would like to discuss that the depth of Wagners' timbres are not
possible with the Vienna Symphonic library in which all instruments were
recorded with the same small diaphragm microphones, which creates bad phasing
when huge densities of instruments are used. I will repress the gear geek in me
and proceed.
The story, of the opera,† came out while reading last week's highly theoretical
discussions, which were amazing, but left me still thinking that we as cultural
workers have created almost no shift in how people think about the art of sound
reproduction and music consumption.
For your average person recordings are their experience of music. They consume
recordings in their car, home and office. If they are walking down the street
and are not wearing ear buds, they are confronted with street musicians, most
of whom are jamming to a pre-recorded tape!
By contrast when we try to interest the public in just listening whether in the
art gallery or concert hall with nothing to see, people think they are being
"ripped off." And yet our use of technology is far more interesting and subtle
than the new Celion Dion album. (n.b. and please: "nothing to see"-I am
thinking of more than† electroacoustic music and its diffusion ideas!-even
though i live in Quebec!)
Where do we go from here, in making the audio format, (which may or may not
involve some type of live performance) to be more understood and appreciated
for your average person?
Or to put the question in even simpler terms, and make it personal....(indulge
me for a moment, the people who know me at this forum know my dry wit):
Why can i always interest and amaze your average person with my guitar wanking,
than the extreme detailed work i have to do to mix and project 400 tracks of
sound?
Paul
............
For bio, music excerpts, recordings, reviews etc go to:
http://www.electrocd.com/en/bio/dolden_pa/
To see a video of a chamber orchestra work go to:
>>
_______________________________________________
empyre forum
empyre@lists.cofa.unsw.edu.au
http://www.subtle.net/empyre_______________________________________________
empyre forum
empyre@lists.cofa.unsw.edu.au
http://www.subtle.net/empyre
