Thank you guys again! The guidance is very much apreciated--thank you
On Thu, Jul 12, 2018 at 10:09 AM, uǝlƃ ☣ <[email protected]> wrote: > Well, as usual, we have to avoid any artificial discretization. > Collaboration comes in a spectrum of types just like everything else. The > lag time for feedback from one's recorded music (or video, books, etc.) is > much longer than that of a "live" show. But that doesn't mean there is no > feedback to the artist or publisher. And, as you point out, the system > might be a 3 compartment system (artist, DJ, listener), which not only > affects the lag time, but also the quality and type of signal (including > more types: artist-listener, artist-DJ, DJ-listener, artist-listener-DJ, > artist-DJ-listener, etc.). > > I don't construct hardly any music, even though I trained a bit on piano > and trumpet. But I have participated in a few jam sessions (using a drum > forcibly shoved at me). Low latency collaboration between musicians is > obviously required. And I can even see the need for such tight couplings > between, say, conductor and orchestra, or musician and performing dancers > or whatnot. But I still don't really understand the apparent *need* of > stage bands to see their audience *react* in immediate, active, and obvious > ways right then and there. > > There is a clear bifurcation of stage bands, though. The math rock bands, > being largely engrossed in their production, don't seem to care that much > about getting/seeing reactions during their performance. The same seems > true of most stoner, psy, and noise acts. So, I have to infer a strong > correlation between the musicians' internal physiology and their product > type. Different types of intentional evocation require/dictate different > types of interaction. > > And to be clear, it's not that I do or don't feel obligated to react > visibly. It's that I don't parse music by moving my body. In fact, > physical movement interferes with my ability to listen carefully. So, > yeah, if you want me to move, play rote ostinatos that I've heard over and > over again in one form or the other. But if you want me to *hear*, then > play something interesting and don't demand any movement from me. 8^) > > > On 07/11/2018 07:47 PM, Steven A Smith wrote: > > I am coming to appreciate more what artists (including poets and > > musicians) mean when they talk about their work being collaborative with > > their audience (fans, readers, etc.) > > > > I share your (Glen) sentiment (as something of a shoe-gazer myself) that > > I am not in any (specific) way obligated to respond to their work, yet I > > do believe that my response (even if it is roughly *intense shoe > > gazing*) is an important part of what they are doing. > > > > I remember listening to an NPR story (This American Life?) years ago on > > roughly the anniversary of the first public/commercial audio recording > > of a musical performance and the reception such a thing had at that > > time. Musicians were supposedly entirely non-plussed by this > > development... the anecdotal explanation being that they simply didn't > > recognize the *sound* being emitted as being representative of the > > art/performance... it obviously had a central role in some sense, but > > by the time *we* came of age (depending on who "we" is here, anywhere > > from the early 50s to the 2000s (I know only of one specific member of > > this list under 30?) commercial LP and audio tape (reel to reel, 8 > > track, cassette, ???) recordings were a strong standard in the way we > > experienced music. As a DJ in the early 70s, I was aware that for any > > given popular song, there may be several or *many* recorded versions > > (usually from different live concerts) with subtle variations and that > > *I*, with my "curatorial" role with music felt it very important to know > > that *somebody was listening*. When I allowed requests and > > dedications, it was invariably maddening that the callins were almost > > exclusively "teeny boppers" asking for the most ridiculously saccharine > > music over and over (during Michael Jackson's "Ben" fame, they would > > call *while* it was playing to ask me to play it... I set a hard and > > fast rule that no song, no matter how popular would ever get played more > > than once during my 3-4 hour show. > > > > Of course, Gil's questions/requests here were not intended as > > (performance?) art, so this doesn't apply directly. I know that when > > *I* as a question into the air and get absolutely NO response, it is > > easy to take the deafening silence personally. > > -- > ☣ uǝlƃ > > ============================================================ > FRIAM Applied Complexity Group listserv > Meets Fridays 9a-11:30 at cafe at St. John's College > to unsubscribe http://redfish.com/mailman/listinfo/friam_redfish.com > FRIAM-COMIC http://friam-comic.blogspot.com/ by Dr. Strangelove >
============================================================ FRIAM Applied Complexity Group listserv Meets Fridays 9a-11:30 at cafe at St. John's College to unsubscribe http://redfish.com/mailman/listinfo/friam_redfish.com FRIAM-COMIC http://friam-comic.blogspot.com/ by Dr. Strangelove
