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    Questions about technology (about sonic production, recording,
    circulation, etc.) surely have some importance in the consideration
    of sonic (and any other) art. But I confess that, as a critic and
    philosopher, I almost entirely tune out when the conversation
    (especially among artists) turns to gear and tools rather than
    sensual/conceptual content. Factual talk about gear too often
    substitutes for the more difficult and, to my mind, infinitely more
    important, talk about aesthetic and historical value. Take, for
    example, <i>Leonardo Music Journal</i>. Though I serve on the
    journal's editorial board, I'm rarely interested in the essays,
    which so often concern the "how?" instead of the "why?".<br>
    <br>
    This is relevant to Anna's question: In my experience, grants and
    academic positions so often seem to go not to the most interesting
    or important artists (by my lights, of course) but to much less
    interesting artists who can tell a story about their "innovative"
    use of hardware and software.<br>
    <br>
    <br>
    <div class="moz-cite-prefix">On 6/18/14, 10:43 AM, Paul Dolden
      wrote:<br>
    </div>
    <blockquote
      cite="mid:1403102618.68236.YahooMailNeo@web162604.mail.bf1.yahoo.com"
      type="cite">
      <pre wrap="">----------empyre- soft-skinned space----------------------</pre>
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            style="" class="">First,I like to thank Jim for inviting me,
            and have greatly enjoyed the discussion so far. <br
              style="" class="">
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        <div style="" class=""><span style="" class="">Well I will start
            today, since I have not participated yet.( I am responsible
            for question #2, about opera using recorded signals.</span></div>
        <span style="" class="">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.)</span>
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            style="" class="">
          <span style="" class=""></span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class="">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.</span></div>
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            style="" class=""><br>
          </span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class="">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. <br>
          </span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class="">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!</span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
          font-family: HelveticaNeue,Helvetica
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            style="" class=""><br style="" class="">
          </span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class="">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  electroacoutic music and its diffusion ideas!-even
            though i live in Quebec!)</span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class=""><br style="" class="">
          </span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class="">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?</span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class="">
          <span style="" class=""></span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class="">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):</span></div>
        <div class="" style="color: rgb(0, 0, 0); font-size: 18.6667px;
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            style="" class="">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?<br style="" class="">
          </span></div>
        <div style="" class=""> </div>
        <div style="" class="">............
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          <br style="" class="">
        </div>
        <div style="" class="">
          <br style="" class="">
          For bio, music excerpts, recordings,reviews etc go to:<br
            style="" class="">
          <br style="" class="">
          <a class="moz-txt-link-freetext" href="http://www.electrocd.com/en/bio/dolden_pa/">http://www.electrocd.com/en/bio/dolden_pa/</a>
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          To see a video of a chamber orchestra work go to:<br style=""
            class="">
          <br style="" class="">
          <a class="moz-txt-link-freetext" href="http://vimeo.com/channels/575823/72579719">http://vimeo.com/channels/575823/72579719</a><br style="" class="">
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              <div style="" class="" dir="ltr"> <font style="" class=""
                  face="Arial" size="2"> On Wednesday, June 18, 2014
                  9:29:12 AM, Jim Drobnick <a class="moz-txt-link-rfc2396E" href="mailto:jim@displaycult.com">&lt;jim@displaycult.com&gt;</a>
                  wrote:<br style="" class="">
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              <br style="" class="">
              <br style="" class="">
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                <div style="" class="" id="yiv7525833517">
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                    <div class="" style=""><span class=""
                        style="color:windowtext;"><font style=""
                          class="" face="Arial">Hi Folks, </font></span></div>
                    <div class="" style=""><span class=""
                        style="font-family:Arial;">Yesterday's questions
                        about sound in its cultural context didn't seem
                        to gain much traction with the group -- or were
                        there comments that didn't get through? If the
                        former was the case, then we'll move on to the
                        next topic, which is </span><span class=""
                        style="font-family:Arial;">Sound Art, Technology
                        and Innovation. </span><span class=""
                        style="font-family:Arial;">Ryan Diduck, Paul
                        Dolden, Anna Friz and Lewis Kaye have offered
                        questions that address the influence of
                        technology on sound art production, along with
                        the pressures of artists themselves to develop
                        new technologies. </span></div>
                    <div class="" style=""><span class=""
                        style="font-family:Arial;"><b class="" style="">1)
                          Ryan Diduck</b></span><span class=""
                        style="font-family:Arial;">: What is the
                        relationship between users and innovations? This
                        is an
                        important question to consider for music making,
                        as well as its reproduction.
                        How are sound or music technologies -- such as
                        formats like LPs and MP3s, or
                        instruments like pianos and electronic
                        synthesizers -- and their users mutually
                        produced? To what extent do users stimulate
                        technological innovations, or vice
                        versa, in the sonic realm?</span></div>
                    <div class="" style=""><font style="" class=""
                        face="Arial"><b class="" style="">2) Paul Dolden</b>:
                        Why do cultural workers have so little impact on
                        introducing the use of
                        technology into the field of art music? Such as
                        the incident of opera musicians being replaced
                        by a digital orchestra recently reported in the
                        NY Times: </font><span class=""
                        style="font-family:Arial;"><a
                          moz-do-not-send="true" style="" class=""
                          rel="nofollow" target="_blank"
href="http://www.nytimes.com/2014/06/12/arts/music/a-digital-orchestra-for-opera-purists-take-and-play-offense.html?emc=eta1">http://www.nytimes.com/2014/06/12/arts/music/a-digital-orchestra-for-opera-purists-take-and-play-offense.html?emc=eta1</a></span></div>
                    <div class="" style=""><b class="" style=""><span
                          class="" style="color:windowtext;"><font
                            style="" class="" face="Arial">3) Anna Friz</font></span></b><span
                        class="" style="color:windowtext;"><font
                          style="" class="" face="Arial">: Artists
                          working with sound are judged by many of the
                          same criteria as
                          media artists when it comes to applying to
                          various funding bodies, festivals,
                          prizes and awards, and so on. Of these, to my
                          mind the most contentious
                          condition is that the work must be innovative.
                          What counts as innovation for
                          sound and audio art? Too often 'innovation' is
                          still framed in terms of
                          technical development and mastery, where
                          techné is understood operationally
                          rather than relationally and aesthetically.
                          This can be the case whether the
                          sound works in question use extensive
                          multi-channel systems, self-made
                          software, or DIY instruments. I am interested
                          to problematize this focus on
                          innovation, both in terms of working with
                          sound technologies and in terms of
                          how it effects the sound art scene, the kind
                          of work that is programmed or
                          supported and where. </font></span></div>
                    <div style="" class=""><font style="" class=""
                        face="Arial"><b style="" class="">4) Lewis Kaye</b><b
                          style="" class="">: </b>What is the status of
                        an audio artwork when the actual sonic
                        aesthetics of the piece are contingent on the
                        technical system used to reproduce it? Is the
                        technical system thus an integral element in the
                        audio art work?</font><b style="" class=""><font
                          style="" class="" face="Arial"> </font></b></div>
                    <div class="" style=""><font style="" class=""
                        face="Arial">If Ryan, Paul, Anna or Lewis would
                        like to further elaborate, please do!</font></div>
                    <div class="" style=""><span class=""
                        style="font-family:Arial;">Best,</span></div>
                    <div class="" style=""><span class=""
                        style="font-family:Arial;">Jim </span></div>
                  </div>
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