<html><head><meta http-equiv="Content-Type" content="text/html charset=iso-8859-1"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><blockquote type="cite"><div bgcolor="#FFFFFF" text="#000000">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.</div></blockquote><div><br></div>I very much agree with this statement from an English perspective also. One of the reasons possibly for this foregrounding and appreciating of the "how" and "what" above the "why", is a current crisis in knowledge, as I see it. Austerity and the cuts to education and art funding in the UK, together with a monstrous conservative government, have brought us back to the idea of one truth and one knowledge that is not discovered or produced, but that we have to be instructed in. And so work and research projects in sound art that provide a tangible technological instruction and focus will have more chance at funding and in turn artists being thus funded are preferred for academic positions and students will increasingly demand the certainty of instructions rather than the pain and doubt of a more conceptual and material engagement in sound.<div> (sorry for being quite so negative)<div><br></div><div><br><div><br><div><div>On Jun 18, 2014, at 9:08 PM, Christoph Cox <<a href="mailto:ccox@hampshire.edu">ccox@hampshire.edu</a>> wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite">----------empyre- soft-skinned space----------------------
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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>
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<blockquote cite="mid:1403102618.68236.YahooMailNeo@web162604.mail.bf1.yahoo.com" type="cite">
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<div style="background-color: rgb(255, 255, 255); font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; font-size: 14pt; "><br style="" class="">
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><br style="">
<span style="" class=""></span></div>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span style="" class="">First,I like to thank Jim for inviting me,
and have greatly enjoyed the discussion so far. <br style="" class="">
</span></div>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><br style="" class="">
<span style="" class=""></span></div>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><br style="" class="">
</div>
<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>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><br style="" class="">
<span style="" class=""></span></div>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span 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>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span style="" class=""><br>
</span></div>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span 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="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span 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="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span style="" class=""><br style="" class="">
</span></div>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span 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="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span style="" class=""><br style="" class="">
</span></div>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span 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="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><br style="" class="">
<span style="" class=""></span></div>
<div class="" style="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span 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="font-size: 18.6667px; font-family: HelveticaNeue, 'Helvetica Neue', Helvetica, Arial, 'Lucida Grande', sans-serif; background-color: transparent; font-style: normal; "><span 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="">
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="">
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<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"><jim@displaycult.com></a>
wrote:<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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