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    <p class="MsoNormal">This is in response to Anna's question:<br>
      &nbsp;<br>
    </p>
    <p class="MsoNormal">I have not been on juries that deal strictly
      with sound art
      but my experience on Canadian visual arts peer evaluation has
      generally addressed the
      category of artistic merit to weigh more heavily on the conceptual
      and content
      side than what I would call the formal side (technical finesse as
      innovation). I'm curious as to what you are thinking of in terms
      of problematizing the term "innovation". Do you feel sound artists
      have become slaves to their own technology? Is it paradoxical that
      such an avant garde format is actually less conceptually and
      critically focused because of a reliance on more complex
      technology? It seems a far cry from the era of early video art for
      example where visual artists had much more freedom and I feel
      innovation with their
      media because of its directness and low level of technology. <br>
      <br>
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    <div class="moz-cite-prefix">On 14-06-18 3:08 PM, Christoph Cox
      wrote:<br>
    </div>
    <blockquote cite="mid:53A1F1A4.4000305@hampshire.edu" type="cite">
      <pre wrap="">----------empyre- soft-skinned space----------------------</pre>
      <br>
      <fieldset class="mimeAttachmentHeader"></fieldset>
      <br>
      <meta http-equiv="Context-Type" content="text/html; charset=UTF-8">
      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>
        <br>
        <fieldset class="mimeAttachmentHeader"></fieldset>
        <br>
        <div><br class="">
          <div class=""><br>
            <span class=""></span></div>
          <div class=""><span class="">First,I like to thank Jim for
              inviting me, and have greatly enjoyed the discussion so
              far. <br class="">
            </span></div>
          <div class=""><br class="">
            <span class=""></span></div>
          <div class=""><br class="">
          </div>
          <div class=""><span 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 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=""><br class="">
            <span class=""></span></div>
          <div class=""><span 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=""><span class=""><br>
            </span></div>
          <div class=""><span class="">The story, of the opera,&nbsp; 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=""><span 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=""><span class=""><br class="">
            </span></div>
          <div class=""><span 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&nbsp; electroacoutic music and its
              diffusion ideas!-even though i live in Quebec!)</span></div>
          <div class=""><span class=""><br class="">
            </span></div>
          <div class=""><span 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=""><br class="">
            <span class=""></span></div>
          <div class=""><span 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=""><span 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 class="">
            </span></div>
          <div class="">&nbsp;</div>
          <div class="">............ </div>
          <div class=""><br class="">
            <br class="">
          </div>
          <div class=""> <br class="">
            For bio, music excerpts, recordings,reviews etc go to:<br
              class="">
            <br class="">
            <a moz-do-not-send="true" class="moz-txt-link-freetext"
              href="http://www.electrocd.com/en/bio/dolden_pa/">http://www.electrocd.com/en/bio/dolden_pa/</a>
          </div>
          <div class=""><br class="">
          </div>
          <div class=""><br class="">
          </div>
          <div class=""> </div>
          <div class=""><br class="">
            <br class="">
          </div>
          <div class=""> <br class="">
            To see a video of a chamber orchestra work go to:<br
              class="">
            <br class="">
            <a moz-do-not-send="true" class="moz-txt-link-freetext"
              href="http://vimeo.com/channels/575823/72579719">http://vimeo.com/channels/575823/72579719</a><br
              class="">
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          <div class="yahoo_quoted">
            <div class="">
              <div class="">
                <div class="" dir="ltr"> On Wednesday, June 18, 2014
                  9:29:12 AM, Jim Drobnick <a moz-do-not-send="true"
                    class="moz-txt-link-rfc2396E"
                    href="mailto:jim@displaycult.com">&lt;jim@displaycult.com&gt;</a>
                  wrote:<br class="">
                </div>
                <br class="">
                <br class="">
                <div class="">
                  <div class="" id="yiv7525833517">
                    <div class="">
                      <div class=""><span class="">Hi Folks,&nbsp;</span></div>
                      <div class=""><span class="">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&nbsp;</span><span
                          class="">Sound Art, Technology and
                          Innovation.&nbsp;</span><span class="">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.&nbsp;</span></div>
                      <div class=""><span class=""><b class="">1) Ryan
                            Diduck</b></span><span class="">: 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=""><b class="">2) Paul Dolden</b>: Why
                        do&nbsp;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:&nbsp;<span
                          class=""><a moz-do-not-send="true" 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=""><b class=""><span class="">3) Anna
                            Friz</span></b><span class="">: 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 techn&eacute; 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.&nbsp;</span></div>
                      <div class=""><b class="">4) Lewis Kaye</b><b
                          class="">:&nbsp;</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?<b
                          class="">&nbsp;</b></div>
                      <div class="">If Ryan, Paul, Anna or Lewis would
                        like to further elaborate, please do!</div>
                      <div class=""><span class="">Best,</span></div>
                      <div class=""><span class="">Jim&nbsp;</span></div>
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