entertainment

Well-known member
Maybe that's a good way into what it's doing then. Trying to discover revolutionary modes of expressing the imagination?
 

entertainment

Well-known member
When you're talking about the effect of discrete elements spliced together, it's impossible to ignore that this is the primal function of films because they are made of cuts.
 

luka

Well-known member
thats true and applying that film logic to every other field has been the main development of modernism
 

luka

Well-known member
but that doesnt make this stuff bad any more than it makes Picasso bad or Eliot bad or Joyce bad
 

WashYourHands

Cat Malogen
@padraig (u.s.) you mentioned in another thread that xenakis is a hero of yours. and maybe that you were into a few other similar people in an older thread? i’d be very interested to hear any thoughts you might have on this stuff

@WashYourHands you posted that econtact article a while ago in the other electroacoustic thread. likewise, very interested to hear any of your thoughts on this stuff, if you ever feel like it

(not to put you guys on the spot, feel totally free to ignore this)

so far with xenakis i've only listened to a few of his earliest electronic works. diamorphoses, ph, orient occident, bohor. they're all really unique and good. bohor is the one i'd consider great. the rest i'd still describe more as "promising". get the sense it's the 70s when xenakis really went for it and achieved GOAT status, as far as electoacoustic music.



interesting how, imo, bohor mostly resists attempts at "discretization"--yet i still really like it. but maybe it's fitting that i find the specific events hard to track and mentally organize, since the work is supposed to evoke a descent into madness.

let me get through today’s horrors and I’ll get into some tune collections while avoiding wanky theory as much as possible, except when it’s relevant.
 

wektor

Well-known member
I had an interesting conversation today with someone who was rather surprised that electronic music exists outside of the western world
 

wektor

Well-known member
it is indeed a little difficult to trace the trajectories of electronic music archives from other parts of the world, even if it is work that had come out of academia
 

wektor

Well-known member
what I wrote is actually off topic, I'll give myself the time to read through the whole of this thread and write something a bit more appropriate.
 

version

Well-known member
Going through the Recollection GRM back cat. atm. Haven't listened to this stuff in a while, so it's currently very refreshing. There's so much space in it, so much texture to it. I thought it might start to congeal into one big mass, and it does a bit. Some of it sounds more synthetic, some more organic or like actual objects, but listening to it like this does impose a sense of continuity. It invents a vast landscape/soundscape/map/architecture.

The one I'm listening to atm's specifically to do with the four elements, although the accompanying notes tend to slip my mind once I'm listening. The first track's supposed to be modeled on Air and I could hear that immediately, but the second's Water and some of it sounds more like the inside of a cave or building.



The spatial metaphors have come up on here plenty of times and in all sorts of contexts, but this stuff really lends itself to them. Everything you hear sounds like an object or particular space or substance. You're listening to toothpicks and creaking doors, liquids and gases, tumbling stone, dripping water, twisting metal, cave networks. The unmoored raw materials of more or less everything contorting themselves into strange new shapes.
 

mixed_biscuits

_________________________
Going through the Recollection GRM back cat. atm. Haven't listened to this stuff in a while, so it's currently very refreshing. There's so much space in it, so much texture to it. I thought it might start to congeal into one big mass, and it does a bit. Some of it sounds more synthetic, some more organic or like actual objects, but listening to it like this does impose a sense of continuity. It invents a vast landscape/soundscape/map/architecture.

The one I'm listening to atm's specifically to do with the four elements, although the accompanying notes tend to slip my mind once I'm listening. The first track's supposed to be modeled on Air and I could hear that immediately, but the second's Water and some of it sounds more like the inside of a cave or building.



The spatial metaphors have come up on here plenty of times and in all sorts of contexts, but this stuff really lends itself to them. Everything you hear sounds like an object or particular space or substance. You're listening to toothpicks and creaking doors, liquids and gases, tumbling stone, dripping water, twisting metal, cave networks. The unmoored raw materials of more or less everything contorting themselves into strange new shapes.
No U Turn want their ear candy back.
 
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