the smearthe one major exception from the blockiness of the 80s is turntablism,
the smearthe one major exception from the blockiness of the 80s is turntablism,
citing stockhausen as an example of crudeness/leaving gaps in the motion rendering is so backwards from how i hear things it makes my head spin.all this makes me think about science stuff i was doing. ways of sampling curves (more points, more accurate / fluid); compression (retaining the minimum info for the maximum effect
music: a sinuous violin solo in which every note is fluid with the next; the hand and arm mapping a continuous complex shape in space? versus like stockhausen who is very crude but by leaving gaps in the musical thought creates a very different feeling of movement?
citing stockhausen as an example of crudeness/leaving gaps in the motion rendering is so backwards from how i hear things it makes my head spin.
suppose its 1955 and one of the only three sounds you can to make your track is a super short, nondescript pitched percussive noise. what can you do with that? most people including me would probably use it to create a simple kick drum pattern, or maybe a riff of some kind. not a lot of points. for what stockhausen, on the other hand, did--take the first few seconds here. a cloud of cosmic bubbles that descends, partially evaporating into reverb, then splits into to two different ascending trajectories all in the span of 10 seconds. (but, obviously more distribution points doesn't automatically equal better music.)
maybe a specific example of what you're talking about would be something like this.
if you speed up a rhythm made up of discrete points enough it becomes a sustained sound.as speed smears objects, bike ride turns trees into green streak
Think about this. anything extra than the drum machine and a 303 would be extraneous to the intention of the music, by having more distribution points you would paradoxically not have any because the music would have nowhere to go.
yeah you can obfuscate a motion by over complicating its renderingthere's a sort of conceptual distribution point element to minimalism which the likes of terry riley, Steve Reich never quite got. like being very strict, knowing what to leave out.
here comes drill n bassif you speed up a rhythm made up of discrete points enough it becomes a sustained sound.
I like that. A hand dancethis is what i learned from graffiti, that the tag is actually a gesture and not a symbol, the symbol is a record of the gesture
There's an idea taking shape in my head that says there is music that traces the entire arc of a movement in real continuous time, and other that works as a series of jump cuts, so that there are sections of the tape missing, you find yourself leaping from point A to B without having been lead there. What is your opinion on that