2004-02-15
Taken somewhat by surprise we started out by saying that data as such is not that interesting. Stewart said that installations that depend on cutting-edge technology are fine the first year out of date the second and embarrassing for ever afterwards ..
Brian Eno: A Year with Swollen Appendices – Jan. 28th
Pushing technology for it’s own sake might not be interesting. Still I often find that in order to meet my own artistic ambitions and needs in a project it’s necessary to push technological limits. Working on digital sound processing not to mention real time vide processing involves a lot of number crunching. The textural density that we’re able to achieve in real time is nothing compared to what you can achieve with a symphonic orchestra and close to 100 musicians. Most of the sound I’ve been creating for installations have consisted of approx. 3 simultaneous musical layers. I doubt Debussy would find that satisfying.
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2004-02-15
The compositional approach for the background layer of the installation in collaboration with Jana Winderen and Jørgen Træen is quite interesting and worth investigating further. I’ve been thinking of writing some essays on issues that I find interesting mainly in order to summarize and reflect on my own practice with the hope that future projects might benefit from it. One possible essay could be: “Creating textures and musical layers in an installation context. Some compositional approaches.”
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2004-02-15
A box is a deep frame. A room is a deep box.
Brian Eno: A Year with Swollen Appendices – Feb. 7th
I always prefer making frames: making context rather than content.
Brian Eno: A Year with Swollen Appendices – Feb. 16th
Content – Context – Concept
Composition?
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2004-02-15
One of the nice side effects of bloging is that while checking URLs I occationally bump into new and interesting stuff. The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age by Mark Prendergast seems interesting. As do Modulations: A History of Electronic Music: Throbbing Words on Sound edited by Peter Shapiro.
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2004-02-13
Glass engine is an amazing introduction to the music of Phillip Glass. It’s an IBM research project that makes you able to navigate more than 60 of his works.
The works are not only categorized according to ensemble types such as solo chamber opera etc. but also according to more subjective categories: joy sorrow intensity density and velocity. Values within these categories were assigned by Philip Glass’s longtime producer and sound designer Kurt Munkacsi.
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