From: Kevin Austin (kevin.austin@videotron.ca)
Date: Tue Oct 12 2010 - 13:39:35 EDT
I think the problem here is in the translation of the word "form". For an understanding of this (from the Irish to the french to english) read Acts 3 through 7 of Waiting for Godot.
If it is possible to consider "form" a process, then it would be possible to have a "Sonata form" (concrete) poem like this
Intro
Theme One (theme one)
transition
Theme Two (second subject group)
codetta
c-c-c one sub SUB JBus JBus
sesu sesususususuuuuu
THEME ONE (Yes!)
tran
Them Tw grp
C-C-CODA coda coda coda
co co co-co-co-cccc-CCCC-CCC
C-O-D-A!!
In my reading of this, it is less than 25 seconds long. Your length may vary.
Have you read the miniature version of Ulysses? A life in a day. The rest is amplification of the central idea.
Regarding "textural exposition", or "textural exploration" (both quite common in high art ea, and trance), these are modernist in one sense in that being non-narrative, there is not necessarily a point of reference regarding 'scale'.
Here is a miniature (image)
Is this the 'complete', or is has this been taken out from a larger piece?
Hint:
Is this the 'complete' image:
The last image could be considered incomplete (cropped) before the 1980s, but in the 80s and 90s, tv and cinema styles underwent a change where the top of the head is regularly 'out of frame'.
If the ea miniature has a narrative structure (Yves Daoust, mi bemol; Daniel Feist Diptych (2 movements) http://cec.concordia.ca/electrobox/sonus02/Feist_Diptych.mp3 ), then 'scale' is carried by the story (Daoust), or the texts (Feist). Daoust could be reduced in size by several seconds, or expanded by the addition / expansion of material. Feist is more difficult. The gestures were carefully worked out and edited exactly to shape (given the technological limitations of the early 80s).
Miniature could have aspects of dimensional control, as in the ship in the bottle and the portrait on a grain of rice.
Kevin
On 2010, Oct 12, at 12:31 PM, jef chippewa wrote:
>
> thanks, didn't know about that project.
>
> this article says "many" of them are generative, so different versions would result each time the code is run. but i can't tell (i'm not fluent in "code") how much of the rhythmic or sonic characteristic and general shape of the piece would remain, how much variance there would be from the "official" versions.
> http://thewire.co.uk/articles/3177
>
> also not apparent to me is how the lengths were chosen. many seem to have been cut (or have a fade-out) arbitrarily; the process sounds like it could -- and prob should in some cases -- go on for much longer.
>
> erik, you don't find that several of the pieces have movement and trajectories that are fundamentally different than an installation-type work that can run for days (like the lucier piece)?
>
>
>> SC140 - A very different type of EA miniature. I am not sure whether you considered it or not.
>
>
> on or around 23:00 +0100 10/11/10, Eric Lyon seems to have said:
>> I love those SC140s! But it seems to me that they are only miniatures in the sense that Alvin Lucier's Music on a Long Thin Wire is a miniature.
>
This archive was generated by hypermail 2.1.5 : Tue Oct 12 2010 - 13:47:59 EDT
