Re:


Subject: Re:
From: Bruno Degazio (degazio@ibschool.com.tritan.com)
Date: Wed Feb 07 1996 - 14:35:49 EST


Darren Copeland wrote:

>as concrete as those summoned by photographs. The terrain is ambiguous, and
>perhaps marred by what in realistic terms appears contradictory. Adding to
>
>This leads me to ask what should be a fifty year old question: Where is the
>concrete in Musique Concrete? (Am I losing something here in my pigeon

IMHO I think Darren touches here on an essential point: because of the
ambiguity of reference to the world, metaphor (the heart and soul of art)
is weakened to the breaking point in much musique concrete. OTOH, with
careful attention to sound's referential aspects, the same ambiguity can
become a positive factor.

>there most be something there that relates to drama, language, narrative,
>dreams, pictures, filmic landscapes, et cetera.
>

This brings to mind something G.K.Chesterton said- to the effect that, in
art, people are really only interested in other people, or in stories about
other people (he said it much more gracefully of course). This seems to say
that a piece needs a sense of history, not just process (a problem with
many algorithmically composed pieces).

---------------------------------------------------------------
Bruno Degazio DSD STUDIO 192 Spadina Ave., #512
Toronto, Canada M5T 2C2 tel: (416) 504-9353 fax: 504-9354



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