EA, by the way, Baird=Bard

Subject: EA, by the way, Baird=Bard
From: Innes <%> (iparki23@yahoo.com)
Date: Fri Mar 25 2005 - 16:50:49 EST

Dear Francis and CEC,

Francis: Nevertheless I don't know if I quite
understand what you mean, I get some problems with

 Pardon the ol' (James) McGill brogue.
> > Considering that mainstream media now comes with
> >surround sound, a defining characteristic of the
> >montage of EA emissions (which keeps it distinct
> from other audio) would be that live performance by
an artist does not necessarily require the artist's
> >presence, in a way that is distinct from classical
> >rendition. Non?

 In my opinion an acousmatic performance never
NECESSARILY required the artist's presence;
nevertheless this presence can be a more attractive

Well, in some ways I refer to the line of thought
which leads to contemporary music being considered
(not exclusivley) a part of mass media. For example,
if I may put this in a Montreal Uni context: The
Tagg/Clarida position which believes that the study of
music and music itself has moved in stages from the
Ethno to the Electro to the Semio era (current). In
the semio era music should be thought of as part of
audiovisual semiography, even if it does not have a
visual element at the point of perception. The screen
projections in your piece I witnessed as RSAMD could
indicate manifestation of this type of trend.
 With surround sound now being incorporated into high
volume commercial film releases, what seperates
electroacoustic music as a different facet?

 After travelling quite far to hear your work and
realising that I had misread the fine print and that a
live mix of prerecorded material was tantamount to a
live performance/concert/event, I was reminded that
this phenomenon is part of what makes electroacoustic
music different from other forms, because the
technology does no longer differs radically.

 It has also dawned on me that electroacoustic music
is often about fusing new technique onto mainstream
culture/music/media. For example, one of the reasons
Boulez moved from France to Germany was that he could
see a more consistent flow of composers emanating from
there historically. Also, CSIRACs music being used as
a way to attract governemnt funding for computer
 Does the above therefore mean that the MacKenzie
brothers are electroacoustic artists?


When opening this website, the short introductory
sound (familiar to canucks) may be heard according to
the configuration and mix level of the visitor's
computer. A live mix of a prerecorded sound...
 This particular sound could be used by
electroacoustic composers working on Canadian
corporate websites as an expression of the glee they
feel about global warming's effect on Winterpeg.

  Monsieur Innes Park.


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