Re: KA's EA


Subject: Re: KA's EA
From: Kevin Austin (kevin.austin@videotron.ca)
Date: Thu Nov 10 2005 - 19:38:07 EST


The point you make is fundamental to the proposed delimitation of ea.

A loudspeaker allows a displacement of space and (with a means of
storage), time.

The person speaking into a microphone and being recorded is aware
that the binding nature of time (including Korzybski) is being
unbound while being crystallized.

Beethoven played a note on his piano. You were there, you heard it.
You weren't there, you didn't. It would never come back.

Sir Elton John played a note on his piano at Princess Di's funeral. I
wasn't there, but I heard it (slightly delayed because of the time of
delivery of the delivery system). I listened to it again just a
little while ago.

How doe such matters effect and influence (sound) artists?

There are those who, while composing, accept that their work is not
for "one moment, in one place, at one time" -- that is live with no
recording.

Many Ea people have passed beyond this. The composition exists
independently of time, place and space. It also escapes slavish
linearity. (We'll do an insert later.)

The world has gradually accepted this 'visual / literate' model of
sound over the past 100+ years. Earlier composers knew that there
work would be 'one shot' in presentation.

I wonder what Beethoven would have thought if he had been told that
in 180 years, there will be a Chinese women driving a car at
130km/hour between Winnipeg and Saskatoon comparing two recordings of
his Fourth Symphony, one recorded in Berlin in 1944 with Furtwangler
conducting while Hitler sat in the audience, with one played by the
Rigaud Symphonietta in Montreal in 1984, with Furtwangler, or rather,
playing along with the Furtwangler recording.

This concept might have been a little difficult for Ludwig to grok
the fullnss of. http://www.answers.com/grok&r=67

And, I would continue to draw out the idea that the ability to stop
the recording at any time, has changed listening attitudes in a very
fundamental way. The natural extension(s) of this is time shifting
(record now, play later) ... and the disconnection of (a) performance
with the moment.

For a sense of where the world has gone on this, I watch about 20
minutes of music video per week. In my reading, the sound and image
are (simply (sic)) fabrications.

A further extension of this model starts to deal with the concept of
"a language", and I am coming to propose that the displacement and
crystallization of time are more powerful as language-shaping
elements than 'processes' applied to the sounds.

The 'language of electroacoustics', I would propose, is only
partially about "the materials", and "the technology", and is more
closely allied to a extended conception of time and permanence, space
and presence, and connection(s) across these.

Wanna talk about it on the phone? Call and leave me a message on my
answering machine. I pick up my messages every three to four weeks.

Best

Kevin

Part of this has been reinforced over the past year as a number of
friends have died, but their spouses have left the old message (their
voices) on the answering machines.

At 3:39 PM -0500 11/10/05, John Kamevaar wrote:
>But what about the phone? If I called you up would we be
>collaborating on an EA piece?



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