Re: Interactive la musique? (English version)


Subject: Re: Interactive la musique? (English version)
From: Alexandra Hettergott (a.hettergott@wanadoo.fr)
Date: Tue Apr 06 1999 - 07:28:50 EDT


Re translation: this is mine (might yet be more correct ...), thanks for your
interest, anyway :

-- Well, regarding the (inflationarily used) term "interactive" this might often also
be a sales strategy to sell a new technological product or software...
Regarding the formal aspect, interactivity in my opinion should imply having a
certain influence on the final (yet temporary) form of a work of art (including
music), i.e., a listener/player does participate in the process of creating a work
(formally) (see "p.s."). What is often times of interest to me are those
"interactive games" which one does see sometimes, showing fixed elements (say musical
ones) represented by symbols/icons, to which the arbitrary choice of the respective
people (players, "actors") are adding an aspect of chance, even improvisation. One
could say that this is something between (sono)fixation -- the basic sonic elements
created a priori (e.g., by the composer) -- and improvisation -- the (temporary),
instantaneous compilation/contextualization of the sounds/sonic objects (by the
listener/player), on a formal level, though. (In addition to the interactivity
concerning the (semi-mutual) human action there's also the aspect of a (temporary)
relation of the elements put into context which "interact" in a certain way.) On the
other hand there's also a manipulation of the listener/player through the
(pre)creator -- in so far as, actually, "all" is already predestined... [This does,
of course, also depend on the number of the elements and their degree of being
pre-structured; in case of a commercial game/CD, and no installation, it might yet be
more likely a "consumation recommendation" to the consumer, who, however, can't be
prevented from doing what s/he wants once acquired a product...]
If it is only the liberty which makes an interaction an actual interaction, the
limits are yet more rigid...; maybe it is only a way of improvisation which
represents a "true" interaction, yet not the games called "interactive". [Actually,
mostly it is only a "dummy interaction" -- one does just have the *choice* between
several elements already determined...]

p.s. I just recently read about the "Stories of Paris" (1842/3) by Eugene Sue (called
the first "soap-opera") that, starting after several chapters having currently been
published in some local journal, the writer had been influenced by his readers'
letters received... (U.Eco, commenting on a newer release by Jean-Pierre Galvan, "Les
Mystères de Paris -- Eugène Sue et ses lecteurs"/"The Mysteries of Paris --Eugene Sue
and his readers", Paris : L'Harmattan, in 2 vols.)



This archive was generated by hypermail 2b27 : Wed Jun 11 2003 - 13:08:55 EDT