Showing posts with label Theory. Show all posts
Showing posts with label Theory. Show all posts

21 January 2011

Off The Page

Link: Sound and Music

Date: Friday 11 - Sunday 13 February 2011
Venue: The Playhouse, Whitstable
Produced by: Sound and Music and The Wire

In February 2011, Sound and Music and The Wire present Off the Page, the UK’s first ever literary festival devoted to music criticism. Taking place at the Playhouse Theatre, Whitstable, on the South coast, this weekend-long event will feature a host of internationally-renowned critics, authors, musicians and artists discussing the current state of underground and experimental music in a programme of talks, presentations, panel discussions and workshops.


Schedule:

Friday 11 February, 7pm – 10.30pm
Doors open at 7pm
Presentation: Robert Wyatt on his favourite music
Short films hosted by BFI and introduced by Jonny Trunk: Tristram Cary on film

Saturday 12 February, 10am – 10.30pm
Talk: Ken Hollings on the post-Cageian universe
Talk: Rob Young and Matthew Herbert on the impact of musique concrète on contemporary sonic culture
Talk: Steve Beresford and John Kieffer in conversation
Talk: Kodwo Eshun on his favourite music writing
Talk: Dave Tompkins on the history of the vocoder, from its use in the Second World War to its role in the era of Auto Tune
Talk: Teal Triggs on Fanzines
Presentation: Christian Marclay
Short films hosted by Lux: Cage On Cable

Sunday 13 February: 11am – 5pm
Writing tips from The Wire (limited capacity)
Panel discussion: Salome Voegelin, David Toop, Daniela Cascella on the philosophy of listening
In conversation: Green Gartside with Mark Fisher discussing politics and cultural theory in pop culture and music
Performance lecture: Claudia Molitor, Jennifer Walshe, Sarah Nicholls on music notation


ADVANCE TICKETS ONLY

Tickets are available from Ticketweb:

Early bird weekend pass: £25 + bkg fee
Weekend pass: £30 + bkg fee
Friday pass: £12.50 + bkg fee
Saturday pass: £15 + bkg fee
Sunday pass: £12.50 + bkg fee

Book now

Please note: the Playhouse Theatre Whitstable has restricted wheelchair access


15 August 2010

Sharing, Physicality, Mixtapes and Newspapers

By: Russell Davies
From: http://russelldavies.typepad.com/
Date: 23/06/10

My talk at Lift seemed to go down quite well but I remember leaving the stage thinking of all the things I'd meant to say; my own fault for trying to cram an hour of stuff into 20 minutes. So I thought I'd try and elaborate on some of it here. This post is what I meant to say while standing in front of this picture of one of Roo and Leila's tapes.

Earlier in the year I'd heard Clay Shirky talk at SXSW - it was an incredibly helpful set of thoughts and had me thinking about sharing and physical stuff in a way that hadn't occurred to me before.

He referred to Why We Cooperate and talked about three modes of sharing and why they're different.

Sharing Goods - the hardest to do, because if you give a physical good you no longer have it, you're deprived of it.

Sharing Services - like giving helping someone across the road - you don't lose out on physical stuff but it's an inconvenience.

Sharing Information - like giving someone directions - you don't lose stuff, it doesn't take much time, no inconvenience.

And, crucially, he points out, we're taught all the time that sharing is good. We get hits of pleasure when we share things with people. It's neurological and social. We like to share.

So when Napster came along and changed music sharing from a Sharing Goods process to a Sharing Information process we didn't all suddenly develop criminal tendencies. It's just that sharing, which we're inclined to do, suddenly became way more convenient. And as he said and someone twittered "We have a word for not sharing if there’s no cost to you: that word is ‘spiteful.'" The music industry is not battling against a generation of digital criminals, it's fighting a bunch of kids doing what their parents have been telling them since they were two - sharing nicely.

That, to me, was a hugely helpful and accurate framing of what's going on with sharing on the internet.

But it also got me thinking along a tangent.

While talking about Sharing Services Mr Shirky mentioned mixtapes - a way of sharing your music without giving away your records, but not very convenient to make, a sort of intermediate step on the way to Napster. But having just seen Shift Run Stop's tapes of their episodes (so, I guess, not strictly mixtapes) I immediately started thinking not about the inconvenience of a tape, but about their embedded value.

A mixtape is more valuable gift than a spotify playlist because of that embedded value, because everyone knows how much work they are, of the care you have to take, because there is only one. If it gets lost it's lost. Sharing physical goods is psychically harder than sharing information because goods are more valuable. And, therefore, presumably, the satisfactions of sharing them are greater. I bet there's some sort of neurological/evolutionary trick in there, physical things will always feel more valuable to us because that's what we're used to, that's what engages our senses. Even though ebooks are massively more convenient, usable and useful than paper ones, that lack of embodiedness nags away at us - telling us that this thing's not real, not proper, not of value. (And maybe we don't have the same effect with music because we're less used to having music engage so many of our senses. It's pretty unemboddied anyway.)

And that made me wonder if that's why people are liking Newspaper Club so much? Are we getting close to some sweet spot where you get the satisfactions of sharing a physical thing but with the convenience of sharing information. Is that what you can get when you add Digital Sharing Technologies to Physical Manifesting Technologies?

We're not there yet. We're probably only at Sharing Goods like Sharing Services but even that seems like a step forward. Maybe that's why making your own book feels so right, maybe that's where we need to go next with DataDecs, maybe that's what Shapeways and Ponoko will enable, but I think there's something in this.

10 August 2010

Frank Bretschneider - EXP

From the Raster-Noton label [although maybe more relevant to the previous project]:

EXP is a music-visual work based on the idea that fine art should attain the abstract purity of music. an attempt to assimilate the qualities found in music – including movement, rhythm, tempo, mood, intensity and compositional structure – within visual phenomena. the music for the project was composed of specifi c generated and selected waveforms, feedbacks, impulses, clicks, the sound of mechanics, electricity, magnetism, light and other radiation. in addition and since the animation is mainly driven by sound frequency and intensity, the sonic quality of these sounds makes it possible to obtain an optimal effect on the graphics motion. in combination with several other ways of controlling the animation – from midi programming to applying motion curves – the visualization represents an exact reproduction of the audible occurrences. as a consequence the computed images often attain anunexpected beauty, from simple geometrical patterns to extraordinarily complex forms.


9 August 2010

The 'totem'

When I blogged the Matthew Dear 'Totem' format earlier, I didn't immediately make the connection between it and the totems used in the film Inception. The latter are devices that the characters use to help determine the difference between dream states and consciousness and include the pictured spinning top that behaves in a specific way that helps clarify what is and isn't reality. [I'm trying not to post anything that might be considered a 'spoiler'.]

This and Dear's totem perhaps generates a whole dialogue about how we attach meaning to objects. Getting deeper into that discussion, it might be off-putting should it verge on the quasi-religious yet ultimately we are actually talking about a question of faith. Belief allows for the perception of items as having deeper symbolic meaning: most often associated with decorative artefacts with examples dating back to the Stone Age. Yet functional products can take on significance outside of their primary purpose. The research that I've undertaken over the past couple of weeks increasingly supports the idea that music formats do this: transmitting information aside from the audio and visual material that they carry. This cultural theory aspect is possibly something I need to consider further to refine my rationale. Maybe while noting its relationship to Benjamin's "aura" and Baudrillard's "simulacrum".

Inception