Hello Damian. I'm glad to read that you're still creating. (When you've
time, I'd be interested in any links to your audio which you might be
able to direct me to.)
As for writing on BC, Kodwo Eshun wrote what turned out to be amongst
the most memorable articles (possibly the most pretentious
hey
can anyone recommend any verbal or theoretical looks at the deeper dubbier
side of techno? i was chatting with my flatmate last night (she's a
musician but doesn't much listen to electronic music) and we realised that
there were very little in the way of words or ideas that we could use
the UK magazine The Wire has had some articles about Basic Channel
such, but a few minutes with google turned up not much. If you're in
New Zealand, I imagine getting copies of The Wire is expensive, and
finding an archive of back issues to search through pretty much
impossible.
Honestly
kent williams wrote:
Of course, once you start doing any academic work on popular music you
have to overcome resistance from the established community who don't
think popular music is worth considering as art. The people in the
composition department at our local University get mad if
Hah, well the University of Iowa is about as scary as Midwestern
Universities get...
And to clarify where I got my impression of the academic attitudes
towards pop music, it was from the Electro Acoustic composers gang, a
fair number of whom I got to meet at SEAMUS a few years ago.
If you want
On Sep 24, 2006, at 7:33 AM, kent williams wrote:
This has eff all to do with techno though. Someone talk about
records ;-)
In a sense, though, this does have a fair bit to do with techno. A
part of the story of techno (and IDM, for that matter) has been the
effort to get respect for
-Original Message-
From: Luis-Manuel Garcia [mailto:[EMAIL PROTECTED]
Sent: 24 September 2006 11:45
Cc: list 313
Subject: Re: (313) techno mentalism
On Sep 24, 2006, at 7:33 AM, kent williams wrote:
This has eff all to do with techno though. Someone talk
about records
On 9/24/06, Luis-Manuel Garcia [EMAIL PROTECTED] wrote:
Also, in a fit of self-promotion, I could recommend an article I
wrote a years ago, called On and On: Repetition as Process and
Pleasure in Electronic Dance Music. It's in Music Theory Online,
Volume 11/4, at:
In a sense, though, this does have a fair bit to do with
techno. A part of the story of techno (and IDM, for that
matter) has been the effort to get respect for the genre,
which raises questions about whether it needs respect, whose
respect really counts, whether disrespect from certain
Tristan Watkins wrote:
The only extent to which I agree with this is that *some* techno musicians
may be concerned about it while they compose. Most don't care at all though.
Why on earth should a detached subculture look to established arts for
guidance or approval? It's mad. I mean it's cool
The Acoustica album was interesting and worthwile for a number of
reasons, but the most interesting reason was that it directly
connected the virtuosity of human musicians to the machine's ability
to play music well beyond the physical constraints of human
performance. The arrangers took music
11 matches
Mail list logo
