When you read the subject line, the first thing you think of is not a musical phenomenon.
OK. I'm done being silly for one evening, at least on the computer. Tristan ========================================== PHONOPSIA<[EMAIL PROTECTED]> http://www.geocities.com/SunsetStrip/Lounge/5102 "FrogboyMCI" on AOL Instant Messenger New Album, "Québécois", online now. -----Original Message----- From: darw_n <[EMAIL PROTECTED]> To: 313@hyperreal.org <313@hyperreal.org>; [EMAIL PROTECTED] <[EMAIL PROTECTED]> Date: Friday, September 29, 2000 5:26 PM Subject: [313] in defense of the shift... >First off, I am not the best writer, although I fancy myself to be, I >realize I am so-so. With that in mind, please reconsider something... > >Toneshifting as an effect (major/minor shifting in repetitious percussion) >is only , that, a mundane psychological effect. But the *theory* of >Toneshifting as it can be applied to music (and perhaps even more wide >spread than that!!) is far more complex in that it uses that effect as a >tool to achieve total equality between the audience and the artist. It is >primarily concerned with techno and its new approach to art ("it" using >toneshifts as its main "medium" if you will), and indeed, how techno as an >art is appreciated by the individual in an entirely different manner than >other modern musics, I contest with this theory that techno has to create a >whole new ground aside from other music and all the pre-existing theories, >it operates like no other... > >I am trying to combine art with psychology, sociology, and philosophy, >daunting task yes, but nonetheless, possible. And keep in mind that our >music and the scenes that came with it are left unassessed (why?) and >perhaps soon to be forgotten if left that way. Anyways, down below is some >excerpts from a conversation I just had with someone on this list, I use it >to demonstrate that there is more to this than simple acoustics... > >The other thing I *know* is happening is people are getting quite mad >(admittedly or not) in that I am basically stating that an artist is pretty >mush on the same level as the audience, if not even lower, I am attempting >to strip the glory and glamour of the artist (I am an artist too, it is >something I am more than happy to give up). I truly feel that this is >explainable through things such as personality traiting and such, and such >is what I believe. I also really don't think we are all that different from >one another, we are all the same species, thus making it possible to at >least be some what general in approach (the MMTI has about 16 personality >types, all of which are very accurate in personality prediction, something >to ponder.)... > >Here's my words from the conversation [edited]: > >In a different approach, is that with say a piece of melodic complexity, the >artist is speaking and projecting _out_ his/her views and visions in a very >precise manner. To the audience, that piece is a matter of interpretation >and entertainment only, the audience does nothing more (at best he can >"relate" to that piece). Toneshifting with repetition however is the exact >opposite, nearly eliminating the artist as an all powerful being speaking >his word. With toneshifting, we are reducing him to a point not much >different in prestige of simple a mason worker, unrealized yet skilled >(something the artist generally hates, thus giving fuel to those who argue >against toneshifting). It is the audience that has the soul and ideas in >which are important, and will add life and imagery to create a soulful and >complete track. So instead of the artist being the lone projector and >speaker, it is the audience too that carries this primary role... >Sure, the music that is quantified and theorized upon can be pretty mundane >unto itself once the formula is realized. But that's the point and should >be sought after with techno, take away that artists _defined_ soul and >imagery from the music and just leave raw emotion, and allow the audience >the freedom to project his/her soul and defined emotions to where the soul >and defined emotions are lacking, this is the essence of what I am trying to >say, and do so with toneshifting (something you just can do with Paul >Oakenfold or other "artists" that project their highly defined emotions and >souls _out_ at the audience). So, not only does toneshifting make the music >complete, but totally *interactive* and *equal*. So I contend the music can >be much more than just a recording with this theory I propose to you, in >that *each and every listener is going to think and project something >completely different from the next listener, thus making the music >absolutely timeless and boundless...* >*No longer, with toneshifting, is the audience expected to simply hear, >interpret, and reflect, now instead, the audience has the ability to put >what ever emotion or imagery they want into the picture. Techno allotted the >individual to in complete control of there wandering minds, and thus a whole >movement was based on this notion of escaping through dreaming...* > > > >darw_n > >"create, demonstrate, toneshift..." >http://www.mp3.com/darw_n >http://www.sphereproductions.com/topic/Darwin.html >http://www.mannequinodd.com > > > >--------------------------------------------------------------------- >To unsubscribe, e-mail: [EMAIL PROTECTED] >For additional commands, e-mail: [EMAIL PROTECTED] _________________________________________________________ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com
