At 09:04 PM 3/6/02 -0600, Christopher Sorg wrote:
quoted 7 lines But I digress. I was really trying to find out more from the list about the
>But I digress. I was really trying to find out more from the list about the
>politics of music. You've quite obviously got some "noise" politics
>(embattled with enviromental noise, fight din with din, so to speak) and
>more subtle uses of noise (like Ryoji Ikeda using it poetically), then
>others who use sampling to disrupt ownership of sound (such as
>Plunderphonics' Beck work, for example). I'm just curious what else is
>going on.
I guess relatively famously you have Terre Thaemlitz's stuff, although I've
never really heard a direct connection between liner notes and actual
compositions... same goes for Mouse on Mars, if you read interviews with
them. They certainly at least see a political context for what they're
doing, but probably many are like that. I certainly view listening to
ummm.... ambiguous (open-ended?) music as having a political component to
it in this world of propaganda and emotional bombardment.
In another thread Philip Sherburne (I think) also recently mentioned a
track by Matthew Herbert released under his alias Radio Boy, which uses the
products of globalisation to construct a piece of music about that, ie. a
Big Mac box, a Nike shoe, etc. are the actual sources of the sounds you
hear. Similarly, Ultra Red go in for manipulating the sounds of
environments they see as the results of globalisation... going into the
huge ...um.. what do you call those zones where laws are really laxed and
foreign companies can do what they like (oh that's right, countries ;) ...
anyway, one of those areas where the sweatshops are on the Mexican border.
Those are some of the more explicit examples of people using a "big"
concept to guide the process of what they're doing.
Michael
np. 'Arbor' - Greg Davis (as good as it's made out to be!)
-
http://www.ampcast.com/jetjaguar
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