IDM Mailing Archive

1999-12-20 00:25Sean Cooper>Anyway, I'm not stumbling into the "anyone can do it, so it sucks" fallacy (I >love my Ma

From:: Sean Cooper <scooper@best.com>
To:: <idm@hyperreal.org>
Date:: Sun, 19 Dec 1999 16:25:54 -0800
Subject:: (idm) specious analogies that are telling anyway

quoted 1 line Anyway, I'm not stumbling into the "anyone can do it, so it sucks" fallacy

>Anyway, I'm not stumbling into the "anyone can do it, so it sucks" fallacy

quoted 1 line love my Mark Rothko :-)

>love my Mark Rothko :-)

me too. and part of what made rothko so breathtaking was the quality of the colors he used -- colors that he mixed himself. notwhithstanding any observations about what this or that peice of software can do -- and certainly not attempting to argue for the brilliant of shirt trax, who i, nonetheless, mildly enjoy -- a lot of computer music releases (for me, anyway) stand or fall on the quality of the sounds used. the form that those take in terms of sequencing and composition is not so very often the most important thing, as you've pointed out. computer music (again, for me) is often first and foremost an exercise in "sounding the unimaginable." sc onnow: blonde redhead : in an expression of the inexpressible (touch and go) --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

1999-12-20 16:20Chris Fahey> >love my Mark Rothko :-) > > me too. and part of what made rothko so breathtaking was th

From:: Chris Fahey <chrisf@raremedium.com>
To:: 'Sean Cooper' <scooper@best.com>, <idm@hyperreal.org>
Date:: Mon, 20 Dec 1999 11:20:39 -0500
Subject:: RE: (idm) specious analogies that are telling anyway

quoted 5 lines love my Mark Rothko :-)

> >love my Mark Rothko :-) > > me too. and part of what made rothko so breathtaking was the > quality of the > colors he used -- colors that he mixed himself.

I know this is somewhat OT, but I'd like to quote myself from another list here: One thing to keep in mind about Rothko is that all the rhetoric about his almost mystical command of the subtleties of color interaction may now be pointless - because he almost exclusively used cheap house paints whose colors have over the years either dulled or changed completely. Looking at a Rothko painting today is like listening to Chopin being played by an expert on an out-of-tune piano. For work whose whole genius is supposed to lie in precise subtlety, I find it a bit ironic that pleasure can be found in work whose whole nature has been irreparably changed into something completely different from the artist's intention. The Rothko work you read about and look at pictures of in books no longer exists. I'm not saying that his work isn't good now that it's gained some, shall we say, patina. I'm just wondering if the dialogue surrounding it needs some adjustment. - Cf --------------------------------------------------------------------- To unsubscribe, e-mail: idm-unsubscribe@hyperreal.org For additional commands, e-mail: idm-help@hyperreal.org

(idm) specious analogies that are telling anyway