Recently in reflections Category

Spark Response - Sam

I feel it's incredibly important to support the people organizing and participating in events like the Spark festival. Coordinating, and setting up something like Spark is difficult, time consuming, and draining, which is why I feel so bad about not attending any of the events and helping to make all the work of organizing an awesome event like Spark worthwhile and rewarding. I don't have good excuse other than just being worn-out at the end of the week.
In lieu of an analysis of a Spark event I'll offer instead a philosophy shared with me by one of Friday night's performers, PLCK.
PLCK is Jesse Pollack, a close friend I used to live with, and with whom I frequently work on musical projects.
About a month ago we were preparing for a performance and he was talking about his growing affinity for performance-based techno music. What he said that stuck with me, and I paraphrase, was that this form is appealing to him because he is able to work between performances on constructing and perfecting a singular experience for a specific time and place, and when it's done, it's done, and he and everyone else have one shared experience and can then move on to something new. I don't generally listen to techno, but I found this to be an interesting, and somewhat inspiring idea. I also know that one of PLCK's influences is Jan Jelinek, a particularly interesting German sound-maker, who you can read about and listen to samples of here: http://www.scape-records.de/

3 Questions - Sam

What is the usefulness of studying media through a singular artist, and what about this approach can be problematic?

What role does authorship play in sound-art in relation other media?

What are the compositional relationships between musique concrete, and the work of Jon Cage?

questions after digesting written thoughts.

1. What are and can be some approaches to address the quest of defining beauty via sound art? What is like to interlink some of the objectives within art's realm?
2. Investigation of cultural and/or historic elements that have helped to confirm synergy in overall works discussed so far.
3. Why can't I get rid of a feel that 'sound art' has limited listeners/observers compared to best of the rest (art) ?

Reading Questions/Thoughts

I believe the 4'33" seconds of silence makes a good point. Taking silence and placing it in the right environment that we get an extreme even over exaggerated moment of silence.

I think the point is for us to then look at how often we actually experience silence in our lives. How often do any of you drive home, or to work, or to a friends, anywhere really with out the radio on? How often do we turn the tv on while at home even if your not watching it or leave a fan on as you sleep and not to listen to but for the sake of stimulation alone?

Similarly a lot of music today seems exist for the same task. It's not to actually be listened to but exists as a filler; a blend of noises often as meaning full as static just to fill the air.

We should probably first ask, what do we actually consider listening? I believe it is in part searching, understanding, and finding meaning in a piece of music, or a piece of sound from human or nature or anywhere. We gain or learn something threw listening. Understandably most people probably don't want to do this constantly but then again some people aren't experiencing this at all which comes back to the point of 4'33". Really it seems like its a reminder to listen.

To rehash:
1. How often do we actually take a moment in the car or at home to just be alone in quietness?
2. What do you consider listening to be?
3. Have you ever listened to something and taken away something more then you expected?

What is Sound Art? - Sam

I feel that sound art, like any other term, exists more usefully as a way to generally refer to something, rather than a way to ultimately define something. Sound is something that exists in and of itself, and any attempt to use it for a particular effect or manner of communicating and idea can be considered sound art if the constructor of a piece feels as though that term applies to the work in question.