[FRIAM] Lets try this again reaching out for advice and opinions

[Gillian Densmore]

Thank you guys again! The guidance is very much apreciated--thank you


On Thu, Jul 12, 2018 at 10:09 AM, uǝlƃ ☣ <gepropella at gmail.com> wrote:

> Well, as usual, we have to avoid any artificial discretization.
> Collaboration comes in a spectrum of types just like everything else.  The
> lag time for feedback from one's recorded music (or video, books, etc.) is
> much longer than that of a "live" show.  But that doesn't mean there is no
> feedback to the artist or publisher.  And, as you point out, the system
> might be a 3 compartment system (artist, DJ, listener), which not only
> affects the lag time, but also the quality and type of signal (including
> more types: artist-listener, artist-DJ, DJ-listener, artist-listener-DJ,
> artist-DJ-listener, etc.).
>
> I don't construct hardly any music, even though I trained a bit on piano
> and trumpet.  But I have participated in a few jam sessions (using a drum
> forcibly shoved at me).  Low latency collaboration between musicians is
> obviously required.  And I can even see the need for such tight couplings
> between, say, conductor and orchestra, or musician and performing dancers
> or whatnot.  But I still don't really understand the apparent *need* of
> stage bands to see their audience *react* in immediate, active, and obvious
> ways right then and there.
>
> There is a clear bifurcation of stage bands, though.  The math rock bands,
> being largely engrossed in their production, don't seem to care that much
> about getting/seeing reactions during their performance.  The same seems
> true of most stoner, psy, and noise acts.  So, I have to infer a strong
> correlation between the musicians' internal physiology and their product
> type.  Different types of intentional evocation require/dictate different
> types of interaction.
>
> And to be clear, it's not that I do or don't feel obligated to react
> visibly.  It's that I don't parse music by moving my body.  In fact,
> physical movement interferes with my ability to listen carefully.  So,
> yeah, if you want me to move, play rote ostinatos that I've heard over and
> over again in one form or the other.  But if you want me to *hear*, then
> play something interesting and don't demand any movement from me. 8^)
>
>
> On 07/11/2018 07:47 PM, Steven A Smith wrote:
> > I am coming to appreciate more what artists (including poets and
> > musicians) mean when they talk about their work being collaborative with
> > their audience (fans, readers, etc.)
> >
> > I share your (Glen) sentiment (as something of a shoe-gazer myself) that
> > I am not in any (specific) way obligated to respond to their work, yet I
> > do believe that my response (even if it is roughly *intense shoe
> > gazing*) is an important part of what they are doing.
> >
> > I remember listening to an NPR story (This American Life?) years ago on
> > roughly the anniversary of the first public/commercial audio recording
> > of a musical performance and the reception such a thing had at that
> > time.  Musicians were supposedly entirely non-plussed by this
> > development... the anecdotal explanation being that they simply didn't
> > recognize the *sound* being emitted as being representative of the
> > art/performance...   it obviously had a central role in some sense, but
> > by the time *we* came of age (depending on who "we" is here, anywhere
> > from the early 50s to the 2000s (I know only of one specific member of
> > this list under 30?) commercial LP and audio tape (reel to reel, 8
> > track, cassette, ???) recordings were a strong standard in the way we
> > experienced music.   As a DJ in the early 70s, I was aware that for any
> > given popular song, there may be several or *many* recorded versions
> > (usually from different live concerts) with subtle variations and that
> > *I*, with my "curatorial" role with music felt it very important to know
> > that *somebody was listening*.   When I allowed requests and
> > dedications, it was invariably maddening that the callins were almost
> > exclusively "teeny boppers" asking for the most ridiculously saccharine
> > music over and over (during Michael Jackson's "Ben" fame, they would
> > call *while* it was playing to ask me to play it... I set a hard and
> > fast rule that no song, no matter how popular would ever get played more
> > than once during my 3-4 hour show.
> >
> > Of course, Gil's questions/requests here were not intended as
> > (performance?) art, so this doesn't apply directly.   I know that when
> > *I* as a question into the air and get absolutely NO response, it is
> > easy to take the deafening silence personally.
>
> --
> ☣ uǝlƃ
>
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