Culture Making items tagged listening

Rethinking one’s own position as a creator

2012-02-08T14:29:34Z

Nate: “Is a composer like an architect, directing every detail of the music, from its structure to its finish? That, says Brian Eno, is the traditional view (never mind my architect friends' complaints about the impossibility of getting builders to fully follow the blueprints). As you might guess, Eno prefers another approach, less about wresting control than laying a groundwork and then seeing what grows.”

And essentially the idea there is that one is making a kind of music in the way that one might make a garden. One is carefully constructing seeds, or finding seeds, carefully planting them and then letting them have their life. And that life isn't necessarily exactly what you'd envisaged for them. It's characteristic of the kind of work that I do that I'm really not aware of how the final result is going to look or sound. So in fact, I'm deliberately constructing systems that will put me in the same position as any other member of the audience. I want to be surprised by it as well. And indeed, I often am.

What this means, really, is a rethinking of one's own position as a creator. You stop thinking of yourself as me, the controller, you the audience, and you start thinking of all of us as the audience, all of us as people enjoying the garden together. Gardener included. So there's something in the notes to this thing that says something about the difference between order and disorder.

from "Composers As Gardeners," by Brian Eno, Edge, 10 November 2011 :: via The Browser

Early warning system

2012-02-08T14:29:34Z

Nate: “There's a lovely Dr. Seuss-ish quality to these physical amplifiers. Sometimes this is how I feel — one ear to the sky, one ear to the ground, listening for what's out there.”

"Acoustic listening devices developed for the Dutch army as part of air defense systems research between World Wars 1 and 2," but does it float, 16 December 2009 :: via swissmiss

Now That’s What I Call Not Music 2!

2012-02-08T14:29:34Z

Nate: “More adventures in audience reaction to variations on the "noise orchestra," in this case a 1923 work by Edgard Varèse, composer and practicioner of what he termed "organized sound." What's interesting to me is how these works seem simultaneously intellectual and anti-intellectual—that is, conceptually daring (breaking down and building up the very idea of what it means to listen, and what listeners are supposed to notice, both in and out of the concert hall) but at the same time not particularly substantial (except perhaps in terms of decibels) once the novelty has worn off.”

Hyperprism was performed again in November by Leopold Stokowski and the Philadelphia Orchestra, with a siren borrowed from a local fire company. The Philadelphia premiere went “splendidly,” according to the conductor; “practically all the audience remained to hear it.” Olin Downes, music critic for the New York Times, could only describe it as a medley of “election night, a menagerie or two, and a catastrophe in a boiler factory,” but others were more willing to accept the piece on its own terms. The Herald-Tribune‘s Lawrence Gilman thought the work “a riotous and zestful playing with timbres, rhythms, sonorities.” While the audience “tittered a bit” during the performance, after its conclusion they “burst into the heartiest, most spontaneous applause we have ever heard given to an ultra-modern work.”

from The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900–1933, p.139, by Emily Thompson (MIT Press, 2002)