With the posting of the third set of questions below, Phase One of the Artiject is nearing completion. Some of the original questions have been changed as a result of interesting issues and topics that were raised by a number of participants. As indicated previously, answer as many questions as you wish. In keeping with the contemplaspective nature of some of consciousness’s operations, there is no expectation that all answers be submitted at once. Participants are welcome to revisit previous question sets, as well their own responses or those of others. Discourse is encouraged. These questions can also serve as a starting point for free association and stream of consciousness. Feel free to introduce yourself in the Electronic Guest Book located towards the bottom of the blog page. The deadline for submitting responses for all three question sets is August 1st.
Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
4. Describe your sound, your aesthetic?
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
artistic impression of consciousness mapping snapshot
61 comments:
1. What is your understanding of “style”
Expectation, practice, repetition, tradition, convention
1a. and “idea?”
Thought, concept, notion, conceit, imagination, invention, motif
1b. "Underground?"
Resistance, opposition, authenticity, unimpressionability, truthfulness, openness, refuge, escape, acceptance
2. Aesthetic Fundamentalism
Purity, authenticity, truthfulness, correctness, righteousness, straightness, respect, submission of-for-to expectation, practice, repetition, tradition, convention, thought, concept, notion, conceit, imagination, invention, motif
3.Underground recognition?
By the few, the knowing, the open, the authentic, the unimpressionable
4. My sound?
Pure, authentic, truthful
5. My concept of sound art and music?
Thought, concept, notion, conceit, imagination, invention, motif, me
6. Role?
To serve expectation, practice, repetition, tradition, convention,
thought, concept, notion, conceit, imagination, invention, motif, resistance, opposition, authenticity, unimpressionability, truthfulness, openness, refuge, escape, acceptance, purity, authenticity, truthfulness, correctness, righteousness, straightness, respect, submission of-for-to expectation, practice, repetition, tradition, convention, thought, concept, notion, conceit, imagination, invention, motif, the few, the knowing, the open, the authentic, the unimpressionable, me
7. Dream,goal,plan?
To serve expectation, practice, repetition, tradition, convention,
thought, concept, notion, conceit, imagination, invention, motif, resistance, opposition, authenticity, unimpressionability, truthfulness, openness, refuge, escape, acceptance, purity, authenticity, truthfulness, correctness, righteousness, straightness, respect, submission of-for-to expectation, practice, repetition, tradition, convention, thought, concept, notion, conceit, imagination, invention, motif, the few, the knowing, the open, the authentic, the unimpressionable, me and not
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
Style: A context within which art is created, or viewed.
Idea: An intangible thought
Underground: Hidden, in opposition to the status quo, forcefully suppressed by societal norms, a survival-based reaction
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
I believe that every culture attempts to preserve a set of aesthetic values through the process of acculturation. There are some who resist the acceptance of these values and, instead, try to establish their own. The resistance to this is what I'd call aesthetic fundamentalism.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
I'm not sure I accept the concept of "underground" in the context of creating art in Western Society. My understanding of "underground" is in resistance or opposition to powerful forces that if met head on would cause the demise of the individual or group.
In modern Western society, most artists may safely operate within society, and not fear for their safety or the continued existence of their art. Within the context of the 'legit art world' one may not find acceptance, or financial reward, but that does not equate to an artistic 'underground.'
As for recognition, this is a much more difficult question. Do artists create in order to garner recognition? Some do. Others, however, create because they must. Not to create would feel like death. Did Van Gogh paint for recognition? I think not.
As for the nature or origin of recognition, if an artist is lifted up by it, and moved from the source of creativity, recognition could be the death-knell of the artist's process. It could also bring resources that could support it.
4. Describe your sound, your aesthetic?
I work in many contexts, styles, and forms. I do not choose to establish a fixed sound, or aesthetic. I am asking myself to push beyond that which feels safe and comfortable, to move toward risk, to step off the creative precipice.
If I have an aesthetic of any kind, it arises from a belief in the interconnectedness of things, and an understanding that listening is as important as responding.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
Music is organized sound. Sound Art is anything created by an artist that uses sound, either in the completed work or as part of a process of its creation.
Music-making is a process that can have an almost infinite number of variables. Whether you're strumming a ukulele on your porch, playing a bass trombone in a symphony orchestra, or layering multiple audio tracks on your computer, music making is fundamentally a creative act.
Sonification is a process of conveying data via aural signals. The classic example is the Geiger Counter. I've not used sonificaton in my work, but certainly do not dismiss it as a creative tool.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
The role of music is varied. For some, it is a tool to connect with memories and emotions and, for others, it is a refined and highly evolved art form that demands one's full attention in order to be appreciated.
Others see all sound as music, and cultivate a kind of attention that perceives the world as an unending symphony. Some just want to Rock & Roll all night, and party every day.
I don't know if I fully understand my role as an artist. I believe that the act of creation has intrinsic value, and that by being an artist I help others to recognize that value in themselves, and their work. I see my current performance work as especially egalitarian.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
I would work as I do now in a home recording studio that serves my basic needs as an artist, perform as I do now with creative colleagues who share my interests, if not my aesthetics, and work as I do now to advocate for the increased awareness in the value of art and culture in society, and in our City.
1. STYLE/IDEA/UNDERGROUND
Any idea or object or expression is underground until it is broadcast into the world. Then it becomes part of the cultural stream and is amplified to a certain degree towards the maximum gain of the mainstream. But whose mainstream? Whose underground? Underground/Mainstream is a dualism in a world of rhizomic complexity. It's too difficult to get one's head around anymore.
Style is something that every artist/practitioner has to come to terms with at some point. Sometimes it's a conscious decision, sometimes calculated. I think of someone "working through the style" of a famous predecessor, like young painters getting through their Pollock phase (or Rauschenberg or Elizabeth Murray). With sound it's a less obvious comparison, since we're all working with very similar raw materials (timbre, attack/sustain, pitch, tone). I'm working through my sonic influences (Cage, Coltrane, Roden, Ximm, etc.), but the overlaps are more transparent. Bits and pieces are more fragmented. The mosaic is at a much higher resolution. The roots are more tangled and impossible to trace exactly. The map has multiple legends and is constantly wavering in and out of focus.
2. aesthetic fundamentalism?
Any time someone chooses sides, says this is "hot" and that is "not," and becomes less and less open to the new or unfamiliar.
3. underground recognition
Recognition, if you get it, is often all you will get, so in some sense it takes on a disproportionate role in our creative lives. We all want recognition, respect. But we should be humble and not expect it and become disappointed when we don't get it, or when it arrives in a form we did not expect.
4. Describe your sound, your aesthetic?
I operate on the (imaginary/arbitrary) spectrum between sound/noise and music, trying to push more and more towards music. As a self-taught "musician," this infinitely subtle spectrum is invaluable to me, even though I know it is an arbitrary construct, an old-fashioned dualism, but the reality of the complex role that sound/noise/music plays in my life is hard to articulate without it.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
My understanding comes from continuously working with audible phenomena. It is a constantly evolving understanding. I am a student of sound/music, a young student at that, and I will always be coming to new thresholds of understanding. Those little breakthroughs are what it's all about.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
Not quite sure how sound/music are working for me socially. If I was a busker (which I have a great interest in pursuing) the relationship would be clearer. As it is now, I'm just scratching the surface. The internet has helped me maintain the ties/roots I made in SoCal now that I'm in Milwaukee, and for that I am grateful.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
Rock star. If not rock star, then I would love to run a venue/space/retreat/colony for experimental music/arts. If not that, then cool my toes on Shipwreck Beach on Kauai.
Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
I understand style as a negotiation of one's personality with received ideas about performance, (both formally and informally) in our lives. An idea is a concept that appears in our consciousness. Underground means to return to roots to me, and that often means one is opposed or at least in a different space from the super-structural physical and social spaces of global capitalism. It also means a kind of fluidity, a reaching out in the dark, an apparent death "to the light," but really, a different awakening to earthy surroundings. To "garden" or "plant" is to reach into the underground.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
If there is "such a thing," it derives from dominant artistic traditions or mediators who gatekeep those qualities they determine to be crucial or definitive in an art form.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
An aesthetic fundamentalist privileges what's been received over what's emerging, possibly from the dark rootedness of the underground, the grass rootedness of a social/political/cultural movement. Recognition as the underground is usually what is important to the underground. We associate such recognition with less commercial or institutional supports/contexts for aesthetic practices.
4. Describe your sound, your aesthetic?
My sound is bluesy and emerging, and I can howl. My aesthetic appreciate the changes; it's eclectic and improvisational, but I also like old things and sounds. I especially like juxtaposing the old and the new.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
I see the world as soundscape--and I don't mean the cable network new age music show, although it is one. Here's the story I would tell: Music-makers began as participants in the soundscape we call "nature." And, as they made choices and experiments with sounds, their improvisations made intentional collections, connections, reifications, performances, creations out of and into the the soundscape. Music makers all have varied cultural roles and authority, which in turn affects the social context for soundscapes. And I hear soundscapes everywhere, from the morning birds to the car stereo to the tunes on commercials to the segment on show tunes last night on Norhtern Exposure to the most recent live performance I attended, (Doheney Blues Festival.).
I have no idea what sonification is, but it suggests the transformation of and through sound.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
In my social contexts, music provides intellectual and creative challenges, it provides relaxation, it connects people, especially through memory, in fact it induces and sustains collective memory. It also liberates the body and returns it to underground work.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
I would do much of what I do now, (I'm a lucky person), but I would have much more time to be and make soundscapes.
Set 3
1. Style is the dialect in which art is spoken-created-composed-painted etc./Idea is the core meaning that is packaged in-by style./Underground is the style that is not prevalent, appreciated, accepted, understood by mainstream arbiters.
2. Aesthetic fundamentalism is creativity that clings to "training."
3. The only valid recognition in the underground is self-recognition./Mass recognition is mainstream recognition.
4. My sound is the sound of thoughts thinking./My aesthetic is self-conceptual.
5. Music and sound art is the glossolalia inspired by muses, uttered by artists and understood by few.
6. Art and artist in my context provide context to myself and the like-minded.
7. I would be doing what I do better.
response to comrades' to fundamentalist question:
training is safe, impure, inauthentic, dishonest, familiar, rooted but not "dark rooted" etc. when venues like il corral move to a safe places they lose their dark rootedness. when i see spaces that offer workshops -for a fee on top of it- in "avant-garde, sub-avant garde, experimental aesthetics, i see the worst kind of fundamentalism, underground academism. the underground makes a difference when it had to deal with noise complaints. we need to encroach and overthrow, not assimilate like turn of the cent immigrants or become quiet and quaint separatists like the Amish.
reaction to anonense's comment:
I couldn't agree more. If we are to remain at the cutting edge, we cannot start holding workshops and charging money for it. The moment we start to train is the moment we start to die as artists and to kill art. Education is OK but training is death. We are still exploring. The venues that purport to serve the experimental, the avant-garde, the underground but hold workshops for a fee are no better than the NEA. The moment we start to train is the moment we may well open an art madrassa!
QS #3
Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
Style implies manner. It is the mode and fashion in which an idea is transmitted. Idea is an essence that has shape. Style is what drapes the shape. Idea is what drapes essence. It is like throwing a sheet over the invisible man or woman.
Underground is a solitary idea or an idea set that is invisible by choice or grudge. When it throws a sheet over itself, then it sees a shape that many may not recognize. If the shape is recognizable, then the drape may baffle.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
It happens when the artist clings to his or her way of doing. It's what causes isms to feud.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
Going underground is compensation for lack of recognition by the mainstream. Many turn to underground activities to develop followings which will give recognition albeit it limited. A lot of early terrorists couldn't make it in the mainstream so like a lot of us they tried to make it underground.
4. Describe your sound, your aesthetic?
It's frustrated and hopefully frustrating.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
Communication between brain and ear, heart and ear, crotch and ear.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
Art helps the artist and her circle to explore, understand, express, define and then recognize themselves.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
Recognize myself.
experiences
1. rhythm, pounding. space. i wanna find the source
2. constant screeing of tinnitus
3. eeeeeeeeeeee
4. I can visualize things
5. nothing
creation
1. with tools
2. anywhere
3. an urge from every cell of my body
4. there is no moment. it's a continuous field and I just dip into it
5. there is no such thing
cognition
1. "style" is pattern. "idea" has no meaning. "underground" means what's really happening, as opposed to the manufactured consumption-oriented reality of the mainstream.
2. that's got too much of a rigid religious vibe to it, so I don't subscribe to it.
3. sure, it's important, because it's more real than mainstream recognition.
4. flat, smooth, deep
5. the most direct connection to the It
6. keepers of the flame of truth
7. touring the world spreading my sound and recording for half the time. the other half, making large paintings in a large studio.
phog masheeen said... reposted to this section
Question Set #3
Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
Style is an interesting thing. Noise artists are working in a "style" just as are polka musicians or Mariachi's. There are conventions of form that are just as structured for "underground" musicians as they are for musicians in pit bands for broadway musicals.
All styles were "new music" once. The benefits of working in an underground form are that you have time to sort out your "schtick." If by some miracle of luck and hard work you manage to become successful at your given endeavor. All your hard earned underground credibility will be gone in a heartbeat. You can just erase all your cool friends from your speed dial and don't ever plan to return to the "underground."
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
Absoulutely! The concept that experimental music is a this and not a that is logically flawed. It is an experiment! Because it is an experiment it should be judge as a success or failure. Not by whether it conforms to what the current experimental flavor of the week is. Further, it might be well to add the scientific standard that other parties must be able to duplicate the results of the experiment. If it can't be duplicated by third parties then it may be one of the flukes of charisma, timing and luck that so often masquerade as ideas.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
Mainstream recognition is based on separating children from their allowance money. Live Nation, Hanna Montana etc. etc. etc. Corporations live and die by their ability to control the lives of tweens.
Underground recognition is based on enough press and name retention to be asked to play at festivals or to get gigs in far flung cities where the dozen or so people that are interested in your spin on "noise" might show up.
4. Describe your sound, your aesthetic?
I use trumpet, field recordings, synthesis and chance to produce the music I make. I am untroubled by distortion and enjoy the husky bulk that it adds to a sound. Sort of oat bran for your ears. I consider live performance and completely different experience from recordings. I don't care if something is completely unachievable live. If it works as a recording that is fine.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
I am involved in music on a number of levels. I play trumpet in a wind ensemble, I occasionally play bass in pit bands for musicals and I DJ for parties.
I think I have a working understanding of what is expected of me in those formal settings. I use "noise" to un-learn all that and get to the "machine language" of expression.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
I think that would be judged by what the individual takes away from the experience. In that situation it would be judged on a case by case basis.
It is a clubhouse for circuit bent disenfranchised youth of all ages. A science fair where you can bring your own bottle. A place to be for do-it-yourself musical stylists.
It is the element of surprise that keeps me coming to "noise" events. You just don't know what will happen. In most cases neither do the performers. Yet they are willing to walk the plank that is performance and see if they can improvise up some magic. This is a tall order, but it happens more often in the context of noise events than it does in traditional musical venues (i.e. bars or concert halls) Magic and spontaneity seem to be the currency of the noise scene. It is vibrant and inclusive. I plan to enjoy it while it is happening.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
I would like to bring the phog masheeen experience to cultures other than my own. To test whether I can communicate to other cultures with my brute force working process. It could be fun!
June 15, 2008 9:18 PM
sphoTa tried to copy and paste phog masheeen's image and this is what he got:
https://www.blogger.com/comment.g?blogID=1468037754392470363&postID=6313499368505083267&isPopup=true
Cognition
1. Style is that quality, trait, practice or any combination of qualities, traits, practices that crop up with a enough regularity or predictability that enables one's work to be identifiable. The idea is thought energy; style is mode of transport. The same idea can be expressed in different styles. Underground is where ideas and styles that are not comfortable with mainstream styles, ideas go to be comfortable.
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
It is my understanding that style is what makes you pick up Interview magazine.
My understanding of IDEA is that everyone wants it to be his or hers.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
If two people think it exists then it does. I’m not one of the two.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
No.
4. Describe your sound, your aesthetic?
Stew.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
The more I understand, the more I realize I don’t understand.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
Food and Water.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)? That’s a tough question.
Questions 3
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6. ;]
7. ___/\___/\_______/\____________
question number 2:
aesthetic fundamentalism is an impossibility since nothing in art is fundamental. fact is probably the closest man can come to approaching the fundamental. art isn't factual not is art fictional. it's purely expressive. expression isn't fundamental because it is based on the fiction of experience and perception. as said, fact is the closest man can come to the fundamental, but close to the fundamental is not fundamental. since fact is perceived, our experience of it is not an experience of that which is fundamental. where there is subjectivity, there is no potential for the development of fundamentalism. the most for which we can hope is the fundamentalistic. subjectivity is omnipotent within the subjective realm which excludes the possibility of fundamentivity.
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These answers were inspired by my pals' and the antics in the preceding responses. Thanks, controlversial and schwitter bug!!!
Set 3:
1.
Style is the the manner-ism one uses to communicate, to express, while idea is that which is communicated, is expressed. "Underground" embodies manner-ism as manner-schism utilized to communicate, to express separation from the mainstream's mainerisms. The underground offers a sense of control to those who feel either controlled by the mainstream or are simply out of control. Free-world underground style is frequently dictated by neediness and attention seeking, either by the mainstream or by fellow attention seekers who double as attention reciprocators and, as a result, often relies on attention-getting practices and techniques. There was a time when the term "underground" was connotative of sanctuary, haven and safe separateness. Nowadays, the underground likes to think of itself as lurking beneath, shadowing and threatening the mainstream.
2.
Aesthetic fundamentalism arises when artists cling to inherited opinions that are passed down by trainers (as opposed to masters) or passed on by peers (as opposed to fellow artists.)
3.
In many ways, the underground functions as a shadow culture of the mainstream. Therefore, that which is important to mainstream culture is important to underground culture. What drag queens are to women, the underground is to the mainstream. Many of those in the underground, with whom I am befriended,went underground in search of the recognition they could not find above. Of course, I know there are many who are the happy hermits and cave-dweller-desert types who seek solitude in the underground. These are the artists who don't lurk and shadow, angrily or passive- agressively calling attention to themselves. I occupy a position between the two extremes. I am a happy hermit (unlike those misfit hismits, controlversial and schwitter bug... LOVE YOU!!!!) who is happy to be recognized but sometimes frustrated by bad taste.
Clarification:
Free-world underground style is frequently dictated by a neediness that is manifested by the seeking of attention either from the mainstream or from fellow attention seekers who double as attention reciprocators and, as a result, often relies on attention-getting practices and techniques.
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
Both, in my opinion, are risky. Good style can elevate a bad idea, bad style can destroy a good idea- while a good idea can justify bad style and a bad idea can waste good style. When good style and a good idea come together, that too is a waste because styles change. The artist is then left with the futility of it all. A sense of futility can be a contributor to suicide. Suicide is one of the few things whose effects are truly lasting to the artist.
Artists who don't want to commit suicide or be filled with a sense of futility go underground where style isn't as big a factor. Although there are stereotypes which provide the mainstream with images that contribute to an impression of what underground style is, the underground is not monolithic. There are all sorts of niches where artists can set up shop and network with similars.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
Fundamentalism is a noisy adherence to an idea or idea set. It can also be an adherence to style. For some style is the idea. The other way around applies also. Aesthetic fundamentalism is more prevalent in the underground since underground artists are less responsive to fads and changes in style and thinking.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
It is a quiet recognition. Underground recognition considers the work more than the artist unless a cult of personality is integral to the work.
4. Describe your sound, your aesthetic?
It is quiet. Silence and quiet keeps listening hungry. My aesthetic is ascetic. The growling stomach sings while the loud burp is nothing more than a mouth fart.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
They just exercise the listening muscles in different ways which then targets different thought muscle sets.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
They make people appreciate their nears and minds in new ways.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
Let everyone hear my listening.
In question 6- I meant ears and minds. It could be interpreted as a Freudian slip because my art is quiet. It sounds far away. The listener has to get close to it to hear it.
Riff on tacitone's phrase "close to it to hear it":
Near it to hear it (good title, I say). Press your cheek to mine in an ear kiss, and up and down our joined canals hear echo the tinnitus.
PS There is an impostor or another etrusquan among us [refer to above etrusuqan quote]. Could there be two such individuals with such a handle? I daresay, based on our responses, I am the more colorful one.
Cognition
1. style is the mode in which information is organized. idea is a product of the mind which is organized by style.
2. the moment the idea was produced, it came into existence. in my opinion, it is the one-sided, unapologetic adherence to ideas or style. styles qualify as ideas.
3. to desire recognition is human. it's biological. reproduction and survival of the species is based on recognition. the underground is much more human than the mainstream. i know first hand how dehumanizing the mainstream is. therefore, recognition figures even more in the underground. recognition is necessary for the underground to exist. because of the desire for recognition, undergrounds function as networks. otherwise, artists would practice in total isolation.
4. i reorganize sounds. i don't tweak. sounds are enough. i reorganize so as to prompt a response that inspires fresh listening.
5. it should make people appreciate ears, their own and those of others. the sensorium is taken for granted. as a result, the mainstream resorts to overstimulation.
6. to make people appreciate the sensorium nature gave them.
7. nothing, because my work would be done as a result of people respecting the sensorium and paying attention.
Q3 Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
Style is flesh, guts and mind. Idea is the soul and spirit. Flesh, guts and mind grow old, die and decay. The soul continues on, remains fresh. If the soul is great, then sometimes the flesh doesn't decay like the bodies of incorruptible saints. Underground is where flesh, dead or decaying, is relegated, buried. Living flesh and minds bury dead-aborted, stillborn, murdered- flesh. Some flesh is absorbed by the underground, some is mummified, some festers, some remains frozen in perma-frost only to thaw and fester later.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
It is all about the thisness of flesh. It is not about spirit or soul. It reacts to the physical world of material ideas- political, religious, aesthetic etc. rather than to the immaterial realm of metaphysical ideas.
I'll be back...
Q3Cognition
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
Recognition is about thisness over thatness. Recognition is acted out by the flesh through the imposition of perception by the instruments of sense. Mainstream and underground intent and flesh-existence are the same. No dif.
4. Describe your sound, your aesthetic?
It explores the thisness of materiality and its interplay with the thisness of thatness of each perceiver's perception.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
They are manipulations and organizations of materialities used to manipulate perception and the order and manner by which materialities are perceived.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
Their roles are about thisness over thatness along with the manipulation and dominion over modes and objects of perception.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
Nothing, because the itch of thisness wouldn't exist.
Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
style is the specific mode of delivery and presentation prevalent to the artist at a given moment. it may change within works, from work to work or time period to time period. it is a combination of skill, habit and personal taste or idiosyncrasy. idea is thought or thoughts brought to full bloom or fruition. thought is the inchoate idea and therefore part of a process. idea is the result.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
oh yes! it is the irrational and frequently intolerant adherence to an aesthetic system or art ideology that does not keep in perspective that art should be a life enhancer rather than the sole reason for living.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
art operates through recognition both noble and ignoble. most artists seek to communicate. communication is dependent on mutual recognition. most artists seek validation which also depends on recognition. often the underground is the resort and last resort for misfits seeking communication and validation. for some, it is the communication of certain ideas and the validation of a certain aesthetic. for others communication and validation are ends in and of themselves. because of the previous question, i can't help but draw a parallel between underground artists and terrorists. for some its about the communication and validation of ideology for others it about communication and validation of self. for some, their motivations find their equivalent in those of the likes of an ayman al-zawahiri while others possess motivation similar to those of an adam gadan. for most it is somewhere in between. underground artists could be described as non-violent terrorists, really as pretty terrorists.
4. Describe your sound, your aesthetic?
the pretty vandalism of a transcendent misfit.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
sonify is what i do. sound is how i communicate and best get validation. it is what makes me and my ideas recognizable.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
my social context is a sound context. it is my religion and life enhancer. i seek fellowship among the like-minded.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
i wouldn't be doing anything. i would just be recognized and validated.
Question Set 1
Experiences
1. What makes me [want to] listen/How do you listen/Why do you listen?
Environmental sounds make me listen and often smile - the sound of a car horn reverberating in a parking structure. Water whizzing through the air from a lawn sprinkler. Especially listening to another sound-making musician with whom I'm playing.
2. What are you listening to?
All the time to the ringing in my ears. It's like a million crickets on one layer, and on the other there something like the whooshing sound in a moving car with the window half rolled down.
3. What do you hear?
This one is hard...everything, nothing. What I hear is probably substantially more than what I am aware of hearing. I hope I hear my dreams, the good ones.
4. How does your listening relate to the other senses and to consciousness (sight, smell, touch, taste and thought)?
I see faces and patterns in many things: artwork, stains on the sidewalk, clouds. I like to think it's because I'm so intuitive and connected with other dimensions, but it's probably because I like bad puns. I think it's connected to the fact that I enjoying listening to and creating organically developing layers of sound.
5. What do you hear when you read, when you write?
Maybe I hear the words that I'm reading, just real fast. Also, see my answer to question -- tinnitus.
1. style - word title or catch phrase that communicates what a project is in an historical or contemporary context
idea - word title or catch phrase of a process or concept that communicates what a project is or will be
underground - if it truly is a subculture than it will be a happening that I would be interested in visiting not only because it would be cheap but the
people at the happening would more likely be the kind of people I would want to meet in that community.
2. Is there such a thing as aesthetic fundamentalism?
Yes. Since technology brings such sexy and sometimes even useable toys it forces a preoccupation with aesthetics.
Its easy to see in things like the film "Helvectica".
3.Is recognition important...?
No. Famous artists are just as irrelevent as comicbook superheroes and the president of the united states.
4. Describe your sound, your aesthetic?
I like complex. If it takes multiple listenings to understand or hear all the layers and colors, its good/fun for me.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
Music is just what normal listeners call organized sounds. Sound art is what normal listeners need an
artist to organize and present to them or they would just call it noise. These concepts are not that different
from syntax in languages.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
The pirate that shares the booty. Composers, DJs, laptop artists, conceptual sound makers all offer the same service.
They actively listen for things, organize them into pieces, performances or recorded documents to share with the public
in social communites or digital networks.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
This is the ideal. It can't get any better because this is all we have. Anything else is just silly self-centered fantasy.
What the future will bring is pretty easy to imagine. We just have to keep listening or we might not hear it.
Question Set 3
With the posting of the third set of questions below, Phase One of the Artiject is nearing completion. Some of the original questions have been changed as a result of interesting issues and topics that were raised by a number of participants. As indicated previously, answer as many questions as you wish. In keeping with the contemplaspective nature of some of consciousness’s operations, there is no expectation that all answers be submitted at once. Participants are welcome to revisit previous question sets, as well their own responses or those of others. Discourse is encouraged. These questions can also serve as a starting point for free association and stream of consciousness. Feel free to introduce yourself in the Electronic Guest Book located towards the bottom of the blog page. The deadline for submitting responses for all three question sets is August 1st.
Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
style is some terms that people identifying for themselves to help to talk between themselves and understand each other.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
sometimes yes. it is essential condition for born something fresh in art
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
yes it is important . good words helps creators to create good works
4. Describe your sound, your aesthetic?
microsound (-something like NSO ....) . digital aesthetic . parole for others -noise
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
misty terms . not correct yet
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
for me it is one of the main role
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
well....
Cognition
1. style- self-cliche,,,, idea- cliche already or waiting to happen
2. aesthetic fundamentalism- co-dependent relationship with a cliche construct
3. underground recognition- important to some underground artists
mainstream recognition- important to all mainstream artists, except a few self-satisfied hobbyists
4. my aesthetic- my very own personal cliche built on cliche constructs
5. music and/or sound art as well as music-making and/or sonification?
???????????? what's to understand?
6. role(s)- hobbyist, amateur, dilettante, professional, master, prophet, pretty terrorist, ugly terrorist
7. In an ideal world- answering questions like these
1. Style - A way of creating. Either personally or as a member of a group. Idea - A concept or aspect used to drive a creative process. Underground - Outside the purview of the established norms. Usually connoting some sort of "original" or heretofore unrecognized or under appreciated venture which seems to beg the question; "Is it still "underground" once we all know about it?"
2. If you assume that all human brains basically function in the same way and that we are "hardwired" to appreciate certain patterns, proportions, sounds, colors, etc., then yes. However, I think I will leave the describing to the more politically motivated among us.
3. Yes. Otherwise we wouldn't need a label like "underground". While it may have some aspects of "otherness", it seems to have become more of an exclusive club that once "discovered" either quickly dies or is assimilated into the mainstream.
4. Original, underground, honest, pure, exciting, sincere, tribal,...er, just kidding!
5. I'm not really sure I do understand it.
6. Amusing the masses!
7. See #6
Question Set 3
Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
Style is the way, manner, mode of creating. Idea is the content, substance, soul of creations and other products of imagination, fantasy and thought. The underground is where outside, misfit, mutant styles and ideas come to flock, nest and roost.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
It's the fanatical promotion and propogation of a particular stylistic or ideological construct as it pertains to aesthetics. Academia promotes fundamentalism as does certain segments of the underground. Aesthetic fundamentalism instills terror, an obsessive compulsive adherence to heritage and to heirloom aesthetics, traditional, modernistic, post-modernistic, conventional, experimental, avant-garde.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
To the underground, recognition is both methadone and icapac and the longedfor salvation of the damned.
4. Describe your sound, your aesthetic?
Acousmatic. Truly underground with no points of reference intended.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
To occupy the ear and to surprise or entertain listening
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
To induce terror in the ears of others. To make people fearful of listening.
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
Do away with ears.
Q3
1. "Underground" can be a reaction to the opulence of mainstream style and the shallowness of its ideas. It is a reaction that is motivated by jealousy, resentment, disillusionment, cynicism, a desire for attention or round-about acceptance, evolved disengagement, enlightened detachment...
response to scary terminology:
we artists like to think we're scary and a threat to society. don't we? why is that? is it because we aren't taken seriously. so we try to scare, shock, disturb AND "terrorize?" also i think most of us hate america. it 's a fun place to live but we don't want to create here. america is a greedy tree on which its artists are crucified in order to fertilize the greed tree with artists' blood and art, the blood of the artist. then the tree bears fruit whose juice is the very blood of crucified artists. and that juice, running down the chins of the artist crucifiers, who now suddenly for the next 15 minutes can’t get enough of it, drips into the mainstream where it’s washed away and treated at the next sewage plant on whose waters the ghosts of crucified artists walk and mill about. the underground is infiltrated by the roots of the greed tree!!!!
Response to comment deleted:
You are so very right comrade. I bet next year on So You Think You Can Dance they will be choreographing Lyrical Krump numbers.
Creation
1. How do you create?
I am not sure that I ever actually create anything. Whether it's mine or not, I always just feel like I'm acting as a mere channel for whatever it is that's coming out. This is a very romantic notion of the artistic process, I know, but it's honestly how it feels here.
2. Where do you create?
In bed, 20 minutes before my alarm goes off. On the train, while staring at the backs of people's heads. Sometimes even while sitting at a desk! Oh, and of course on a stage - but only for what's really a very short moment.
3. What motivates and inspires you?
Billboards and bus ads. Seeds and babies: little things that grow into bigger things. All these trashy superhero movies that have been coming out lately. Big "collected works" books of poetry. People who do something besides whatever life has handed them to do. Also: unconscious feelings of sympathy and love.
4. Do you remember the first moment(s)?
Probably not!
5. Can you imagine the unborn sound?
Yes but it's less like imagining an unborn sound and more like imagining a person that you know must have existed at some point, somewhere, but you're not sure who or when or where they were.
Cognition
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
Style is whatever ideas are clothed in. Style can be an idea too: clothes wearing clothes. I never use the word "underground" unless I'm talking about the place where beetles and snakes and prairie dogs live.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
There's such thing as everything. Aesthetic fundamentalism is either...
a. Letting your artistic "beliefs" (however arbitrary) run away with your art
b. Having such a definite vision that you really believe that sticking to your sensibilities will result in a perfect creation
c. A foolish notion
d. All of the above
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
Recognition is always important. Everyone wants what they do to be seen by as many people as possible. The ones who say they don't are probably lying. And lying is way worse than wanting recognition.
4. Describe your sound, your aesthetic?
The inexplicably detailed mess of the natural world - this is my only aesthetic. I feel down on the human intellect sometimes, but then I have to remember that that's part of nature too.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
I don't think music and "sound art" are any different. If they are, it's only because we decided that they are. People feel compelled to communicate by making air vibrate however they can, that's all.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
These things and the people who make them usually function as self-sustaining life forms. They're ostensibly there to irritate and to inspire, and sometimes they really do. But mostly people do these things to make their own lives bearable, because on some level many of us really don't have much of a choice: the music or sound or whatever it is has to come out. Forming a community based on this has kind of a commiserative effect!
7. In an ideal world, what would you do/ would be doing in the future (goals/plans/dreams etc.)?
I want to live in a city that works, in a country that has some humility to it. I want to always be making things with people I love. I want a sledgehammer and an unending supply of boulders.
#3
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Response to responses by cagey
For every reaction, there is an equal and opposite redaction.
Response to mooey moobau response # 7
You ideal world sounds like youtopia
Letter lost and found = "r"
Response to mooey moobau response for question #5
To say that music and sound art are not different is like saying Mexicans and Spaniards share the same nationality or painting and photography are the same genre. There may be superficial commonalities that are of perceived. However, the modes of creation, practice and presentation are completely different, as are areas of aesthetic focus and respective histories. A trained musical specialist cannot properly judge sound art and vice versa. They are two disciplines with two very different sets of standards and philosophical issues. At times they may interface, converge or hybridze. However, the existence of mules does not prove that horses and donkies are the same species.
1. i understand style to be located at the point where an individual's decisions overlap with the social, economic and political context they live within. regarding art, this most basically involves what materials are available and what each of those materials means within that society. from those available materials, which one(s) the individual chooses, why they choose it and what they do with the material further could also be looked at to further determine what style of work the artist is making.
an idea is a potential material for art.
2. i once heard someone say that sound is the most facist of mediums.
3. it is so hard to speak for an abstract whole. certainly most people like to receive affirmation from whatever group they operate within. i'm not sure the act of recogition (or received act of being recognized) is all that different from the mainstream to the underground. it is just that the criteria to gain recognition differ.
7. i have been worried for some time at my inability to articulate my dreams for the future. but i hope that this means i am operating in the present tense.
2. Can of worms, Pandora's box, flask of anthrax etc. It's way too big a topic for me to get started on.
there's a fair share of fundamentalism_terror_ underground_flask of anthrax talk in this section of the blog. lots of undergroundlings like to think they're subversive_dangerous_threatening. i see mainstreamweavers to be scarier and doing more damage, especially when it now comes out that the cia turned to the tv show 24_hours for torture advice. and don't forget the plane in a building scenario found in what mainstream novel? i know a sound artist who once said that if the administration really wanted to catch bin laden they would just need to lace the cocaine supply with anthrax and blame it on the terrorists. after half of hollywood and a good chunk of government would would be wiped out plus the addict sector of the general population, sales would stop completely. the drug lords would consequently hunt down and execute bin laden themselves for contaminating product. now that's a pandora's box_thought that the underground rejects to treat artistically because it smacks of hollywood. even though it's a very hollywood idea, hollywood is well aware of its own capacity to influence and doesn't want to give our guys any ideas that would hurt hollywood itself unless of course the execs knew it would bring big enough box office. as much as the part of the underground wants to posture and mimic truly subversive organizations, it is hollywood_mainstream that provides the dangerous plots and ideas.
Question Set 3
1. “style” triton
“idea,” hoop-la
2. aesthetic fundamentalism: hooker
3.underground recognition: cyclone
mainstream recognition: cycle
4.your aesthetic: recycle
5. music-making/music and/or sonification sound art: cardinal point
6. role(s): overcoat
7. future dreams: ominous
correction: s wants to be known instead as "propulsion-blah"
Additional response to mooey moobau response for question #5
music focuses on musical composition.
sound art focuses on acoustic experiences outside of and at the exclusion of musical composition. Music cultivates and organizes tone to be listened to. Sound art explores the relationship between sound and listening. With one we listen to music; with the other we listen to listening. Composers and musicians, such as Cage and Fluxus, appropriated this approach to listening from sound art. But the appropriation of concepts from another genre does not mean that the whole genre has bee absorbed. Blurring boundaries between genres or interfacing with them does threaten their integrity.
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Question Set 3
1. What is your understanding of “style” and “idea,” and what does the term “underground” mean to you (character, aspect, practice, metaphors etc.)
Perhaps ‘style’ = ‘pattern of variables observable in a creative act or its product or its creator’.
To me, ‘underground’ implies a sense of bottom-up organic development of style and community (as opposed to a deterministic one, designed for, say, top-down commercial purposes). It implies relationship-based circumstances and interfaces: friendships, spontaneous creativity, art-for-art’s-sake, discovery-for-discovery’s sake. Usually I associate the term with programming that is designed by artists for other artists.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it.
I think there is. I imagine the term implies a rigidity in the creative act, whether to specific production methods or to parameters of the desired output. Such fundamentalism may be useful or detrimental based on a given circumstance or intent. Art critic Clement Greenberg sandblasting paint off of sculptors’ works because color, the domain of painting, dare trespass upon the strength of a sculpture’s qualities is clearly aesthetic fundamentalism. Categorization of the output of sonic creativity into labeled terms for sales channels is also aesthetic fundamentalism, and, in this instance, it has its merits (allowing an audience to make choices as to how to invest their time or money) and its obvious deficiencies.
3.Is recognition important in the "underground," and, if so, how is it different from mainstream recognition?
I think recognition is important, as it’s useful for audiences to have some ability to glean what they’re going to get out of an evening, a listening experience, or whatever. In terms of underground vs. mainstream, I think recognition in the underground context has more to do with knowing the type of experience one will get, regardless of the name of the artist. In the underground, we’re into engaging an experience, and we don’t really care who’s creating it. It’s probably the same in terms of the mainstream, actually, but at the mass scale, name recognition is the necessary means by which marketers develop an audience’s ability to self-select an experience – it’s sort of like the process of refining, ie same processes as in the natural (read: underground), but much more distilled.
4. Describe your sound, your aesthetic?
Immersive, textured, engaging, psychological, physiological, multi-layered, intense, Minimalist, naturalistic, painterly, imagistic, hyper-representational, experiential, experimental, playful, psychedelic, trippy.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification?
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform?
Among my friends, those who engage sound & music are frequently the ones creating the contexts for the social experience. For the most part, it’s the musicians and DJs. The sound artists, as a subset, hone in on the specifically experiential and the thought-provoking – additing to the social milieu with additional moments of playfulness, inquiry, investigation, and expansion.
www.stuartsperling.com
Cognition
1. What is your understanding of ?style? and ?idea,? and what does the term ?underground? mean to you (character, aspect, practice, metaphors etc.) Style is a very loose term used in many contexts to mean everything from form to timbre and interpretation. Idea is more of a legal term these days where people are segmenting themselves into smaller compartments in order to protect their craft, as they try to become ?artists?. Underground, for me, is that place where one has not looked before. There are many underground locations, but they can quickly become a part of the surface contexts once it is recognized by an individual.
2. Is there such a thing as aesthetic fundamentalism? If so, describe it. I think that people come to this location for themselves. Earlier I used the term ?artist? specifically placing this loaded term in quotation marks. For me, there are very few Artists in the world, but many people who work within a craft. I understand a true artist as one who follows her/his course, regardless of success, and continues to question/define/re-question their work throughout their lives always being mindful of their location within the global community and equally projecting their work into the future building upon the work of the Masters (past and/or present). Given this, aesthetic fundamentalism would be a death sentence placed upon an artist who is seeking to be more than a craftsperson, but a true ?artist?.
3. Is recognition important in the "underground," and, if so, how is it different from mainstream recognition? Recognition is visual. Believing is trusting. Part 1: Experiencing is reality. Faith is determination. Wisdom is humility. Simplicity is complexity; complexity is simple.
Part 2: Mainstream and underground are what one makes of it. If one does not hear the wind, then the wind is underground. Though the wind will continue to blow regardless if it is recognized or not until, eventually, it will be recognized. But, it was always there.
4. Describe your sound, your aesthetic? My ?sound? is never stable, but is always evolving. As a woodwind player I am dedicated to the sound that my reeds/instruments offer. This functions in tandem with my lived experience. When these two factors meet they become active agents of expression stating a re-presentation of ?the moment? (me, us, the surrounding environment, etc.) at that given time where these two points are both being summoned. My aesthetic is likewise ever changing. If I begin to funnel my interest into a specific arena then I have naturally neglected other sounds that may have influenced my work. If anything the dedication is to remain open to whatever is around and that is probably the most difficult task that I feel a contemporary musician has to contend with in our post-modern times.
5. What is your understanding of music and/or sound art as well as music-making and/or sonification? Music is a tribal force of man which naturally drives us all to re-present who we are in whatever manner is available to us at that point and place in time which we have defined as reality.
6. In your social context(s), what role(s) do you think music and/or sound art and music-maker and/or sonifier perform? Music, for me, is the cultural agent of expression which actively re-presents who we are as people/human beings along a fluid and elastic continuum.
7. In an ideal world, what would you do/would be doing in the future (goals/plans/dreams etc.)? I will Indigenize education and art (music, visual, dance, theatre, literature) through my various forms of expression and serve as a Change Agent for the future generations.
I'm late.
Question Set 3
1: “Style”, to me, means the character or qualities of something that give it a place in relation to everything else. It can reference a family or context which provides a key to further understanding. Is style a habit? Calculated expression? Evidence of temperament? I don’t deliberately set out to have a style in what I do or who I am. It’s like a consistent hum that emerges from the spaces in between.
“Idea” is a tiny, spontaneous fireworks display within or just above a person’s cranium. Sometimes the effects are lasting and sometimes they are snuffed as quickly as the lights fade out. Ideas happen in between mundane thoughts or maybe because of them.
About underground… it makes me think of earthworms.
If underground refers to avant-garde, then it’s an ever-thirsty and frenzied chase toward the next thing.
3. Part of saying something is having someone to say something to.
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