Re: [-empyre-] blast from the past :: listening habits
Hey
Glad you like it..
the first track was generated in Paris, by a little old man, walking slowly across a blue
carpet. TIny sensors detect his motion, and created the generative elements of the track -
recorded live, u get the city too.. We call it the Layer installation.
Thanks from muggy London
Andrew
Quoting Christina McPhee <christinamcphee@yahoo.com>:
>
> i listen to greyworld tonight
>
> i learn from the keyboard and like the evocative
> spaces.
> some wit here too. good for summertime.
>
> does it affect my sound work? probably by just
> reminding me of the value of a delicate touch
>
> http://www.greyworld.org/music/index.html
>
>
> christina
> -http://www.greyworld.org/music/index.html-- Trace
> Reddell <treddell@du.edu> wrote:
> > > i think it would be interesting to hear what
> > others members of this panel
> > > and list enjoy listening to and why. do you
> > listen to relax? do you
> > listen
> > > intently (analysing what you are hearing), or do
> > you listen as background?
> > > do you listen to music/sound that makes you feel
> > good, or that shares
> > > something in the way you think (i.e. lyrics that
> > you identify with).
> >
> > I wanted to resurrect this thread from the past, as
> > I too am interested in
> > what everyone listens to and why/how.
> >
> > I'd say I listen for all of the reasons John lists:
> > relaxation, intent
> > listening, background to dishwashing. My tastes are
> > eclectic (currently
> > immersed in The Clash's _Sandinista_ again after
> > many years), and I don't
> > equate a certain type of music with a certain
> > listening mode (e.g.,
> > microsound for intent listening, post-punk-dub for
> > dishwashing). I do find
> > myself having less time for intent listening (two
> > kids in the house now!),
> > but when I do, I'm usually drawn to lyrical stuff
> > right now, particularly
> > narrative lyrics (Tom Waits, Bruce Springsteen's
> > "Born to Run" and "Darkness
> > on the Edge of Town", The Smiths, Talk Talk's
> > "Colour of Spring" and
> > "Laughing Stock"). Much of my listening happens
> > while busy on the computer
> > building a web site for a project or writing or
> > emailing.
> >
> > Most microsound I listen to is my own, though I
> > consider "own"-ership
> > somewhat questionable. That is, I usually try to
> > enact a situation (such as
> > translating .txt data into MIDI) for musical
> > generation that I can then
> > listen to as it unfolds and, as it were, performs
> > itself. I try to engage
> > this process, multiple times, in a way that lets me
> > filter out the more
> > interesting results and mix from there into a single
> > track. This is how all
> > of my work up on the microsound projects has come
> > about, as well as the De
> > Quincey piece on Stasisfield.
> >
> > I guess what's interesting to me about this question
> > is the reminder that
> > much of what I listen to has very, very little to do
> > with what I produce.
> > I'm certainly not listening to Tom Waits or The
> > Clash looking to mine out
> > samples and such. And I don't create rock-ish
> > sounding microsound or glitch
> > tracks, though one piece did bear some resemblance
> > to the sonic mood from
> > one of Talk Talk's Phill Brown productions.
> >
> > Anyone else exploring the discrepancies between
> > what/how they hear and
> > what/how they produce?
> >
> > -=Trace
> >
> > _______________________________________________
> > empyre forum
> > empyre@lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
>
>
> =====
> <http://www.naxsmash.net>
>
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Andrew Shoben
Greyworld
http://www.greyworld.org
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