Title: Slippery bows and slow circuits
Source document: Musicologica Brunensia. 2017, vol. 52, iss. 1, pp. 29-41
Extent
29-41
-
ISSN1212-0391 (print)2336-436X (online)
Persistent identifier (DOI): https://doi.org/10.5817/MB2017-1-3
Stable URL (handle): https://hdl.handle.net/11222.digilib/136925
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
This article is based on a keynote lecture given at the 51st International Musicological Colloquium, Masaryk University, Brno, that was part lecture, part performance. The lecture was presented in the style of a series of statements with performance elements, of which the order was improvised. In response to the conference call and with reference to DIY electronic music, the article covers the topics of: the relationship between music and technology; what could be considered as post-technological music; technologically generated, supported, or mediated music; and issues arising that relate to virtuosity. The article also discusses the impact of neo-Luddism and the Slow Movement on music technology and Nam June Paik's declaration 'I make technology ridiculous'. Examples of work by the author (Dirty Electronics), Gijs Gieskes, John Bowers, and Leonardo Ulian are also discussed.
References
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[19] RICHARDS, John. Beyond DIY in Electronic Music. Organised Sound, 2013, vol. 18, no. 3, p. 274–281. | DOI 10.1017/S1355771813000241
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[21] RICHARDS, John. Shifting Gender in Electronic Music: DIY and Maker Communities. Contemporary Music Review, 2016, vol. 35, no. 1, p. 40–52. | DOI 10.1080/07494467.2016.1176771
[22] SALE, Kirkpatrick. Rebels against the future: the Luddites and their war on the Industrial Revolution: lessons for the computer age. Reading, Mass: Addison-Wesley Pub. Co., 1995.
[23] SMALL, Christopher. Musicking: the meanings of performing and listening. Hanover: University Press of New England, 1998.
[24] TOFFLER, Alvin. Future Shock. New York: Random House, 1970.
[2] BOWERS, John, and ARCHER, Phil. Not Hyper, Not Meta, Not Cyber but Infra-Instruments. Proceedings of the International Conference on New Interfaces for Musical Expression (NIME), Vancouver, BC, Canada, 2005, p. 5–10.
[3] BOWERS, John, RICHARDS, John, SHAW, Tim, et al. One knob to rule them all: reductionist interfaces for expansionist research. Proceedings of the International Conference on New Interfaces for Musical Expression (NIME), Brisbane, Australia, 2016, p. 433–438.
[4] BRECHT, Bertolt, and WILLETT, John. Brecht on Theatre: The Development of an Aesthetic. New York: Hill and Wang, 1964.
[5] CAGE, John, and CHARLES, Daniel. For the Birds: John Cage in Conversation with Daniel Charles. Boston, MA and London: Boyars, 1981.
[6] CARDEW, Cornelius. Treatise Handbook. London: Peters, 1971.
[7] DUNNE, Anthony. Hertzian Tales: Electronic Products, Aesthetic Experience, and Critical Design. The MIT Press: Cambridge, Massachusetts, 2005.
[8] ENO, Brian, and SCHMIDT, Peter. Oblique Strategies: Over One Hundred Worthwhile Dilemmas. [Place of publication not identified]: [publisher not identified], 2001 [original publication 1975].
[9] FASS, John, and RICHARDS, John. Dirty Electronics Weekender [blog], 2015. https:dirtyelectronicsweekender.wordpress.com [accessed on 1/1/2017]
[10] GAVER, William W., BEAVER, Jacob, and BENFORD, Steve. Ambiguity as a Resource for Design. Proceedings of the SIGCHI Conference on Human Factors in Computing Systems, 2003, vol. 5, no. 3, p. 233–240.
[11] GLENDINNING, Chellis. Notes Toward a Neo-Luddite Manifesto. Utne Reader, March/April, 1990.
[12] HALLNÄS, Lars, and REDSTRÖM, Johan. Slow Technology – Designing for Reflection. Personal and Ubiquitous Computing, 2001, vol. 5, no. 3, p. 201–212. | DOI 10.1007/PL00000019
[13] HONORÉ, Carl. In Praise of Slowness: How a Worldwide Movement is Challenging the Cult of Speed. San Francisco: HarperSanFrancisco, 2004.
[14] LANDY, Leigh, and GRAEVENITZ, Antje von. 'I Make Technology Ridiculous': the Unusual Dialectics of June Paik. Avant Garde 7, 1992, p. 79–108.
[15] MALINA, Frank J. Comments on Visual Fine Art Produced by Digital Computers. Leonardo, 1971, vol. 4, no. 3, p. 263–265. | DOI 10.2307/1572302
[16] NAKE, Frieder. There Should Be No Computer Art. Bulletin of the Computer Art Society, London, 1971, p. 18–21.
[17] PAIK, Nam J., CONNOR, Russell, and TOMPKINS, Calvin. Nam June Paik: Edited for Television [TV], Produced by the TV Lab at WNET/Thirteen (VTR series), 1975.
[18] PAIK, Nam J., and YALKUT, Jud. Suite 212 [video]. New York: Electronic Arts Intermix [distributor], 1975 [re-edited 1977].
[19] RICHARDS, John. Beyond DIY in Electronic Music. Organised Sound, 2013, vol. 18, no. 3, p. 274–281. | DOI 10.1017/S1355771813000241
[20] RICHARDS, John. oneknobtorule: Information Experience and Instrument Design [blog], 2015. https://oneknobtorule.wordpress.com/ [accessed on 1/1/2017]
[21] RICHARDS, John. Shifting Gender in Electronic Music: DIY and Maker Communities. Contemporary Music Review, 2016, vol. 35, no. 1, p. 40–52. | DOI 10.1080/07494467.2016.1176771
[22] SALE, Kirkpatrick. Rebels against the future: the Luddites and their war on the Industrial Revolution: lessons for the computer age. Reading, Mass: Addison-Wesley Pub. Co., 1995.
[23] SMALL, Christopher. Musicking: the meanings of performing and listening. Hanover: University Press of New England, 1998.
[24] TOFFLER, Alvin. Future Shock. New York: Random House, 1970.