The impact of being an artist under the influence of Japan.
Sometimes I wonder if I only in order to have a reason to beget that awesome title I just came up with.
It seems that lectures, interviews, and talk radio fulfill many of the same nodes in me that recorded music does, at least in a passive-listening context.
I’m always trying to subject myself to music that I think I won’t like or re-subject myself to music that I haven’t liked upon a previously.
Also possibly the all-American granddaddy of slam poetry and jazz vocalese, and a co-inventor (and practitioner) of Schoenbergian sprechstimme.
About this time each year, I develop colony envy, that affliction which affects only pianists, instrumentalists and singers who are too noisy for the calm reflection allowed primarily to composers, poets, visual artists, playwrights, authors, film makers, and other quietly creative types, at various artist colonies around the world.
Can you take it?
While I was in Kansai for the FBI Festival, I dropped by the Osaka National Museum of Art to see Plus/Minus, the exhibition of Yuki Fujimoto, an artist whose conceptual works often use sound as a medium of expression.
Most of the instruments with which I work lie in a continuum of
“messiness,” of wider or narrower sonic possibility-spaces.
Computers and the internet are better than no computers and no internet, and they aren’t going to go away; but, at the same time, they are not the be-all end-all.