I second the suggestion. I'd also add this one: <a href="http://www.amazon.com/Living-Electronic-Music-Simon-Emmerson/dp/0754655482/ref=sr_1_1?ie=UTF8&qid=1308773106&sr=8-1">http://www.amazon.com/Living-Electronic-Music-Simon-Emmerson/dp/0754655482/ref=sr_1_1?ie=UTF8&qid=1308773106&sr=8-1</a><br>
<br><div class="gmail_quote">On Wed, Jun 22, 2011 at 9:53 PM, Pagano, Patrick <span dir="ltr"><<a href="mailto:pat@digitalworlds.ufl.edu">pat@digitalworlds.ufl.edu</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
May I suggest.<br>
<a href="http://www.amazon.com/Liveness-Performance-Mediatized-Philip-Auslander/dp/0" target="_blank">http://www.amazon.com/Liveness-Performance-Mediatized-Philip-Auslander/dp/0</a><br>
<a href="tel:415196906" value="+49415196906">415196906</a><br>
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On 6/22/11 11:08 AM, "Mathieu Bouchard" <<a href="mailto:matju@artengine.ca">matju@artengine.ca</a>> wrote:<br>
<br>
>On Wed, 22 Jun 2011, Onyx Ashanti wrote:<br>
><br>
>> The thing is, nobody asks a violin player what he's playing (as<br>
>>somebody<br>
>> mentioned a few messages ago, sorry for the lack of proper quoting<br>
>> here), I believe, because these traditional instruments are already<br>
>> within our culture,<br>
><br>
>It's not just that, it's that the number of parameters is limited. With<br>
>computer music there is no way we can learn to understand what's going on<br>
>in the manner that we did with traditional instruments, simply because it<br>
>doesn't take many variables at a same time to become confused, and with<br>
>computer music there are always more variables that can be added to<br>
>confuse the audience, and those variables can be added and removed at any<br>
>time.<br>
><br>
>Every show is a potential opportunity to confuse the experts about what's<br>
>going on, more than it ever was.<br>
><br>
>> but with electronic music, we're all a bunch of jilted lovers because<br>
>> were are all so used to hearing amazing music that was created in a<br>
>>very<br>
>> unexciting manner. what this project is, currently, is "ok" sounding<br>
>> music, done in an exciting manner (to me). thats why i looked so calm<br>
>> on the TED video even though my effects wouldnt latch (assigned to the<br>
>> extremes of the accelerometer range), because i had to concentrate of<br>
>> multiple variables at once and no longer have the distraction of<br>
>> "ease"...every performance is a strain and it is the best feeling EVER!<br>
><br>
>The audience has no idea what you wanted it to sound like, so they have<br>
>no<br>
>way to measure your satisfaction other than looking at how you seem to<br>
>feel like.<br>
><br>
>> when doing a DJ set or an ableton set, it is hard to suck because its<br>
>> all pre-recorded...you can even put on a song and go to the toilet.<br>
><br>
>In the early days of the Pd Montréal users group (or actually, before),<br>
>there was that joke that the performer could very well be checking his<br>
>email while his music plays on its own. We were talking about Pd, because<br>
>one can also use Pd in this manner. We were talking about the lack of<br>
>proof of the « liveness » of a performance.<br>
><br>
>> I love what girl talk does. he covers his laptop in saran wrap to keep<br>
>> drinks from killing it, and he just has everyone around him for the<br>
>> duration of his set. THAT is the future.<br>
><br>
>Doesn't that sound like the TopLap manifesto ?<br>
><br>
> _______________________________________________________________________<br>
>| Mathieu Bouchard ---- tél: <a href="tel:%2B1.514.383.3801" value="+15143833801">+1.514.383.3801</a> ---- Villeray, Montréal, QC<br>
<br>
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