From R. Lim Sent Fri, May 28th 1999, 19:19
From R. Lim Sent Fri, May 28th 1999, 19:19
On Thu, 27 May 1999, solenoid wrote: > On Tue, 11 May 1999, Moonlight wrote: > > >(what other meta-genres would > > have songs written by pictures?), > > The "fake" Dr Moolenbeek of Hafler Trio, an experimental electronic music > (maybe called "noise music") supposedly generated pictures from paint > exposed to soundwaves (just a joke, afaict) though that is the reverse > process of what you mentioned. Ah yes, Moolenbeek. Didn't he get imprisoned for his beliefs or was it that other guy? I would take anything in H3O liner notes with a heft of salt; most of their early work was based from cut-up voices (not very visual at all). > Also, Conlan Nancarrow drew visually-pleasing lines of punched holes on > player piano rolls starting in the 1950's, so picture-based > sound-generation has a history, imo. He was a bit outside of the I don't think Nancarrow was dealing with his scores as explicit visual objects (e.g. visual art that deliberately made sense as music or vice versa). The architect Bruce Goff, however, did, though I'd have to say it came at an expense to both the music and visual component (which was mostly zigzagging lines and dots). Now that I think about it, this would've been an interesting avenue for Steve Reich to have explored (rather than the path up his own sphincter). Cage did a lot of work with using manipulated visual information to instantiate his scores (part of his early parameter-based work- most of his "mixes" were determined thusly. Speaking of which, Le Forte Four did a pretty nifty goof/tribute to Fontana Mix by applying its score to the "S" section of their record collection. The results can be found on their swan song _Spin 'N Grin_ or the massive LAFMS box set). I also remember that some of Stockhausen's early work (his Klavierstucke?) also utilized staff charts spread out on a page and sequenced by the "chance" operation of the pianist blinking and playing the first chunk that he/she focused on (augenblick). Also, Morton Feldman's work was heavily influenced by visual objects (Persian carpets, Philip Guston, Rothko, etc), though they didn't occupy any deterministic role in the composition process and hence don't fall under the initial charter. I'm sure there are tons of more recent conceptual work "composed" by hegemonic art pieces (such as Terry Fox's "Berlino," though that's based on the shape of the Berlin Wall as you follow it around), but I can't really think any off the top of my head. -rob