[NewMusic] slusser's article

[George Cremaschi]

Mr Raskin wrote:

>The sea of information...has obscured the sharp lines 
>that were passionately felt in the 60's 

And the difference with the atmosphere of today, where most 
people don't believe in much more than themselves, if even that,
is monumental. Carrying around a Little Red Book may have been
pathetic in retrospect, but underneath the current apolitical hipster
snarkiness lies.....a great big nothing.


>The "specialist" also seems connected to the High and Low art dialog, 
>or is it distortion, which confuses the different function and roles that 
>music plays. 

I've become mostly interested in interdisciplinary work (dance, installation, etc)
the last few years as I've become increasingly aware that my perspective
is much more in line with contemporary art, as opposed to music, traditions. 
And the idea of just getting up on stage and playing some sounds that
I like for 45 minutes at a stretch has become increasingly, well, boring.
I've lately been far more interested in the 'noise' scene than the 'improv' scene
for these reasons - noise musicians tend to look at their work from an
artist's perspective, thinking conceptually and theatrically, where improvisers
tend to take the traditional music presentation ideas as a given, focusing
all of their attention to delivering the sound itself, but zero attention to the
form in which it's delivered. And there's nothing wrong with that, but I suspect
that presenting something non-traditional in a traditional format might have
something to do with the no-audience problem. I'm no longer confused as
to why 'sound art' is currently far more 'successful' than improv - it knows
what it's target audience is: the art world, not music fans.  


>Collecting is simplified by improvements in storage capacity. 

Owning the complete collected works of 
means nothing, aside from the fact that you own the complete collected 
works of .


-George
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