User:Ssstephen/Reading/All Problems of Notation Will be Solved by the Masses
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we can relate the gestures of the performer to the sounds that we hear and thus acquire a sense of the relation between the sound and its material production
Music as instrument proficiency, is this good? What's the difference between this and watching someone play a grand piano?
Livecoding dispenses with such ‘fetishes'
Mmmm no I dont think so. Exposing materiality so intensely is a fetish.
It creates a virtue by exposing something that is normally concealed.
Yes this part is more the appeal I think.
livecoding makes its own materials and practices of production available to others.
Kind of? I mean everyone can sing too that doesnt mean opera does this. There is still a skill in the craft and it is still part of the spectacle, thats ok though I think.
This ‘enabling the possibility of production by others' is often continued beyond the performance not only in the use of FLOSS-style distribution, but also in the conscious use of workshops as a means of presenting works and teaching the skills used in their creation.
Yah.
enabling the possibility of production by others
Sure that sounds lovely. How do other movements in the music world relate to this? For example people like Ben Levin. In many traditional music scenes there is a history of learning from the more experienced performers (or Victor Wooten's ideas about jazz).
Free Open Form Performance
But performance implies a primacy of the notation. Instead maybe we could have Free Open Form Imaginings (FOFI).
One of their first collections of scores, published in 1969 and called Nature Study Notes: Improvisation Rites, replaced the conventional copyright notice with the following: No rights are reserved in this book of rites. They may be reproduced and performed freely. Anyone wishing to send contributions for a second set should address them to the editor: C. Cardew, 112 Elm Grove Road, London, SW13.
Rights for rites again.
As Edsger Dijkstra, one of the inventors of the interrupt system, noted: It was a great invention, but also a Box of Pandora. Because the exact moments of the interrupts were unpredictable and outside our control, the interrupt mechanism turned the computer into a nondeterministic machine with a non-reproducible behaviour, and could we control such a beast?
Oh nooooo scary.
rather than treading lightly for fear of a crash, for some the error carried on an interrupt signal is a positive, productive opportunity. This is not restricted to computer interrupts. During rehearsals, Sun Ra would deliberately interrupt and trick his performers. The ‘errors' this produced, however, were not mistakes but rather forms of evolution: There are no mistakes. If someone's playing off-key or it sounds bad, the rest of us will do the same. And then it will sound right.
This makes me feel very calm like everything will be ok. I just need to be friends with Sun Ra. Like the jaguars coming into the ritual and drinking the water.
In the voyage of the Arkestra, systems would collapse and be reborn on a daily basis.
Oh not sure I can go that fast though.
The turtle could either be an on-screen virtual character or a small robot that was instructed to move around their terrain
Notation is a way of making people move.
(Cardew). Does notation have to "make" people do things? This sounds weird coming from Kees. Notation like other written language is a means of communicating with the future, and thinking in the present?
Notational systems as a means of constructing, communicating and reflecting upon
Like this for example.
Papert's approach to computing was influenced by his previous involvement in radical left-wing politics - in the 1950s he had been involved in the group running Socialist Review in London. The LOGO Lab concept combined insights from Jean Piaget's and Lev Vygotsky's psychological studies of child development with the non-schooling principles of Ivan Illich. It advocated an approach in which, ‘the child programs the computer rather than the computer being used to program the child.'
Nice.
Papert pointed out that in conventional education errors had a purely negative connotation. When a student makes a mistake they are discredited for it, losing marks or being punished, thereby inculcating a fear of error, leading to an unwillingness to stray from conventional boundaries and take risks. For the hacker, conversely, what mattered is not whether or not a mistake is made but rather how creatively it can be responded to.
Aaaaaaahhh its so cute and lovely <3
The danger lay in the fact that a trained musician, when confronted with an unfamiliar notation system, rather than responding to it directly, might fall back on their personal predispositions and ingrained habits... The trained musician approached a performance with a predefined system of producing sound against which the new notation was interpreted.
This is a danger for anyone trained in reading anything, they will attempt to interpret what is in front of them.
The performer, therefore, could not rehearse such music but rather ‘trained' for it like a martial art, developing ways of acting upon contingency.
It is also the responsibility of the person writing the notation to encourage these other actions? The audience, the booking agent, the instrument builders, the bouncer...
the evolving knowledge, intentions and standards of the practitioner community acting as a form of version control identifying those practices which are most current and those which are conflicting or tangential.
This seems potentially the same as the gatekeeping practices of more established traditions, just less worked out? How do you make sure the version control doesnt get too powerful?
This led to the development of new performance venues, many situated directly within black communities, and of the conscious articulation of practice as a form of research.
https://linktr.ee/music_research_strategies
the fundamental contradiction confronting the Orchestra was perhaps its dependency upon its own constitution, the paradoxical aim of ‘legislating for noncomformity'.
Surely disbanding should eventually be the aim of a group like this? Devolving, shrinking, genuine obsolescence.
the rebirth of the author in a group attempting to move beyond such notions of singular authorship
This is so hard to escape.
The break-up, therefore, represented not the failure of its members, but rather the breaking of the limit between the formal structure of the score/constitution and the people who were the ‘substance' of the Orchestra.
It's a bit sad when this happens because the score/constitution is usually intended to be flexible, but sometimes it fails anyway.
There are parallels with Free Software's current reliance on copyleft and the GPL which can also be seen as a way of ‘legislating for noncomformity'.
I assume the punchline that is coming for this is bottom-up rather than top-down? But top-down is a necessary defense sometimes. As long as copyright (or anything) is the hegemonic form, alternatives need to be either directly reactionary or inertly stable, able to survive without the pressure of the dominant system.
It is perhaps best therefore to view the GPL and copyleft as tactics
Yah.
for under current law there is no magic licensing scheme that will bring an end to proprietary production.
Self-referential, generative licences. What can they do. Licence as a virus, forkbomb licence.
it is UNIX, with its networked, distributed filesystem, that created the basic notational inscription for these modes of production.
the factory as a single coherent unit of production has given way to amorphous networked systems.
collaboration within artistic practice valorised to a greater extent than ever before, and sometimes merely as an end in itself.