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Thread: Online (post-geographic) Localism.

  1. #31
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    Quote Originally Posted by version View Post
    Is it just the word or do you dislike their music too?
    Was going to attempt an explanation of this but it's embarrassing so - it's just prejudice, mental laziness

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  3. #32
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    I wonder whether the seemingly limitless potential of modern equipment is actually hindering people somewhat. When you have a couple of pieces of gear, you have to get creative in order to get the most out of them, you have to 'joyride technology' as Goldie once said. With a lot of software, you can pull up literally hundreds of sounds without ever really exploring them and end up paralyzed by choice.

    Mark Fell wrote a decent essay on "the case for technological limitation as a trigger for creativity" a while back - https://www.thewire.co.uk/in-writing...mage-mark-fell

    ... despite the rhetoric of openendedness, the first thing people do when they encounter these allegedly open environments is to develop variations on extremely limited systems. I did this myself in Max/MSP: first using a few simple objects, then, as I got more proficient, attempting to emulate machines like the TR808. Presented with hypothetically infinite openness, we start to construct systems with an inbuilt closedness. Users of these software packages may say they are drawn to openness, yet the same users demonstrate a much more significant interest in the narrower systems that can be built with them.

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  5. #33
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    Related to that is the whole mindset of the internet age - it's the "what else" "what next" thing - of having infinite options for diversion of your consciousness

    So that even if a musician created something radically new, in this era, the shock wouldn't register much, it would be one of a billion curiosities, something to sandwich occasionally in-between memes and news and Netflix boxsets

    It's the best of times it's the worst of times

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  7. #34
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    And in actual fact my aversion to even think about autechre, say, is in part a reaction to the deluge of choice the internet presents me with

    Each new thing I discover disturbs me as another in too many paths to ever explore or devote myself to

  8. #35
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    Perhaps true internet music would simply flitter from one thing to the next, never giving you time to absorb it or enjoy it, never progressing linearly, suggesting connections only, not disconnections (everything online is in a web, excuse the pun)...

  9. #36
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    And what music could possibly overcome this competition?

    The most meticulous music becomes Muzak when the smartphone has whittled attention spans to nothingness

  10. #37
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    Quote Originally Posted by Corpsey View Post
    And in actual fact my aversion to even think about autechre, say, is in part a reaction to the deluge of choice the internet presents me with

    Each new thing I discover disturbs me as another in too many paths to ever explore or devote myself to
    You have to be your own curator.

  11. #38
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    Mental laziness abetted by existential angst

  12. #39
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    I mean I'm aware of the danger of projecting my somewhat abnormal psychology onto society at large, but it seems well documented that the internet is having a toxic effect on people's psyches.

  13. #40
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    Quote Originally Posted by Corpsey View Post
    Perhaps true internet music would simply flitter from one thing to the next, never giving you time to absorb it or enjoy it, never progressing linearly, suggesting connections only, not disconnections (everything online is in a web, excuse the pun)...
    I think the closest you can get to this at the moment is probably stuff like 6ix9ine, OPN's more extreme material, Autechre and the "algorave" stuff like Renick Bell.

  14. #41
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    Quote Originally Posted by version View Post
    I wonder whether the seemingly limitless potential of modern equipment is actually hindering people somewhat. When you have a couple of pieces of gear, you have to get creative in order to get the most out of them, you have to 'joyride technology' as Goldie once said. With a lot of software, you can pull up literally hundreds of sounds without ever really exploring them and end up paralyzed by choice.

    Mark Fell wrote a decent essay on "the case for technological limitation as a trigger for creativity" a while back - https://www.thewire.co.uk/in-writing...mage-mark-fell

    ... despite the rhetoric of openendedness, the first thing people do when they encounter these allegedly open environments is to develop variations on extremely limited systems. I did this myself in Max/MSP: first using a few simple objects, then, as I got more proficient, attempting to emulate machines like the TR808. Presented with hypothetically infinite openness, we start to construct systems with an inbuilt closedness. Users of these software packages may say they are drawn to openness, yet the same users demonstrate a much more significant interest in the narrower systems that can be built with them.
    This could probably do with its own thread tbh.

  15. #42
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    The ever expanding not experienced

  16. #43
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    Concomitant to chaos is the urge to control, to categorise, to judge, dismiss, shut down, destroy.

    This is tale at least as old as The Wasteland.

    I wonder if on some subconscious level the rise of the right has to do with this assailing of the consciousness by distraction and chaos?

  17. #44
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    Quote Originally Posted by Corpsey View Post
    The ever expanding not experienced
    Yearned for
    Resented
    Wished for
    Wished away

  18. #45
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    I think "internet music" can take off in multiple directions:

    1) A music completely divorced from the physical/non-digital world

    2) A music which doesn't recognise "real world" geography and ends up combining various musics from across the globe indiscriminately

    3) A music specific to and which comes out of small communities formed online

    - - -

    I imagine there are other possibilities, but I can't really think of them right now. I also think that what's actually happening is probably a mixture of all three.

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