the mark fell talk was pretty good. nothing breakthrough, but interesting enough.
his main point was that he doesn't like the cartesian idea of having a master idea that you then realise through technology.
he says the musical score is the worst invention in the history of music.
he also made a few point about the nature of time, that time does not equal our conception ie past,present, future. He called these "ordinary temporal linear frameworks" that are limited.
"temporality is not time, temporality is how we perceive time".
he was also talking about generally not having an artistic vision, and not wanting one - he got a recent arts council bid rejected cos they said there was no overall artistic vision, but he didn't wanna provide one, cos the whole point was that he didn't know what was going to happen.
he mentioned this record, which i've not heard about before:
he said that what he does is "make a system and then explore that system" and he also said that as a kid he liked to wander about decaying factories, just looking at the space. So i guess a lot of what he's doing is making sound for these spaces? and the imagintion that he gets in these spaces? He said he was from brinsworth, right next to orgreave.
also talked about how he thinks there's too much agreement in modern life - "we need to find a space in which to disagree".
mentioned dj pierre's comments on the 303 - i guess maybe these?
Where did the acid sound come from? [Phuture] did the first tweaking of acid. We had gotten this box called the 303, only because I’d seen this guy named Jasper with it. He had just a regular baseline playing, I thought “aw, that’s nice.” I said, “What’s making that sound?” He said, “This 303” and he then showed me the machine. I said, “Wow, we’ve really been looking for a keyboard module or something that could give us a good bass sound.” Spanky bought it used because you couldn’t get it new anymore, and he had it hooked up, running with the drum machine, but it wasn’t [working]. If you get one of those 303s it’s not going to have any baseline sounds in it, so you got to squeak and squack it till it makes some noise. He said he didn’t know what was wrong with it, how to program it right, so he said, “Could you figure it out?” So when I came over by it, I started twisting the knobs, seeing what they do, because that’s what I do: twist knobs. So I was doing that and we fell in love with the sounds it was making. We fell in love with how I was twisting the knobs with the beat. And then I started twisting them a certain way, and putting emotion and feeling behind it, and Spanky was like, “Yo Pierre, keep doing that, I like that.” I was like, “Yeah, this is something!” We were like, “Yo, that’s style.” We said forget trying to make a baseline, let’s program it like this and just twist the knobs. And so that’s what we did, you know.
Three decades on from inventing the acid sound, Phuture’s DJ Pierre explains how it all started in Chicago.
that's his vibe i guess - mash the buttons, the idea and the tools are one.
"when you operate a drum machine, you can feel like you're inside a loop"
at the end, he talked about indian classical music, how the note within that tradition is not a specific point in time, rather a cloud of possibilities.