Conceptronica
- Thread starter luka
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- arca are you still mental out there yet? art money article 50 as long as the music's good barty needs to move to akton blinded by whiteness blood for the blood god bogsnotter boomkat boring and pointless burn the art schools burn the art students capitalist realism chortle concept thread conceptroclash deleuze foucault funding gabber eleganza going back to proper house goldsmiths gun clap city holly herndon k-punk lee gamble limited edition clear vinyl lp love the game luke and north london reggae magical marxism marxist-anarchist pretensions mat dryhurst middle class wind bags post-music ragamuffin business an ting rancid wombats real art people really disgusting play acting respect the diggers respect the hustle righteous narcissism semioblitz skullstep revival now! slide into the idms snowflakes sophie the holy market the mirror in the mirror we all agree it’s shit
entertainment
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what sort of stuff is that tagged onto?
version
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entertainment
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that gestural awareness just gets in the way of any form of trascendence. it disqualifies its own bite
entertainment
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that music doesn't exist anyway. it has no tacility and occupies no real space in the world. what it is is projections, narcissism.
in 25 years, it will be forgotten. it will have touched no-one because it has no tacility. it will linger as silhouettes, vague backgrounds. not even the people who made it will remember it.
in 25 years, it will be forgotten. it will have touched no-one because it has no tacility. it will linger as silhouettes, vague backgrounds. not even the people who made it will remember it.
What a dude
hieroglyphicbeingofficial.bandcamp.com
Good tunes as well, it's the standard funky deep techno that he's always doing, with that windchimey kling klang thing that's annoying first time but makes more sense tenth time.
THE SHITTEST SOUNDS U DON'T EVER WANT 2 HEAR WITH SPIRITUAL NAME TITLES 2 PROVE HOW DEEP I AM VOL . 2, by HIEROGLYPHIC BEING
11 track album
hieroglyphicbeingofficial.bandcamp.com
Good tunes as well, it's the standard funky deep techno that he's always doing, with that windchimey kling klang thing that's annoying first time but makes more sense tenth time.
catalog you are going to be shot come the revolution. After @craner that is, for encouraging this hippie like indolence and relativism.
insane he was making this in the early 70s, lol, sounds like westoid deconstructed club producer on Pan, but 50 years prior.
step aside Rabbit, and turn up yer bass bins!
trying not to be overly academic about this but its literally true lol.
electronic music started really declining when the concept of video-game like world building got introduced. I blame jam city, night slugs and that ilk.
It's so feudal and anti-modernist.
the kids are tories. the future looks dark. dominique samuels will deny she got into a punch up in year 7. what is the world coming to when you, yes you! approve of this?
version
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How would you distinguish that from Drexciya, or would you include them in this too?
drexciya is afrofuturist sonic fiction, not video-game world building. it's not at all about sound design pyrotechnics, in fact a lot of it was made on budget equipment and it sounds budget, but in a good way of course...
I don't think you could port the drexciya mythos to video games and pull it off. It's too deep for that. well it's not deep (in the university sense) but it's also deep, if you get me. even though a lot of it is influenced by commic books and shit, it's still heavy.
version
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So, world-building is explicitly to do with the sound and not the literature, etc. around it?
it's about a simulation of video-game like environments. rather than a surreal cinema for the ears, it is just a didactic cinema.
just listen to that alireza mashayekhi piece and tell me it literally doesn't sound like what gamble is doing, but much less didactic and much more imaginative.
he's not trying to push you into a simulation, he's exploring the microtonal sonic capabilities of electronic textures and triggering events with the accompanying disjunctures. Music as solely texture is what conceptronica is.
music is not visual art. music is qualitatively more advanced in that it is a preservation of a collective memory.
It is the master discourse of poetry.
It is even productively superior to written literature in many senses, as it sticks in the memory for mechanical and mathematical reasons, rather than reasons of narritive form. even if music is technically inferior for this reason in communicating concepts. But art is not autonomous, it is the social content of the communication of science and politics. Not its form, of course. The intermediate stage between the two.
in that sense conceptronica is objectively bad art from the proletarian class truth, even if one can subjectively enjoy some of it. objectively bad in the sense that it misunderstands the material value of music and regresses to the crudest of alienated mysticisms. Otherwise taste is relative, so much so good, independent art objects are only bestowed with the meanings we afford to them. But procedurally, this was bad art and there's no way of denying that.
It is the master discourse of poetry.
It is even productively superior to written literature in many senses, as it sticks in the memory for mechanical and mathematical reasons, rather than reasons of narritive form. even if music is technically inferior for this reason in communicating concepts. But art is not autonomous, it is the social content of the communication of science and politics. Not its form, of course. The intermediate stage between the two.
in that sense conceptronica is objectively bad art from the proletarian class truth, even if one can subjectively enjoy some of it. objectively bad in the sense that it misunderstands the material value of music and regresses to the crudest of alienated mysticisms. Otherwise taste is relative, so much so good, independent art objects are only bestowed with the meanings we afford to them. But procedurally, this was bad art and there's no way of denying that.
so much of electronic music is people trying to transform music into graphic design. in both process of production and consumption approach. feel like this is really what mo wax represented. people love it though, looking at music that way. i enjoy some of the products of that too but something essential is traded away in that, it hollows it out.
I remember this turkish dude from the states was over doing his MA at goldsmiths and we got chatting at a few techno nights (language commonality) and went to his gaff to smoke a few joints. And he described techno as a very visual music. On one hand I kind of see it, but on the other hand I'm not sure if I entirely concur. Or let me rephrase that: I think when techno gets *too visual* it can frequently descend into living inside of ableton. There needs to be an intense purposive physicality to techno for it to really work, the sounds have to jump out of the speakers, like alien lifeforms exploding into view.
It reminds me of something weatherall said, probably a quotidian superstition that 2 generations from now we will look at with complete bewilderment in all honesty, and there's no hard science behind it, but it is intuitive enough to me. that even if you make music in the computer, just burn it to a cd or put it on a recorder or whatever, let it live outside of the computer, see how it sounds. But that makes total sense to me.