tag:blogger.com,1999:blog-28154988.post2223966462360841875..comments2024-03-18T17:40:15.045-04:00Comments on Just outside: Brian Olewnickhttp://www.blogger.com/profile/08567239067604835372noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-28154988.post-24825209961906593952012-10-09T17:33:08.131-04:002012-10-09T17:33:08.131-04:00Thank you for the credits, but I have to correct: ...Thank you for the credits, but I have to correct: I made the photographs which were part of the exhibition in Korea. The drawings are part of the CD artwork and the credits for them need to go to René Seifert.Katrin Hoedemackernoreply@blogger.comtag:blogger.com,1999:blog-28154988.post-37361050237383069542012-10-02T20:35:38.464-04:002012-10-02T20:35:38.464-04:00Yes, I have written in a similar manner over recen...Yes, I have written in a similar manner over recent months as well. I'm never quite sure why, given the endless mass of different sounds to be heard in the world, why the same set of elements keep appearing.<br /><br />There is a lot of life to be found in composition using field recordings out there though. Vanessa Rossetto's work continues to give me hope, as does the forthcoming David Lacey/Patrick Farmer disc on Copy for your Records and of course Michael's composition. Its not that I necessarily want to keep hearing new sounds, just new ideas. I'm sure there are still interesting things to be done with hydrophone recordings of rivers for instance, I just don't seem to be hearing them lately.Richard Pinnellhttps://www.blogger.com/profile/00168522717135806763noreply@blogger.comtag:blogger.com,1999:blog-28154988.post-57799615382872114392012-10-02T11:08:28.596-04:002012-10-02T11:08:28.596-04:00thanks, Simon. It's a question that always int...thanks, Simon. It's a question that always intrigues me. Aside from something like the Pisaro, where there's an added element, why is it that, for me, pieces like Luc Ferrari's Presque Rien series are so powerful and beautiful? I take it that it has to do with the construction/composition, the poetics of how he handled this which happens to resonate with my own aesthetic. Quantifying it is impossible, though, at least for me.Brian Olewnickhttps://www.blogger.com/profile/08567239067604835372noreply@blogger.comtag:blogger.com,1999:blog-28154988.post-467973151891989572012-10-02T08:02:43.444-04:002012-10-02T08:02:43.444-04:00Griping maybe, but I agree with your reservations ...Griping maybe, but I agree with your reservations / weariness as regards 'pure' field recordings. As you say, in most cases 'nice, but so what?' (though I should add that I haven't heard the particular discs you're reviewing, so can't judge them) But I also agree that transformed field recordings (as with Tranparent Cities) can be wonderful and ear-opening in the right hands, and I feel that there's still a lot of mileage to be got from using the sounds of everyday environments in music as long as this is guided by compositional decisions / processes. (But I'm sure there are many within field recording who disagree strongly and prefer a more purist strategy).simon reynellnoreply@blogger.comtag:blogger.com,1999:blog-28154988.post-16051931528502759512012-10-02T03:51:48.902-04:002012-10-02T03:51:48.902-04:00The Cage accompanies a forthcoming publication (wh...The Cage accompanies a forthcoming publication (which I've done a couple of translations for), oodles of explication in there.Lutz Eitelhttps://www.blogger.com/profile/18265424358386584255noreply@blogger.com