#49

As a friend pointed out: if you’re going to distribute music digitally, you may as well consider it as software - although wouldn’t it be nice to have a real changelog…

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#50

I think the era of album oriented rock really messed with our heads. If you go to the early days of recorded music, before anybody really had notions of what a “release” meant or even a sense of ownership over songs, you can hear many of the “standards” being sung by a raft of different folks. Every recording has a different character. The lyrics and the basic melody might be the only thing in common between each version. Audiences were far more interested in the style and talent exhibited by the performance than they were by the composition.

But then go back further into the classical era and you’ll see composition come to the fore again.

Pendulums swing, often nudged by technology and culture. It’s interesting to see this notion of “final” come in and out of focus over the decades.

Been thinking a lot about the relationship between composition and improvisation (thanks largely to some wise words from @Rodrigo and @glia). I think it’s possible that the distinction means a lot more to the producer of music than it does to the audience. I feel the audience is there for the emotion and/or the narrative you’re trying to communicate. You can get that across with structure or without, with great labor, or an inspired moment, with dedicated practice, or completely by accident. It’s funny that way.

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#51

That’s really interesting about the Kanye album, and that general idea as it being a cloud type thing. It really shatters the idea of an ‘art object’.

For me, and my general approach, I don’t think about this stuff too much in the sense that as @jasonw22 mentioned, the ‘object’ is a relatively recent and artificial constraint. I don’t think that’s meaningful in and of itself because “it’s how it used to be done” but more in the sense that that approach to music is largely an economic model being applied onto art (in terms of time-based art, like music). The thing to sell.

The way I like to think about it is that no matter what the process is that leads up to the moment (either improv or composition, or album or remix) we still experience it in realtime (for the time being anyways!), and in realtime, the past doesn’t matter. It is all a sequence of nows that we are enveloped in, each more now-er than the last.

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#52

[quote=“Rodrigo, post:51, topic:1980”]
that approach to music is largely an economic model being applied onto art
[/quote]which is why if i want free reign to revise without dealing with possible complaints i make sure not to charge

which is silly because people generally pay more more for a concert ticket than an album but exert more psychological control over album release and reissue procedures

i don’t know why i allow that pressure to affect me (especially when I don’t make profit)

once money will be exchanged for the work something changes

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#53

Making money from my music seems like such a remote possibility that I long ago began to regard it as an impossibility. For me, it is freeing. I just don’t give financial concerns any thought whatsoever in the context of music.

But I get to say that because I have a non-music career that allows me to fund my habit.

I’ve always admired artists that have found a way to avoid having this dual life, to completely focus on their art as their livelihood, especially if they seem to have found a way to avoid the distorting lens of capitalism as an influence on their process. I admire them greatly, but I’m completely baffled as well. I admit that I have a tendency to make up cynical stories about hidden trust funds just to make myself feel better about my own inadequacies.

I wish frank discussion of the economic realities of art-making as livelihood were more common.

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#54

I hate to pick on Kaitlyn because she was kind enough to invite all of us complete strangers into her home studio, but was I the only one mentally totting up the financial damage that building a studio like this represents?

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#55

nope

she uses it all (unlike many who merely horde/collect)

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#56

To amazing effect! Absolutely lovely music. I wouldn’t want to deny her a shred of it.

But (and perhaps this is the epigenetics from my uber-accountant grandfather talking) I find myself baffled at the finances involved. I am not owed any explanation, of course.

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#57

no i totally get it

just didnt occur to me while watching this video

happens plenty of other times (especially on here…monome gear aint cheap!)

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#58

(apologies for the topic wandering)

i think when someone takes on music as a career the math changes. honestly in comparison to other careers, the investment is comparatively inexpensive.

out where we live people regularly spend staggering amounts on tractors and trucks and heavy tools, for careers that certainly don’t have mega dollar promise.

more the issue is that so many of us get the gear but the gear doesn’t “earn” its keep. which comes back to the broken economics of the industry.

so i try to reserve judgement when seeing a giant collection of gear. it could mean many different things.

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#59

Yeah, when I think about what we’ve spent on a well, irrigation, and a tractor, it makes my concerns about musical expenditures seem quaint.

#60

I like this idea
closely linked to file storage and the associated choices in nomenclature that we make

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#61

re kanye and versions etc:

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#62

Didier Super is funny, he’s a caracter, and a great one :smiley:

#63

so i’ve read that kanye west had promised to release the life of pablo on tidal only. someone felt betrayed and sue him, because he revised his work and then release the life of pablo on other platforms.

revision and betrayal.

it leads me to Penelope and Melantho (yes Homer’s Odissey). Penelope promised to marry one of the suitors after she finished a shroud for her step-father. so she weaved at day and revised her work at night. a trick to delay her pledge. but Melantho (who is the beloved maid of Penelope) betrayed Penelope by telling the trick to the suitors. work is done, she needs to marry one of the suitors.

this ancient story (all kind of ancient story) is a way to describe inner life. the characters and their relationship is a way to describe the structure of the inner life, how it is shaped and how it evolves. (today we would prefer to talk about molecules, hormones, map of the brain, metabolisms, process, electricity, etc.).
anyway, this story could be an answer (among many others) to the question [quote=“tehn, post:1, topic:1980”]
who decides when something is done?
[/quote]

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#64

The story about Penelope drives home a painful and annoyingly resilient truth: the arbitrary deadline decides when something is done! :stuck_out_tongue:

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#65

bill cunningham is inspiring…
http://annekata.com/2012/02/money-is-the-cheapest-thing/

it takes our whole lives, everything we have done/learned/internalized up to the point of creativity…
if we make something we are proud of, we can say it was 'worth it,
as an artist, or a farmer growing food out of the ground.
all the other stuff is extra, and to some degree, not within our control

tehn,
I found this artwork to be very inspiring, how long did it take you to make it?

how can we discount the life you’d lived up to that point,
…art/music education, actualization, creation of the monome/apps to be able to make
the music/art of that moment :slight_smile:
peace and thanks, -evan

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#66

a little OT: this is the piece that made me fall in love with monome.

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#67

i miss threads like this

currently rereading

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#70

Old thread but @infovore comment helped me remember a reference I love about the word software.

There was a magazine in the 1970s called Radical Software. It was about video art. The idea was you could record a moving image on tape play it back and use the same tape for a different recording in the future.

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