Joseph Butch Rovan (
Mon, 2 Jun 1997 01:32:22 +0200

> So, when it comes to music, I like sampling. I like theft.
>Appropriation. To me this is what it's all about. The glory of Post-Modern
>(North) American culture. Where we pick and choose our identities, from the
>shelves of Data. Sampling to me is the ultimate expression of the
>recombinant self. No more authentic original, no mythological patina. We
>piss on Walter Benjamins "Aura". Since we can't remember who we were to
>begin with, sampling becomes a technique of survival. A self, only
>recognisable as pure data. Everlasting and disposable.

Okay--I'm a composer, and I love sampling as well. But to file everything
on this one digital shelf seems kind of limiting. Even pissing on
Benjamin's "Aura" could be seen as an original act (it's all in the
performance, right?).

> As for the conservatory, the institution, let me remind you of the
>joke that was/is IRCAM. Hmmmm... (again) When did Boulez last compose? And
>better yet, where can I see him conduct?
> OK, lets argue now. I'll poke you in the eye.
> Mark Klemola

Well, let's see. Just saw Boulez several times within the past few months
conducting. All bashing aside, he's a really good conductor. He's also
working on a new violin piece--hear them working on the electronics in the
office next door everyday. As for IRCAM, there are lot of great people
here. People bash the ideology, but underneath the institution there are a
lot of talented people who are doing some great stuff. If one can wrestle
with the administrative side of things, one can discover some interesting
things. Take for instance, the gig I did today with the (totally
unofficial) Ircam Blues Band. A mix of French and Americans (players are
everyone from programmers to cognitive psychologists), loud blasting blues
with no permutated sets in site. Free sandwiches at the gig, too.

Butch Rovan

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