Difference between revisions of "Clemon"
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| − | + | Clemon started time-stretching noise to try to get my head around some of Theodor Adorno’s concepts on music. | |
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It didn't work very well, and everyone soon got bored. | It didn't work very well, and everyone soon got bored. | ||
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Apart from how ridiculous this sounds, the serious / engaged objection to time-stretched noise theory is that noise lies outside music. | Apart from how ridiculous this sounds, the serious / engaged objection to time-stretched noise theory is that noise lies outside music. | ||
| − | Clemon wondered what to do, and then | + | Clemon wondered what to do, and then gave up. |
| − | + | He's now struggling to write poetry of some sort... | |
Revision as of 05:31, 9 October 2014
Clemon started time-stretching noise to try to get my head around some of Theodor Adorno’s concepts on music.
It didn't work very well, and everyone soon got bored.
The idea was kinda that it creates an essential same-different complex in an analogous way to the sonata and so successful bourgeois music. The argument for this took several forms, all greeted incredulously by all but their obsessed creator.
Apart from how ridiculous this sounds, the serious / engaged objection to time-stretched noise theory is that noise lies outside music.
Clemon wondered what to do, and then gave up.
He's now struggling to write poetry of some sort...
