[rohrpost] Re: [rohrpost]rmx_invitation ONE CAGE IS ENOUGH

[golo foellmer]

Hallo Wolf Kahlen

ich bekam gerade nochmal deine Erwiderung auf das rmx-Konzept (September
2001) in die Hand, und ich kenne auch dein Online-Projekt arch_net_art. Und
da wurde ich neugierig, was du wohl auf die Fragen antworten w=FCrdest, die
ich mittlerweile etwa 25 Musikern und K=FCnstlern geschickt habe, die im Netz
mit Audio experimentieren.

Und also daher w=FCrde es mich freuen, wenn du Zeit f=E4ndest, meine Fragen zu
beantworten. Die Ergebnisse analysiere ich f=FCr meine Diss, die gerade sehr
schwer in den letzte Wehen (Wochen) liegt, und evtl. mache ich sp=E4ter auch
noch ein kleines Buch mit den interessantesten Statements der Interviews.

Einige fr=FChere Interviews habe ich als Videoclips in meinen Text =BBSoft
Music=AB integriert:  http://crossfade.walkerart.org/
Diese Serie im Moment mache ich per email.txt

Die Fragen sind standardisiert, daher nicht immer in jedem Punkt auf jede
und jeden zutreffend, aber das muss f=FCr meine Zwecke eben so sein, und bei
den Antworten kann man Unzutreffendes gerne umgehen.

Ich w=FCrde mich also =FCber eigensinnige Antworten freuen.

(Das ging =FCbrigens auch schon =FCber xchange, forumhub und microsound,
vielleicht hast du es also schon gesehen)

Gru=DF
Golo


*****


***********************


1.  To begin with: How do you describe yourself?
    (concerning your audio activities)


2.  Tell me about your network projects (very briefly). How do they involve
the network and which consequences does this have for the resulting music?


3.  What kind of =BBproduct=AB do you ultimately aim at? Can we hear net audio
projects like yours as music like we have known it, or is it fundamentally
different?


4.  One could argue that since the net is a time-based medium it would be
especially suitable for musical application. Do you think that the net has =
a
specific and strong musical potential?


5.  Does the net with all its drawbacks and with all its new options imply
special guidelines of what you can musically do with it and what you can no=
t
do? Which would that be?


6.  Which technical tools or options of musical communication via the net d=
o
you miss?=20




(The next part asks for more detailed analytical aspects of networked
music-making: concerning the listener, the musician, and the arts in
general.)


7.  The listener of net audio is usually interacting with the production
process of the music in one or the other way, and this is just logical,
because active involvement is the most characteristic feature of the
Internet. Does this mean that interactive audio works shift musical
responsibility from the musician to the listener? Is the interacting
listener a creater of music?


8.  How interesting can music be that is being brought about by musically
untrained people? Isn=B4t that getting close to automatic Farfisa-organs? Or
is it not so much the sounding music that is interesting about net music? O=
r
are there totally new forms of music listening or a new type of listener
evolving?=20


9.  Do you see, on the other side, new forms of music making or new types o=
f
musicians developing? Is a player using a network setup working very
differently from somebody using an electronic tool or a sequencer?


10.  Musicians working in networked environments tend to abandon the idea o=
f
the fixed musical work. Many projects build on performance systems that kee=
p
music always in a flexible state. Does this imply an abandonnement of
individual expression?


11.  Installation art, performance art, audio art etc. =8A These art forms al=
l
have to do with dissolving the borders between the arts. With the computer
and now with the availability of every kind of software tool via the net,
the borders bewteen the art forms are still more vanishing. Does this lead
to totally new combinations or merges of the old art forms?


12.  Experimental arts also worked on dissolving the borders between
high-brow and low-brow culture. A lot of musical setups and tools are using
a kind of avantgarde approach in a public sphere, offering it not only to a
small group of insiders, but to everyone. Does net music bring popular and
experimental music closer together?


13. What=B4s interesting about networked music? What=B4s your musical utopia fo=
r
the net?=20


Thanks for your answers!