a phase shifting remix of J.L Maire's great piece. Now with vocals!
@S♨ciété Cantine: Ofcourse, the computer aesthetics often originate in the music that was played in the industrial age, like stravinsky or the futurist's music-machines. They reacted to changes of life and society. Later composers (e.g. Feldman and Stockhausen but also Ornette) came up with the idea that you can not only react, but actually use music to express your own idea of how you want life to be. So maybe your simple-fingers-idea is a good base for a new composition?
@aalemarie: :))) In spite of all the sounding material already composed for centuries, there is still an unimaginable quantity of things to imagine and compose for men, with or without machines, easily listenable or barely even qualify as "music". I'm pretty sure that there have been musical practices, totally forgotten nowadays, which would be unplayable by contemporary musicians... :-) The question that often occurs to me (forever unanswered) is : What the music would be today, if machines would have never came into musical process (only men and their simple fingers), understood that even the modern written music is influenced by aesthetic resulting from "computers"...?
@S♨ciété Cantine: Thanks, I am always happy to read your comments. Apart from the obvious formal similarity to Nancarrow's piece maybe there is a common question: What can we compose that a musician (trained for western music) can't play and how do we listen to that?
The claudication as some imposed dance steps... Beautiful art of instability, here. Your play with acceleration and deceleration could have a certain affinity with a Conlon Nancarrow's piece : http://www.youtube.com/watch?v=f2gVhBxwRqg.
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