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  • reviews | furtlogic
    empty value in home furt furtlogic com sites all modules nodeorder nodeorder module on line 358 reviews Nick Couldry LMC Newsletter reviews 1992 crazed laboratory scientists or bureaucrats of sound the music flows like lava first previous 1 2 3

    Original URL path: http://furtlogic.com/nodeorder/term/8?page=3 (2016-02-10)
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  • interview with Kevin Patton | furtlogic
    manage structure in your duet How do you start and end a piece and what role does the notion of cadence play or not play in FURT Can there be a non tonal cadence Is there a way to signify the continuity of experience when we have been so conditioned to expect finality Is there a way to start and stop without beginning and ending Managing structure is something we try to assess freshly for each new stage in our work and it s a work constantly in progress Part of this is indeed the development and expansion of our musical syntax one aspect of which could be described in terms of cadences Musical syntax clearly doesn t depend only on cadences though since many musical traditions don t have them and cadences don t depend on tonality Gamelan music for example uses cadence like forms but isn t at all tonal Anyway such syntactic elements then serve to create a background perhaps an illogical one FURT s logic which we can then work in counterpoint against Structural turning points or cadences often follow each other very rapidly in FURT rather than just signalling beginnings and endings Some of our pieces have clearly imagined starting and ending points prior to performance while others don t For us some of the most exciting moments are when the music does stop without ending coming to a total standstill which could be an ending but which then lasts only a fraction of a second But once you get down to that level of detail the music might be seen as being perforated by thousands of tiny silences any of which could be the last In your work with larger organisms like the Evan Parker Electroacoustic Ensemble and the fORCH do you consider FURT a combined instrument two separate instruments or less like instruments and more like a sound design team not that the three are so cut and dry Also in those groups do you process live input In Evan s group we seem to fit in somewhere between the acoustic instruments and the live processors having some of the characteristics of both and both here and in fORCH we tend to function as a single organ within the larger organism One reason for not using live input is that we haven t yet really found a way to do it with the kind of precision and complexity we apply to sound materials we ve worked on and learned in the sense of learning an instrument one of the many imaginary instruments contained within our single technical setup I read that you might call some of the music you make together to be from ecstatic states How do you attempt to negotiate the gear you use as well as the disembodiment of its sound coming from speakers not attached to your body to attain this state This leads me to think about the idea of subjectivity in electroacoustic improvisation A fusing to one

    Original URL path: http://furtlogic.com/node/98 (2016-02-10)
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  • letter to Eddie Prévost | furtlogic
    it is the responsibility of the player in either case to make sense of that I like your discussion of the problematic arbitrary loudness of amplification But it is exactly one place where this musical responsibility plus a certain amount of technical know how comes in Your inspiring book is a call to arms for the ethical musician surely we do then have to trust some of them with the volume knobs But also while it s true that virtually no physical work is needed to make a deafeningly loud sound appear in a PA that has also been true of church organs for hundreds of years Isn t this disconnection between effort and loudness which dates back to the introduction of acoustic instruments in fact really a matter of degree which varies from instrument to instrument and which amplification just takes to an extreme Then there is also the democratisation of means Computers are one of the principal tools of everyday life work nowadays and using them for making art might be seen as standing in the proud tradition of co opting whatever is around for artistic purposes like spoons and washboards once were although computers are of course a genuinely new phenomenon for music in other ways too Most acoustic instruments are pieces of precision technology as well and they are typically much more expensive than computers these days On sampling it seems we are bound to disagree for now To me the whole idea of the ownership of sounds is a suspiciously capitalist notion And so is copyright in fact And sampling and in particular processing is now part of a sound s history to me The sum total of recorded sound in our world is enormous and growing and we should try to take some responsibility for that too And while I agree that the use of sampling can certainly be questionable so can the sound of drumming Ideas like yours should make it all more likely to go the right way But in denouncing unprocessed samples as some kind of naked theft while worrying about the denatured quality of processed ones you seem to leave no room for the samplist to work in at all That seems much too negative to me Philosophically I think where I stray from your ideas is to do with how you emphasise the practice of playing but to my mind rather downplay the role of audience listening which is surely a creative act too So your story of the Young Woman of Kraków who was shocked and disappointed to discover that music she thought had been composed and notated had in fact been freely improvised for me shows that how music is made is in fact often obscured from the ears of a listener by the very nature of the music itself and therefore for them will usually be a secondary consideration So while I don t think the sound is all perhaps it is all that we can

    Original URL path: http://furtlogic.com/node/133 (2016-02-10)
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  • interview with Stefano Isidoro Bianchi | furtlogic
    in the sense that much of it is less easily mis taken to be some kind of decoration or amusement an adornment to the world we live in than say much radical painting And over and above how art music developed in the 20th century that probably also has something to do with how music penetrates the body and has to be endured in a way that looking at a painting or even reading a book does not What is so difficult about unfamiliar music could in part simply be this sensual potency the rest of our culture encouraging people to be troubled by it partly for that reason Art music is difficult also in the sense that it is harder for business people to make profits from than visual art and many of these problems of accessibility flow directly from that SIB How do you two divide the tasks if you do when you play RB We don t PO because there really is only one admittedly complex task to speak of Our technical setup at the moment comprises our two MIDI keyboards operating three computers so that two laptops are operated from each keyboard So there is a degree of independence in the playing but also a structural technical degree of integration as well In quite a few senses FURT is one instrument as well as one player a soloist with one instrument but two brains SIB Interesting This means that the two brains must have a strong connection otherwise no one would understand anything RB I think the music itself creates that connection otherwise you d have to invoke telepathy or some other doubtful concept PO But then we did feel a strong connection even before we had ever made any music together Some things are hard to explain One interesting thing that happens in FURT is that complex phenomena that may take us years to develop can eventually become completely intuitive subconscious almost allowing FURT s consciousness to move on to new areas Very little is ever jettisoned it does all just seem to accumulate SIB What about the first FURT release Live In Amsterdam 1994 I ve just ordered it from CDeMUSIC but it has not yet arrived so I don t know it RB That was our first CD but we d actually brought out quite a few things on cassette before that and some of these earlier recordings will eventually come out again with improved sound on our own label once we get that off the ground SIB angel was dedicated to Luigi Nono What s the tie you feel with him and how did you work for that CD Wasn t it the music for an installation PO No it was actually the first piece we ever made specifically for CD release JdK released angel after the label that asked us for it originally got cold feet after hearing it Nono was an inspiration over and above the musical qualities of his work because of his lifelong adherence to the cause of revolutionary socialism of course RB But also because he was a socialist composer whose revolutionary political commitment was reflected in a revolutionary rather than social realist approach to music and the technology of music even and especially in his late works whose radical opposition to the reduction in attention span foisted on us by the commercial media constitutes a call to arms for human intelligence sensuality and concentration which is every bit as urgent as the more overt messages of his 1960s music SIB So do you think that the cause of revolutionary socialism can be served by such a difficult instrument as contemporary music Don t you think that this way the message will arrive only to the few who listen to it What about the education of the masses They are still in the grip of mass culture reality shows stupid pop music etc and no message from Nono has ever reached them No one knows him Isn t it an elitist message PO We have to start somewhere We cannot be paralysed by the conservative idea that we are somehow more elitist than say Berlusconi and his wonderful popular media Under the circumstances maybe that s a good thing RAI talks in a language everyone thinks they can understand but it is telling us lies RB There are quite a few important questions here many of which we are still struggling with Maybe we shouldn t assume that contemporary music is somehow difficult We ve never found it difficult and I think the main reason was that nobody ever told us it was The idea that some cultural phenomena are too difficult for the masses plays into the hands of those who benefit and profit from the avalanche of cheap and stultifying manifestations that you mention PO Yes If you judge these things by mass cultural habits then the same art has become noticeably more difficult just within our lifetimes RB So we begin instead with the idea that people aren t stupid but are constantly treated as if they were in order to keep them content and pacified and to prevent people from asking all those obvious questions like why all that poverty all those weapons all that torture and mass murder and oppression and lies and then exercising their numerical and economic strength in order to start changing those things The message of most commercial music and media is very clear spend money be passively entertained and don t ask questions So we have to set ourselves and our music against those tendencies We also have to try and keep finding our way through the ever changing minefield which is placed in our way We aren t in the same situation as Nono for example and therefore our approach is different from his but nevertheless he was trying harder and more sincerely than most of his contemporaries to find a fusion between radical political commitment

    Original URL path: http://furtlogic.com/node/16 (2016-02-10)
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  • statement for Nicolas Collins | furtlogic
    years we played the London improv scene making it onto radio and TV even and ditched the toy samplers for more professional gear After a while we also began occasionally to invite collaborators sometimes as performers in projects we had composed as a duo like Failed Experiment of 1998 with vocalist Ute Wassermann and cellist Friedrich Gauwerky both of whom have also excelled in performances of R s notated music sometimes as guest improvisers Some performances have included a visual component in the form of installations and projections by the artist Richard Crow R s move to Amsterdam in late 1993 ushered in the STEIM period during which we spread ourselves over the contents of STEIM s recording control room in the same way we had originally done in a living room in south London and we performed more extensively in Europe At the same time the aural and structural complexity of the music took a leap into areas which hardly any music we know comes near and this process goes on An unforeseeable trend has been the development of what might be called a virtuosity with the sound materials For some time after the duo began we seemed to be working from a zero point of instrumentalism using sound sources which couldn t be played and instruments which couldn t be played by us That type of behaviour is still part of our vocabulary though more in the preparation of materials than in performance and has also been extended into our studio techniques obvious and clumsy edits one of the stereo channels inexplicably cutting out or acquiring its own reverberation accidental sonic artefacts or hardware malfunctions as compositional elements and so on More recently we ve withdrawn once more from dependency on external resources and we do most of our preparatory work at home The changing technology does affect the soundworld of FURT but has never been the central point What is It really is all in the sound People respond to it when they do respond for different reasons but what the sound is trying to do is express something about the nature of reality of thought of society of music of itself to name only these In our wistful moments we imagine it as a necessarily alienated vision of artistic production in a post individualistic world Both of us are otherwise involved in notated composition and in improvisation with others which experiences serve only to intensify a feeling that FURT is neither and both of those things We tend to think of FURT as one person rather than two while our musical preferences and activities outside the duo don t coincide precisely though almost in a FURT context they do so that for the most part disagreements don t occur One of its most important aspects is that it encourages both of us to think in terms of more extreme ideas or solutions to musical issues than we would do individually or in playing with others We

    Original URL path: http://furtlogic.com/node/7 (2016-02-10)
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  • links | furtlogic
    to Main Content Skip to Main Content furtlogic Search this site links contact to come informations performances works fORCH recordings cds downloads video writings reviews communications contact furtographs Copyright 2009

    Original URL path: http://furtlogic.com/node/145 (2016-02-10)
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  • furtographs | furtlogic
    all modules gallery assist lightboxes gallery assist lightboxes display inc on line 59 furtographs previous next blown Holliger liberation dontlookyou labil INFORMATION curtains carpet hotel Bailey wien 3 PRESS Malec wien 1 Beefheart FURT ribbon III shall we shipwreck ugh peotoots Tudor Braxton Xenakis nanowires good game equipment wien 2 pews wien 2x memory bankk 2004 crepuscles wiener Parker eyes 2 cz trousers Istanbul 1 tfos eyes 1 spark plastrid

    Original URL path: http://furtlogic.com/node/88?page=2&titles= (2016-02-10)
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  • blown | furtlogic
    Creating default object from empty value in home furt furtlogic com sites all modules gallery assist gallery assist module on line 3300 blown previous 1 2 3 next width 550px margin left auto margin right auto blown informations performances works

    Original URL path: http://furtlogic.com/node/88/2 (2016-02-10)
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