Hauschka – Boiler Room In Stereo

Hauschka – Boiler Room In Stereo
(prepared piano)

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Lidia Yuknavitch

Art gave me something to believe in at all the times in my life when I felt life wasn’t worth living. Art also gives a person experiencing pain and the will toward self-destruction a viable option: self-expression. And art helps us bear the brutality in the world—because it cannot be burned or buried or bombed away. Someone will always make more of it. Art is an antidote for loneliness as well. Not all of us are well-adjusted and excellent at being with people. And yet we love our fellow mammals. Art gives us something to do with the love and the loneliness when we falter at life. — Lidia Yuknavitch

Art and Knowledge

If the artworld was primarily concerned with knowledge and knowledge acquisition surely this would be clearly evident in its discourse. To insist that this is the proper function of the artworld is to accuse the community of longstanding and persistent incompetence. — Scrivener, 2002

Ambient

It’s interesting what part of ambient they took as being the center of it. For me, the central idea was about music as a place you go to. Not a narrative, not a sequence that has some sort of teleological direction to it—verse, chorus, this, that, and the other. It’s really based on abstract expressionism: Instead of the picture being a structured perspective, where your eye is expected to go in certain directions, it’s a field, and you wander sonically over the field. And it’s a field that is deliberately devoid of personalities, because if there’s a personality there, that’s who you’ll follow. So there’s not somebody in that field leading you around; you find your own way.
Brian Eno on Pitchfork interview

Brian Eno

I really think that for us, who all grew up listening primarily to recorded music, we tend to forget that until about 120 years ago ephemeral experience was the only one people had. I remember reading about a huge fan of Beethoven who lived to the age of 86 [in the era before recordings], and the great triumph of his life was that he’d managed to hear the Fifth Symphony six times. That’s pretty amazing. They would have been spread over many years, so there would have been no way of reliably comparing those performances. — Brian Eno

Manifesto for making music

  1. The use of sounds that exist already is not allowed. Subject to article 2. In particular:
    • No drum machines.
    • No synthesizers.
    • No presets.
  2. Only sounds that are generated at the start of the compositional process or taken from the artist’s own previously unused archive are available for sampling.
  3. The sampling of other people’s music is strictly forbidden.
  4. No replication of traditional acoustic instruments is allowed where the financial and physical possibility of using the real ones exists.
  5. The inclusion, development, propagation, existence, replication, acknowledgement, rights, patterns and beauty of what are commonly known as accidents, is encouraged. Furthermore, they have equal rights within the composition as deliberate, conscious, or premeditated compositional actions or decisions.
  6. The mixing desk is not to be reset before the start of a new track in order to apply a random eq and fx setting across the new sounds. Once the ordering and recording of new music has begun, the desk may be used as normal.
  7. All fx settings must be edited: no factory preset or pre-programmed patches are allowed.
  8. Samples themselves are not to be truncated from the rear. Revealing parts of the recording are invariably stored there.
  9. A notation of sounds used to be taken and made public.
  10. A list of technical equipment used to be made public.
  11. Optional: Remixes should be completed using only the sounds provided by the original artist.

Matthew Herbert (2005)