i noticed how chap my lips were today. must drink more water. dehydration was a word i tried to tell my host brother and failed when i first got to germany, trying to explain why carbonating the water was odd.
*swoosh*,
like when you opened cans on a hot summer day. carbonating water is rather like dead plastique happiness. I guess the idea of musique concrete must appear when a sound is simple, unique but ubiquitous - like outside my apartment, a small animal was walking on the roof, giving this scurrying, so natural and precious. that's what i want in my electronic music, or in any music in general - like a baby giggling in "Are You That Somebody?" - I remember David driving, hip to the baby. that's such an incredible sound, with such a distinct cultural relevence - despite the fact a giggle is merely a sound within the separated realm of the song.
like the radios blaring, co-existing with the environment. and those songs that can co-exit anywhere, almost proving that ambient music must originate in musique concrete. why use instrumentation to express a sound that can fit anywhere? - those sounds/noises, that can be heard in such completely different surroundings and still resonate must say something about the nature of "music" (to exaggerate incredibly - but this still pertinent). somehow cage always appears like a happy little prophet in the distance when i think this way.
Things have been going along, and was treated today to an uproar in zeee new media class. i almost feel like i needed to take a picture of the scene - i drew it, in the moment, inspired. my doodle will come up on the site soon, i feel like it quotes the German Mob in one of my old movies. but with "inspired," forgive my half-sarcasm. it was a relevatory experience. the actual taking of sides, questioning the essence of the absurd. can absurdity be a worthwhile experience? that raises some interesting questions of the process of validation for me. not sure what, however, but still joking fun...
yes, not much else, chugging along on outpost and was also hoping to bring in an over-exposed b-roll frame of the kid from the movie. a very intense moment, i tell you. yes, when you become an editor, very little can become very significant, trust me, it's a strange viral disease or something. just how someone walks, carries the same fascination in the real-world too (without scrubbing), like blurring the line between art and life. maybe it says something about those things that seem utterly significant to me, but questionable otherwise.
like when a roll of film rolls out and the hole punches through a frame, the picture is the same, except for this black dot (taking up half the picture), like a friendly artifice. similarly, running down iced sidewalks, trying to avoid two angry creampuff coated goons (aaron and eddy are both scary creatures late at night). during these roll-outs, the black dots have a tendency to appear.
ahh, good memories.
-#1
*swoosh*,
like when you opened cans on a hot summer day. carbonating water is rather like dead plastique happiness. I guess the idea of musique concrete must appear when a sound is simple, unique but ubiquitous - like outside my apartment, a small animal was walking on the roof, giving this scurrying, so natural and precious. that's what i want in my electronic music, or in any music in general - like a baby giggling in "Are You That Somebody?" - I remember David driving, hip to the baby. that's such an incredible sound, with such a distinct cultural relevence - despite the fact a giggle is merely a sound within the separated realm of the song.
like the radios blaring, co-existing with the environment. and those songs that can co-exit anywhere, almost proving that ambient music must originate in musique concrete. why use instrumentation to express a sound that can fit anywhere? - those sounds/noises, that can be heard in such completely different surroundings and still resonate must say something about the nature of "music" (to exaggerate incredibly - but this still pertinent). somehow cage always appears like a happy little prophet in the distance when i think this way.
Things have been going along, and was treated today to an uproar in zeee new media class. i almost feel like i needed to take a picture of the scene - i drew it, in the moment, inspired. my doodle will come up on the site soon, i feel like it quotes the German Mob in one of my old movies. but with "inspired," forgive my half-sarcasm. it was a relevatory experience. the actual taking of sides, questioning the essence of the absurd. can absurdity be a worthwhile experience? that raises some interesting questions of the process of validation for me. not sure what, however, but still joking fun...
yes, not much else, chugging along on outpost and was also hoping to bring in an over-exposed b-roll frame of the kid from the movie. a very intense moment, i tell you. yes, when you become an editor, very little can become very significant, trust me, it's a strange viral disease or something. just how someone walks, carries the same fascination in the real-world too (without scrubbing), like blurring the line between art and life. maybe it says something about those things that seem utterly significant to me, but questionable otherwise.
like when a roll of film rolls out and the hole punches through a frame, the picture is the same, except for this black dot (taking up half the picture), like a friendly artifice. similarly, running down iced sidewalks, trying to avoid two angry creampuff coated goons (aaron and eddy are both scary creatures late at night). during these roll-outs, the black dots have a tendency to appear.
ahh, good memories.
-#1
posted by nate at 11:11 PM
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