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Re: Art and Context

Caliban Tiresias Darklock <caliban@darklock.com> inspired me a while 
ago to start writing this. He meanwhile left the list (right?) but I 
did not want to trash my work :-)

>This is also reflected in my own work. When I use a sample, it's not
>always just "that will sound good here", it's often a deliberate
>juxtaposition of opposing concepts -- like the opening verse of Ice-T's
>"Colors" overlaid on the introduction to Lynyrd Skynyrd's "Sweet Home
>Alabama". There's also a definite intent to bring *surrounding* material
>to mind; the rhythm guitar from any well-known song, for example,
>carries some amount of that song's entire meaning with it. Adding the
>intro to Metallica's "Harvester of Sorrow" over a drum beat can make an
>otherwise silly sample significantly darker and more compelling...

a smart multimedia artist friend of mine used to say that we all 
create with basic material that the public knows and make them look 
at those things differently, more consciously just because we combine 
them differently, show the objects in a context the public is not 
used to or modify them in a way they become useless and by this the 
ordinary limited use of it becomes visible. Is this concept you apply 
to music?

He bought the LOOP delay (insisted on the one with serial number 001 
:-), because he liked loops for this: A simple way of taking things 
out of context and make them visible is to repeat them.
-- 


          ---> http://Matthias.Grob.org