Re: why do we loop?

[Frank Davenport <ancientcityentertainment@yahoo.com>]

some might the challenge of material success in a
material world worthy of performance endeavers...
FRANK DAVENPORT

--- mark sottilaro <zerocrossing2001@yahoo.com> wrote:

> Ah Morpheus, you ask an interesting question.  I
> counter your question with this: Why do we perform? 
> Are we looping only for some validation from others?
> 
> If we are not percieved my others do we cease to
> exist?
> 
> This topic is near and dear to my heart, as I often
> struggle with it.  I've found a few things in my
> day.
> 
> I'm not a professional.  That means the number of
> times I play out per any given increment of time is
> pretty low.  Because I never quite get used to it
> there's always a level of stress (non performance
> related) that I hate.  From the break down to the
> set
> up to the "ooops, there's not enough
> light/monitor/something else/ on the stage..." if
> there is a stage.  Add that to performance related
> stress (Am I going to fuck up?  Is my gear going to
> fuck up?) and you have a night of general malease at
> the very best.  Sure, a few moments of zen when
> you're
> groov'n and the audience is digg'n are nice, but man
> there's a price to get that.
> 
> In my studio I AM GOD.  I control the audio, video,
> light, temp.  I can stop what I'm doing if I choose
> to
> and reconfigure my system at my leisure.  I can
> invite
> a friend to jam with, or not.  My system remains the
> way it was when I last used it.  Because of this I
> can
> get really intimate with it and get a lot out of it.
> 
> To counter some of the live issues I've tried to
> play
> with a stripped down easy to set up and configure
> system.  Problem is it's not what I'm used to and
> that
> leads to issues.  Bringing everything makes it nice
> and familar... but makes set up an hour long affair
> with many points where mistakes can happen.  Nothing
> like a gear failure to make a performance a
> nightmare.
> 
> Then there's this: Perhaps the audience is the
> destroyer of art.  When I'm home with only myself as
> audience I can really be free to create something
> that
> I'm digging at the time.  If it's a horrific noise
> fest I don't have to worry about emptying the club
> because people came to drink and pick up girls.  I
> don't have to answer questions like, "how much of
> that
> is prerecorded?" (answer: none)
> 
> So I'll say  (for now) that I feel the most real
> loops
> are the loops that exist alone in the woods.  Even
> turning on your recorder will change how you play
> something... knowing an audience is in the future. 
> I
> do find this a bit more agreeable to my way of
> thinking and playing.  That and I do not need
> affirmation of my art to benifit from it.  I loop
> for
> me.
> 
> Mark
> 
> --- Dennis Montgomery <morpheus@speakeasy.net>
> wrote:
> 
> > it...in other words, why do we loop?  I guess this
> > question applies to 
> > any type of artistic or creative activity that
> > doesn't have public 
> > performance as it's primary purpose.  It's like if
> a
> > loop is running in 
> > the forest and no one is there to hear it does it
> > really make any sound? 
> > 
> > Dennis
> > 
> > 
> 
> 
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