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=?utf-8?q?Re:_Ich_bin_eine_Nervens=C3=A4ge_(Was:?==?utf-8?q?_The_Artist's_Right_To_Be_Boring)?=



Mark,

Heheh. I'm tempted to say "Hey the next time the wife and I head down for 
an a Bay Area IKEA run . . ." 

But then there's your mention of a cat . . . and I'm rather alergic.

Maybe some day . . .

I always enjoyed your sets at the various loopfest I saw you at - and 
thought/think something collaborative would be interesting.

Best regards,

tEd ® kiLLiAn

"Different is not always better, but better is always different"

Flux Aeterna: 
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?playListId=6378076
 

Also check out the BEMF 1 CDs at: 
http://www.boisemusicians.com/experimental/cd.htm

http://www.pfmentum.com/flux.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.garageband.com/artist/ArsOcarina
http://www.towerrecords.com/product.aspx?pfid=2845073
http://www.netmusic.com/web/album.aspx?a_id=CBNM_17314
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193
http://www.loopers-delight.com/cgi-bin/profiles.cgi?step=view_profile&id=121197000042

Ted Killian's "Flux Aeterna" is also available at: Apple iTunes,
BuyMusic, Rhapsody, MusicMatch, MusicNet, DiscLogic, Napster,
AudioLunchbox, Lindows, QTRnote, Music4Cents, Etherstream,
RuleRadio, EMEPE3, Sony Connect, CatchMusic, Puretracks,
and Viztas. Yadda, yadda, yadda. Blah, blah, blah. So???

---- Mark Sottilaro <sine@zerocrossing.net> wrote: 
> I've been lurking in this thread... and as a performer who's  
> profoundly dull... I think I've come to the conclusion that, for me,  
> the world of music puts too much of an emphasis on performance.  I've  
> got to say that at 95% of music shows I've ever been too... I'm  
> usually ready to leave after about a half hour no matter how much I  
> like the music.  I'm usually too far away... it's too loud, Fripp is  
> shrouded in darkness (literally and metaphorically)  Dancing is not  
> an option because it's too crowded (screw you hippy ass hole jumping  
> around like an idiot running into people at the last Belew show...  
> I'M TALKING TO YOU!)
> 
> Yeah.
> 
> On the other hand, I love playing with other musicians... just not on  
> stage.  Last time I jammed on stage with other musicians (Rick and  
> Bill Walker) I couldn't hear our monitors at all and as it turned out  
> I was screamingly loud compared to them (as reported by my friends).   
> So, while being fun to me it probably wasn't much fun for the  
> audience.  Hopefully they were distracted by the pretty video of sea  
> life we were projecting behind us, or our collective devilishly good  
> looks.  Oh yeah, and during my solo performance my KAOSS pad (true to  
> it's name) decided it was OK to start sending MIDI program change  
> messages done the line (after I asked it nicely not to) and a turn of  
> the program change knob scrolled through my guitar patches at  
> hyperspeed while I was sustaining a chord...
> 
> Hmm.
> 
> So... I'm boring and un-fun to watch.  I put up videos and video  
> games projected behind me to cover the fact that I'm creating ambient  
> drones and mostly making eye contact with LCD displays.  I'm losing  
> my head hair and rapidly gaining ear hair.  I'm nervous, unskilled at  
> many instruments and a bit of a blowhard because I want you to like  
> me and think I'm cool so I over compensate.
> 
> Anyway, if anyone would like to perform with me, at my home, with my  
> dog and cat as our audience, let me know.  I've just set up shop in  
> Emeryville CA and I'm itching to bore.
> 
> Mark
> 
> On Jun 20, 2007, at 5:58 PM, bill bigrig wrote:
> 
> > Howdy,
> >
> >  I know exactly how you feel. In 86 I had a
> > couple or 3 stacks of keyboards, drum machines, etc. I
> > met a man through a buddy I had been jamming with for
> > a couple years at a party. i told him " you gotta come
> > over to my place and jam" after I found out he bought
> > a keyboard from aformentioned buddy. We met EVERY Wd.
> > night for 16 years and NEVER learned a song made by
> > someone else. We'd noodle around until some groove
> > kinda fell into place, pause, and hit record on my
> > cassette deck. I have over 90 cassettes filled with
> > muzik that is mostly not listenable, BUT, there are 3
> > or 4 good CDs among all that stuff, PLUS, countless
> > grooves that one can use for inspiration to compose
> > something good indeed.
> > Rig
> >
> >
> > --- tEd ® kiLLiAn <tedkillian@charter.net> wrote:
> >
> >> Stefan,
> >>
> >> You make a lot of blanket assertions there. Fine. I
> >> have here a few of my own.
> >>
> >> It has been so long since I posted my commments on
> >> this thread that I do not even remember what frame
> >> of mind I was in -- probably depressed (which I
> >> usually am after most public performances). Yeah,
> >> that's a bad attitude alright.
> >>
> >> I have been doing this stuff (looping and
> >> improvising) for well over 20 years. I think I can
> >> say from experience (and I am entitled to my opinion
> >> too, I think) that I know pretty damn well when a
> >> performance went successfully . . . or was a failure
> >> . . . or was some odd mix of the two.
> >>
> >> It is in the nature of improvisation to be risky --
> >> and we either learn to accomodate ourselves to the
> >> possibility of failure (and the hope or possibility
> >> of success) and persevere under those terms and
> >> circumstances . . . or we do not. Myself, I choose
> >> to persevere . . . but I also choose to not always
> >> wear a false smile on my face while doing it.
> >>
> >> "There is no BAD music" Well, you may just as easily
> >> say there is no GOOD music either. We all (in or
> >> heart of hearts) know this is nonsense. Otherwise,
> >> we wouldn't continually take the risks we do, try as
> >> hard as we do to become better, to learn, and to
> >> grow. Hell, we probably wouldn't even bother to play
> >> for that matter.
> >>
> >> Far from being a plea or an attempt to secure myself
> >> from failure, I was simply trying to say what I
> >> believe is true. Sometimes we FAIL. Sometimes we are
> >> BAD. It would be healthier (I think) if we could
> >> talk about it and not hide from it continually.
> >>
> >> If I perceive a given performance as being less than
> >> it could have been, yes it CAN help to know that
> >> some audience member or another had a different
> >> opinion and enjoyed it. It CAN lessen the pain a
> >> little. But that doesn't mean I dispose of my own
> >> experience and critical accessment and paste a big
> >> smile on my puss either.
> >>
> >> I'd say, a good 90% of what I do is simply show up
> >> and play (physically and mentally prepared of
> >> course) but with no rehearsal, set list or agenda
> >> other than to create something GOOD. That is what I
> >> aim for. That is what I do. That is what I am about.
> >> Sometimes it works. Sometimes it's golden. Sometimes
> >> it's shit. Sometimes its something of a mix
> >> (gold-plated doo doo or poop-covered gold brick).
> >>
> >> I'm a live-looping guitar player, but on rare
> >> occasions (the other 10% or less) I will go also
> >> with some "canned" loops of found noises,
> >> atmospheres, textures, rhythmic patterns and simple
> >> musical motifs, along with some notion that I will
> >> use them somhow . . . but will determine that "how"
> >> during performance. This could be considered some
> >> sort (or level) of improvisation too. You be the
> >> judge.
> >>
> >> Less than 1% of the time I will attempt to actually
> >> play one of the improvised pieces from my CD. I
> >> don't know why I do this, probably a sense of
> >> audience expectation or something -- or maybe a
> >> false self-expectation more likely. But it is almost
> >> 100% guaranteed to come out as a giant musical turd.
> >> Nevertheless, I sometimes fool myself into thinking
> >> I can do it.
> >>
> >> I have played some significant improv gigs upon
> >> occassion where it simply came out all wrong.
> >> Nothing went right. Nothing I tried worked. I felt
> >> like a fool and an idiot and a charlatan -- and I'm
> >> pretty sure most of the audience felt that way too.
> >> But I'd rather die than pretend it was all roses and
> >> tell myself that there is no such thing as BAD art
> >> or music. I don't believe it for a minute.
> >>
> >> I will say it again: Sometimes we (especially those
> >> of us who improvise) need to be allowed to fail.
> >>
> >> Best regards,
> >>
> >> Ted Killian
> >>
> >> ---- Stefan Tiedje <Stefan-Tiedje@addcom.de> wrote:
> >>> tEd ® kiLLiAn schrieb:
> >>>> In my experience, it is impossible to depend
> >> upon or predict success
> >>>> when you start out with a blank slate for every
> >> performance.
> >>>
> >>> But starting out with a blank slate is the core of
> >> improvisation...
> >>> If you put something into it to secure yourself,
> >> you failed already...
> >>>
> >>>> I fall flat on my face about as many times as I
> >> do well.
> >>>>
> >>>> The risk of being an abject failure is all too
> >> very real . . . and
> >>>> the consequences painful.
> >>>
> >>> But the times it goes well are worth to risk the
> >> "failure"...
> >>>
> >>>> Even when the audience and promoter(s)
> >> themselves are very forgiving
> >>>> it can be devastating to not live up to ones own
> >> expectations.
> >>>
> >>> Even if you "fail" out of your own perspective,
> >> because you know of your
> >>> own, better performances, the audience will grab
> >> something, maybe just
> >>> unconsciously an imagination of where it could
> >> have been gone if you
> >>> didn't "fail"...
> >>>
> >>>> Many positivly disposed listeners may just
> >> figure that it's
> >>>> "abstract" or "avant garde" or "new" and not
> >> realize that it also can
> >>>> be truly BAD as well.
> >>>
> >>> There is no BAD music, but there could be bad
> >> attitude. I suspect
> >>> securing yourself against "failure" is bad
> >> attitude and the result is
> >>> eventually not music... its more like showing off
> >> skills in the
> >>> circus... Which does help for acceptance of the
> >> audience sometimes, but
> >>> its not really interesting...
> >>> Either there is music, or there is not. Nothing
> >> in-between. This is true
> >>> for any instrument, being it a laptop or a
> >> cello/sousaphone/foot
> >>> pedal-bar...
> >>> With known instruments its just easier to show off
> >> skills, with laptops
> >>> it looks more abstract... But don't get me wrong,
> >> skills do help a lot
> >>> to make music, but anything you do often enough
> >> will develop your skills
> >>> anyway.
> >>>
> >>> In short, the attitude is more important than
> >> skills. Or for those who
> >>> need to avoid new age: The path is important, not
> >> the destination...
> >>>
> >>>> Artists need to be accorded a "right to be
> >> awful" from time to time .
> >>>> . . some of us more than others.
> >>>
> >>> Obviously you insist on your right to take a risk.
> >> That's an attitude
> >>> which will lead to music. The audience will
> >> appreciate this much more
> >>> often, than you think you did it well....
> >>>
> >>> ..........
> >>>
> >>> The good thing about looping is being able to
> >> start with a blank slate,
> >>> and still being able to build a structure.
> >>>
> >>> The worst is the dependency on technology (if it
> >> fails).
> >>>
> >>> Stefan
> >>
> >>
> >>
> >
> >
> >
> >        
> > ______________________________________________________________________ 
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