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walnut drawing analogy/looping(?)
Title: walnut drawing
analogy/looping(?)
avoiding cliches is good (in art and music).
dan-your drawing analogy is good, but to counteract your
teachers
advice in drawing:
i believe the teacher was trying to address your ability
question
perception and how you deal w/ abstraction and
representation.
the abstract lines on paper worked in a certain way will somehow
represent
the "perceived" world around us. the instructor was
just getting you to
look harder: do you see lines around the walnut that define the
walnut,
do you see texture/value that give the walnut volume. or in
painting
do you see how the light/volume hits the different planes and
make the
walnut 3-dimensional, etc.
my beginning drawing teacher told me way back in 1983, and he was
using
a chair as the example: "we already have the chair, i don't
need to see the
chair anymore, what I want to see is your interpretation of the
chair" (paraphrase).
my MFA in drawing/painting 2 cents for the day.
i have no idea how that ties in w/ signal processing or
looping.
s----
http://artists.mp3s.com/artists/452/hsacnostetn.html
The last part of Richard's post, where he
talks about avoiding cliche, reminds me of something a drawing teacher
I once had pointed out:
Let's say you're drawing a walnut and you want to draw the shell. You
can start just automatically making a bunch of lines that you think
will represent the texture of the nutshell. But are you really
looking, and are you really seeing what the light on the surface of
the shell is doing? Are you really being conscious about each mark you
make on the paper being an attempt to communicate your true visual
experience of the object you're drawing?
-----------
I feel the same logic applies to playing. I definitely get into
automatic states where I am basically playing cliches of my own way of
expressing-- this happens especially when I'm tired or don't really
feel like playing. The only way I've found to avoid these automatic
states is to do what amounts to a meditation where all thought between
you and your instrument (e.g. whatever far-out rig you play) is
redirected back into the instrument and the music itself. It feels to
me like digging down and down and down in a moebius-strip like
fashion, or like those celtic designs where the animals eat their own
tails. I'm curious to know how other people experience this
process.
dan
--
ghost 7/ Oranje
http://envelopeproductions.com
d.ans@verizon.net
on 11/25/02 8:05 PM, Richard Zvonar at zvonar@zvonar.com wrote:
At 7:43 PM -0500 11/26/02, Butch wrote:
>God, is this thread EVER going to die?
Sorry, Butch.
This thread . . . . could go in any of several directions, but
the most productive
might be to try to identify how certain musical "gestures"
entered
our common language, how and when these became part of the
technical
tools we use, and how we can avoid sinking into endless
and repeating
sonic cliché.
--