Adam Linson
夢枯記027 Adam Linson | cut and continuum
06 10. 13 09:25
contrabass solo, processing, sampling／cd／psi records／2006
http://www.percent-s.com/
【Yumegareki 027】
As a whole, I perceived the Human-Computer interaction. It is well designed in expressing the concept of time by reconfirming it philosophically through music. Its title and the names of some pieces are the quotes from Cinema II by Gilles Deleuze. It places time through contrabass at the junction between philosophical consideration and electronics music. This is a bold challenge to jump to the new dimension where time and image are exchanged. Interoperation of these sound effects creates a sterical image of time.
On the other hand, the embodiment of the future through a critical reflection of the modern times may be shielded by both the mental processing of the sounds and the excessive sound effects. Sound opens up a mistrial temporal experience that goes beyond the interpretation with words, demonstrating the acoustic vertical variation of the intricate nature projected directly from the body of the performer. But his performance seems to limit these variations and retreat from such a direct experience.
This approach of recompiling sonic pieces of the body through computer, a virtual brain, demonstrates the issues related to the alienation of our body in modern days. This album dares to offer a glimpse of this fundamental dimension of our animalistic survival instinct by posing a question of how our body can survive in this world. Although Deleuze committed suicide, he must have tried to recover a sense of trust in this unbearable world through philosophical body. I want to label this album as a token of such a desperate act.
全体の印象としてはコントラバスのエレクトリックな音と、エレクトロニクスそのものとの対話のような音楽で、Human-Computer interactionという形が聴き取れる。いつもとは違う感じでスピーカーと妙に相性のよい音がする。エレクトロニックの音はいくら爆音でなってノイズに満ちているような感じがしても、どこか澄んでいてきれいな音にきこえるのはなぜだろうか。すでに僕の耳はさまざまな電気音に毒されているとはいえ、それでも、それが深い身体的次元から遠のいたサンプリングの電気的変換であり、どんなに凝って制作され工夫されていたとしても、結果としてはいつも聴いているスピーカーの膜面の効果音としての側面が強調されるにすぎないと短絡的に認識してしまうや否や、僕のなかで音楽を聴く欲求が減退していくのはどうしたらよいことか。アンプで拾い、コンピュータのプロセスを通じた音は無限の音量を持ちうるが、音質のバラエティは著しく制限されるように聴こえる。ある意味において音はのっぺらぼうで、どんな細かくダイナミック…もっと読む... Read more...
http://www.percent-s.com/
【Yumegareki 027】
As a whole, I perceived the Human-Computer interaction. It is well designed in expressing the concept of time by reconfirming it philosophically through music. Its title and the names of some pieces are the quotes from Cinema II by Gilles Deleuze. It places time through contrabass at the junction between philosophical consideration and electronics music. This is a bold challenge to jump to the new dimension where time and image are exchanged. Interoperation of these sound effects creates a sterical image of time.
On the other hand, the embodiment of the future through a critical reflection of the modern times may be shielded by both the mental processing of the sounds and the excessive sound effects. Sound opens up a mistrial temporal experience that goes beyond the interpretation with words, demonstrating the acoustic vertical variation of the intricate nature projected directly from the body of the performer. But his performance seems to limit these variations and retreat from such a direct experience.
This approach of recompiling sonic pieces of the body through computer, a virtual brain, demonstrates the issues related to the alienation of our body in modern days. This album dares to offer a glimpse of this fundamental dimension of our animalistic survival instinct by posing a question of how our body can survive in this world. Although Deleuze committed suicide, he must have tried to recover a sense of trust in this unbearable world through philosophical body. I want to label this album as a token of such a desperate act.
全体の印象としてはコントラバスのエレクトリックな音と、エレクトロニクスそのものとの対話のような音楽で、Human-Computer interactionという形が聴き取れる。いつもとは違う感じでスピーカーと妙に相性のよい音がする。エレクトロニックの音はいくら爆音でなってノイズに満ちているような感じがしても、どこか澄んでいてきれいな音にきこえるのはなぜだろうか。すでに僕の耳はさまざまな電気音に毒されているとはいえ、それでも、それが深い身体的次元から遠のいたサンプリングの電気的変換であり、どんなに凝って制作され工夫されていたとしても、結果としてはいつも聴いているスピーカーの膜面の効果音としての側面が強調されるにすぎないと短絡的に認識してしまうや否や、僕のなかで音楽を聴く欲求が減退していくのはどうしたらよいことか。アンプで拾い、コンピュータのプロセスを通じた音は無限の音量を持ちうるが、音質のバラエティは著しく制限されるように聴こえる。ある意味において音はのっぺらぼうで、どんな細かくダイナミック…もっと読む... Read more...