历史与记忆

IF 0.2 4区 艺术学 Q2 Arts and Humanities
Nicolas Collins
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Larry’s invitation provided an excuse to indulge in musical self-analysis on a larger, more detailed scale. So, as my son napped, I typed, slowly cobbling together an essay whose style perhaps owed more to the ghost-written sports autobiographies of my childhood than to academic journals but that nonetheless accounted reasonably well for the evolution of my recent musical activities [2]. I found the process cathartic. Over the next few years I became increasingly involved in writing and editing essays, lectures and a book, An Incomplete Handbook of the Phenomenology of Whistling [3]. Self-reflection gave way to broader analyses of the interaction of musical aesthetics with technological, social and economic developments. Writing became an integral part of my life. Seven years after Larry’s phone call, I found myself sitting in a sunny Berlin apartment with my new daughter in my lap, while fellow composer Jonathan Impett prodded me to apply for the now-open position of Editor-in-Chief of LMJ. A paternal déjà vu of my first encounter with the journal prompted me to reflect on the current state of music. Post-Cagean composers developed approaches to technology that were experimental, analytic and, above all, idiosyncratic. The existing tools of musicology were ill suited for analyzing music based on echolocation, CD error correction, Doppler shift or speech patterns. Criticism fell into the gap between journals serving academic composers and musicologists and magazines dedicated to more popular styles. As a result, we were left with a body of work—conveyed largely in oral tradition, unlabeled circuits and forgotten computers—whose details, and sometimes very existence, were unknown outside a small circle. The desire to chip away at this ignorance fueled my modest activities as a writer and editor. LMJ had given me my first opportunity to make a statement about my own work, so it seemed appropriate that I offer others a boost onto the same soapbox. Since 1997 I have organized each annual volume around a rubric that I hoped would be specific enough to provide focus but broad enough to attract a diversity of contributors and contributions: Southern Cones: Music Out of Africa and South America, Pleasure and The Politics of Sound Art, among others [4]. My initial three-year contract was extended to five, after which I seemed to have acquired squatter’s rights to the position of Editor-in-Chief. Some months back I realized I was coming up on 20 years, 20 volumes, some 500 papers and authors. Both children are out of college; a generation has passed. It is time for a change of leadership, but also for reflection; hence this meandering preface and the theme for my final volume: History and Memory. In this issue, writers take the prompt both literally and metaphorically: memory embedded in neurons, silicon and architectural spaces; history as archive and as distant experience. Several contributors look at the metaphor of faulty memory embodied in recorded media, often in “obsolete” formats such as cassette, DAT and MiniDisc (Michael Bullock; Mat Dalgleish; Joseph Kramer), but also through encoding for the Web (Justin Gagen and Amanda Wilson). 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A paternal déjà vu of my first encounter with the journal prompted me to reflect on the current state of music. Post-Cagean composers developed approaches to technology that were experimental, analytic and, above all, idiosyncratic. The existing tools of musicology were ill suited for analyzing music based on echolocation, CD error correction, Doppler shift or speech patterns. Criticism fell into the gap between journals serving academic composers and musicologists and magazines dedicated to more popular styles. As a result, we were left with a body of work—conveyed largely in oral tradition, unlabeled circuits and forgotten computers—whose details, and sometimes very existence, were unknown outside a small circle. The desire to chip away at this ignorance fueled my modest activities as a writer and editor. LMJ had given me my first opportunity to make a statement about my own work, so it seemed appropriate that I offer others a boost onto the same soapbox. Since 1997 I have organized each annual volume around a rubric that I hoped would be specific enough to provide focus but broad enough to attract a diversity of contributors and contributions: Southern Cones: Music Out of Africa and South America, Pleasure and The Politics of Sound Art, among others [4]. My initial three-year contract was extended to five, after which I seemed to have acquired squatter’s rights to the position of Editor-in-Chief. Some months back I realized I was coming up on 20 years, 20 volumes, some 500 papers and authors. Both children are out of college; a generation has passed. It is time for a change of leadership, but also for reflection; hence this meandering preface and the theme for my final volume: History and Memory. In this issue, writers take the prompt both literally and metaphorically: memory embedded in neurons, silicon and architectural spaces; history as archive and as distant experience. 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引用次数: 201

摘要

拉里·波兰斯基(Larry Polansky)打来电话,邀请我为《列奥纳多音乐杂志》(从令人尊敬的《列奥纳多艺术与技术杂志》中分离出来)的首期撰稿,他是该杂志的创始编辑。拉里的时机很好:在我布利克街的阁楼里,平凡的生活暂停了,我等待着我们的第一个孩子,忙着倒带和快进我的生活。由于担心这件幸运的事情会让我在接下来的几个月里无法创作,我接受了这个提议,并假设写单词比写音乐更容易。我在这两点上都错了:这个扩大的家庭陷入了幸福的三重奏状态,但写作却成为了比预期更严峻的挑战。我以前的写作经历主要局限于拨款申请、音乐会和班轮笔记以及偶尔的演讲。拉里的邀请给了我一个借口,让我在更大、更详细的范围内沉浸在音乐的自我分析中。所以,在我儿子打盹的时候,我打字,慢慢地拼凑出一篇文章,它的风格可能更多地来自于我童年时代写的体育自传,而不是学术期刊,但这很好地解释了我最近音乐活动的演变。我发现这个过程是一种宣泄。在接下来的几年里,我越来越多地参与写作和编辑论文、讲座和一本书,《吹口哨现象学不完整手册》。自我反思让位于对音乐美学与技术、社会和经济发展的相互作用的更广泛的分析。写作成了我生活中不可或缺的一部分。接到拉里的电话七年后,我发现自己坐在柏林一间阳光明媚的公寓里,膝上抱着刚出生的女儿,与此同时,我的作曲家同事乔纳森·佩普特(Jonathan Impett)敦促我申请《LMJ》杂志总编的空缺职位。我第一次接触这本杂志时,一种父亲式的伤感促使我反思音乐的现状。后卡吉恩时代的作曲家们发展出了实验的、分析的、最重要的是独特的技术方法。现有的音乐学工具不适用于基于回声定位、CD误差校正、多普勒频移或语音模式的音乐分析。音乐批评杂志主要是为学术作曲家和音乐学家服务的杂志,而杂志主要是为更流行的风格服务的。结果,我们留下了大量的作品——大部分是口头传统——没有标签的电路和被遗忘的电脑——它们的细节,有时甚至是它们的存在,在一个小圈子之外是不为人知的。想要一点点消除这种无知的愿望,推动了我作为作家和编辑的适度活动。LMJ给了我第一次对自己的工作发表声明的机会,所以我似乎也应该在同样的讲台上给别人提提建议。自1997年以来,我每年都围绕一个主题来组织,我希望这个主题足够具体,能够提供重点,但又足够广泛,能够吸引各种各样的贡献者和贡献:南方锥体:来自非洲和南美洲的音乐,快乐和声音艺术的政治,以及其他b[4]。我最初的三年合同被延长到五年,之后我似乎获得了总编辑职位的占有者权利。几个月前,我意识到我要花20年,20卷,大约500篇论文和作者。两个孩子都大学毕业了;一代人已经过去了。现在是换届的时候了,也是反思的时候了;因此,我的最后一卷的前言和主题是:历史与记忆。在本期中,作者从字面上和隐喻上都采用了这一提示:嵌入神经元、硅和建筑空间的记忆;历史是档案,是遥远的经验。几位撰稿人着眼于在记录媒体中体现的错误记忆的隐喻,通常是“过时的”格式,如卡带、数据和迷你光盘(迈克尔·布洛克;垫Dalgleish;约瑟夫·克莱默),也通过网络编码(贾斯汀·加根和阿曼达·威尔逊)。其他人则通过声音和集中倾听来解决位置与记忆的交叉问题(理查德·格雷厄姆;迈克尔Fernström和肖恩介绍
本文章由计算机程序翻译,如有差异,请以英文原文为准。
History and Memory
call from Larry Polansky inviting me to contribute to the premiere issue of Leonardo Music Journal (spun off from the venerable Leonardo journal of art and technology), of which he was the founding editor. Larry’s timing was auspicious: ordinary life was suspended in my Bleecker Street loft as I awaited our firstborn and engaged in rewinding and fast-forwarding the tape of my life. Fearing that the blessed event would render me incapable of composing for months to come, I accepted the offer on the assumption that writing words would be somehow easier than writing music. I was wrong on both counts: the expanded family slipped into a blissful trio state, but writing turned out to be a more serious challenge than anticipated [1]. My previous writing experience had been largely confined to grant applications, concert and liner notes and the odd lecture. Larry’s invitation provided an excuse to indulge in musical self-analysis on a larger, more detailed scale. So, as my son napped, I typed, slowly cobbling together an essay whose style perhaps owed more to the ghost-written sports autobiographies of my childhood than to academic journals but that nonetheless accounted reasonably well for the evolution of my recent musical activities [2]. I found the process cathartic. Over the next few years I became increasingly involved in writing and editing essays, lectures and a book, An Incomplete Handbook of the Phenomenology of Whistling [3]. Self-reflection gave way to broader analyses of the interaction of musical aesthetics with technological, social and economic developments. Writing became an integral part of my life. Seven years after Larry’s phone call, I found myself sitting in a sunny Berlin apartment with my new daughter in my lap, while fellow composer Jonathan Impett prodded me to apply for the now-open position of Editor-in-Chief of LMJ. A paternal déjà vu of my first encounter with the journal prompted me to reflect on the current state of music. Post-Cagean composers developed approaches to technology that were experimental, analytic and, above all, idiosyncratic. The existing tools of musicology were ill suited for analyzing music based on echolocation, CD error correction, Doppler shift or speech patterns. Criticism fell into the gap between journals serving academic composers and musicologists and magazines dedicated to more popular styles. As a result, we were left with a body of work—conveyed largely in oral tradition, unlabeled circuits and forgotten computers—whose details, and sometimes very existence, were unknown outside a small circle. The desire to chip away at this ignorance fueled my modest activities as a writer and editor. LMJ had given me my first opportunity to make a statement about my own work, so it seemed appropriate that I offer others a boost onto the same soapbox. Since 1997 I have organized each annual volume around a rubric that I hoped would be specific enough to provide focus but broad enough to attract a diversity of contributors and contributions: Southern Cones: Music Out of Africa and South America, Pleasure and The Politics of Sound Art, among others [4]. My initial three-year contract was extended to five, after which I seemed to have acquired squatter’s rights to the position of Editor-in-Chief. Some months back I realized I was coming up on 20 years, 20 volumes, some 500 papers and authors. Both children are out of college; a generation has passed. It is time for a change of leadership, but also for reflection; hence this meandering preface and the theme for my final volume: History and Memory. In this issue, writers take the prompt both literally and metaphorically: memory embedded in neurons, silicon and architectural spaces; history as archive and as distant experience. Several contributors look at the metaphor of faulty memory embodied in recorded media, often in “obsolete” formats such as cassette, DAT and MiniDisc (Michael Bullock; Mat Dalgleish; Joseph Kramer), but also through encoding for the Web (Justin Gagen and Amanda Wilson). Others have addressed the intersection of location with memory, through sonification and focused listening (Richard Graham; Mikael Fernström and Sean introduction
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来源期刊
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期刊介绍: Leonardo Music Journal (LMJ), is the companion annual journal to Leonardo. LMJ is devoted to aesthetic and technical issues in contemporary music and the sonic arts. Each thematic issue features artists/writers from around the world, representing a wide range of stylistic viewpoints. Each volume includes the latest offering from the LMJ CD series—an exciting sampling of works chosen by a guest curator and accompanied by notes from the composers and performers. Institutional subscribers to Leonardo receive LMJ as part of a yearly subscription.
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