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the term) while also asserting that art != life. Yet paradoxically, given that computer speeds greatly exceed those of a human scale, a computer is far more equipped to make an artistic statement with natural chaotic complexity than, for example, a lone human flailing on a physical instrument. of
aforementioned hacker/DIY aesthetic also subverts the traditional view of what it means to look or sound ‘dated’. My frequent incorporation of outdated’ technologies (simple synthesis, GameBoy synthesis, anaglyph 3D, old Technicolor footage) within a very contemporary software system The
that term even further. If we are to momentarily define ‘good’ as confuses
risen into a canon’, must a good piece necessarily sound or look less dated than a bad one? Such a question can be separately applied between compositional forms and styles, and the instrumental sound result itself; one half can be more or less dated-seeming than the other. I am ‘retrospectively
predominately referring to the latter, specifically towards electronic sound. I seem to find an ambiguous usage of the concept of ‘datedness’, as between merely a description that incorporates passed time, versus an insult to claims on the timelessness of art. It seems an affront to enlightenment or henceforth
views that time and technology may indeed pass, and that the development of either time or technology may affect or splinter a dominant modernist
instead of leaving that canon to function within a supposed logical urmovement that, in its unidirectional march towards perfection, could never age. In considering electronic sound sources, a sound may be a definite
canon,
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