ABOUT US | QUARK PRIZES | DAG-3QD SYMPOSIA | MONDAY MAGAZINE | ARCHIVES | FOLLOW US |

3 Quarks Daily Advertising

 

 

 

 

Please Subscribe to 3QD

Subscription options:

If you would like to make a one time donation in any amount, please do so by clicking the "Pay Now" button below. You may use any credit or debit card and do NOT need to join Paypal.

The editors of 3QD put in hundreds of hours of effort each month into finding the daily links and poem as well as putting out the Monday Magazine and doing all the behind-the-scenes work which goes into running the site.

If you value what we do, please help us to pay our editors very modest salaries for their time and cover our other costs by subscribing above.

We are extremely grateful for the generous support of our loyal readers. Thank you!

3QD on Facebook

3QD on Twitter

3QD by RSS Feed

3QD by Daily Email

Receive all blogposts at the same time every day.

Enter your Email:


Preview 3QD Email

Recent Comments

Powered by Disqus

Miscellany

Design and Photo Credits

The original site was designed by Mikko Hyppönen and deployed by Henrik Rydberg. It was later upgraded extensively by Dan Balis. The current layout was designed by S. Abbas Raza, building upon the earlier look, and coded by Dumky de Wilde.

The banner images have been provided by Terri Amig, Carla Goller, Tom Hilde, Georg Hofer, Sheherbano Husain, Margit Oberrauch, S. Abbas Raza, Sughra Raza, Margaret Scurlock, Shahzia Sikander, Maria Stockner, and Hartwig Thaler.

« marx in china | Main | beckett's greatest work »

Saturday, April 29, 2006

sunn o)))

Sidebar_2

Sunn 0)))'s music recalls a tradition more typically associated with the cerebellum: Minimalism. In fact, Steve Reich's 1968 essay "Music as a Gradual Process," a seminal articulation of this objective principle applied to sound, could be cited with surprising aptness here. In it, Reich argues that the systematic reduction of the musical work will tend to render our experience of sound more material. Just as Robert Rauschenberg's 1951 "White Paintings," which are animated only by the play of exterior light and shadow, must be experienced as inhabiting space with the viewer, so too is sound displaced into the real world—that is, the world of the listener—in Minimalist composition. For Reich, narrowing the differential between compositional parts is key to accomplishing this transposition of the work from world unto itself to thing in the world: "Listening to extremely gradual musical process opens my ears to it." Paradoxically, the closer the music comes to being all of a piece—be it one-note or non-note, very loud like La Monte Young's early drone pieces or silent like John Cage's 4'33"—the more differentiated it becomes experientially.

more from Artforum here.


Posted by Morgan Meis at 12:07 PM | Permalink

TrackBack

TrackBack URL for this entry: http://www.typepad.com/services/trackback/6a00d8341c562c53ef00d834bc1abd69e2

Listed below are links to weblogs that reference sunn o))):

comments powered by Disqus