SPECTRES I: Composing Listening (Shelter Press)
From the one-sheet:
“Composing Listening features texts by:
Félicia Atkinson
François Bayle
François J. Bonnet
Drew Daniel
Brunhild Ferrari
Beatriz Ferreyra
Stephen O'Malley
Jim O'Rourke
Eliane Radigue
Régis Renouard Larivière
Espen Sommer Eide
Daniel Teruggi
Chris Watson
This book has been conceived as both a prism and a manual. Following the ‘traditional’ arc of electroacoustic composition (listen-record-compose-deploy-feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation. Although the term ‘experimental music’ may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands.”
228 pp; thread-sewn softcover; one color offset; Size: 135x200cm; Language(s): French, English.
From the one-sheet:
“Composing Listening features texts by:
Félicia Atkinson
François Bayle
François J. Bonnet
Drew Daniel
Brunhild Ferrari
Beatriz Ferreyra
Stephen O'Malley
Jim O'Rourke
Eliane Radigue
Régis Renouard Larivière
Espen Sommer Eide
Daniel Teruggi
Chris Watson
This book has been conceived as both a prism and a manual. Following the ‘traditional’ arc of electroacoustic composition (listen-record-compose-deploy-feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation. Although the term ‘experimental music’ may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands.”
228 pp; thread-sewn softcover; one color offset; Size: 135x200cm; Language(s): French, English.
From the one-sheet:
“Composing Listening features texts by:
Félicia Atkinson
François Bayle
François J. Bonnet
Drew Daniel
Brunhild Ferrari
Beatriz Ferreyra
Stephen O'Malley
Jim O'Rourke
Eliane Radigue
Régis Renouard Larivière
Espen Sommer Eide
Daniel Teruggi
Chris Watson
This book has been conceived as both a prism and a manual. Following the ‘traditional’ arc of electroacoustic composition (listen-record-compose-deploy-feel), each of the contributions collected together here focuses in on a personal aspect, a fragment of that thrilling territory that is sonic and musical experimentation. Although the term ‘experimental music’ may now have be understood as referring to a genre, or even a particular style, we ought to hold on to the original use of this term, which was based more on an approach than on any particular aesthetic line to be followed. The experimental is first and foremost a spirit, the spirit of the exploration of unknown territories, a spirit of invention which sees musical composition more as a voyage into uncertain territories than as a self-assured approach working safe within the bosom of fully mapped out and recognized lands.”
228 pp; thread-sewn softcover; one color offset; Size: 135x200cm; Language(s): French, English.