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Human Bodies, Computer Music Author(S): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), Pp. 11-14 Publis

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Human Bodies, Computer Music Author(S): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), Pp. 11-14 Publis Human Bodies, Computer Music Author(s): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), pp. 11-14 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1513343 Accessed: 23/07/2008 16:29 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Human Bodies, Computer Music ABSTRACT The authorconsiders the absenceof theartist's body in electronicmusic, a missing BobOstertag elementthat he finds crucial to thesuccess of anywork of art. Inreviewing the historical developmentof electronic music frommusique concrete to analogand then digital synthe- sizers,the author finds that the attainmentof increased control iierre Hebert, a frequent collaborator of mine, use outside of research institutions. andflexibility has coincided with says the measure of a work of art is whether one can sense in Computer music was still confined thereduction of identifiable it the of the artist's If so, then it is a success, to crude run on main- bodilyinvolvement bythe presence body. programs Hecontrasts this and if it's a failure. frame at universities. performer. not, computers trendwith the highly physical I think this is an important insight. It is closely related to the The thinking at the time was that interventionand manipulation, issue of virtuosity, by which I mean what happens when some- these electronic instruments were firstpracticed with atypical one acquires such facility with an instrument or paintbrush, or so new and different-their en- electronicinstruments such as with that an and tire and thetheremin, subsequently anything physically manipulable, intelligence methodology pedagogy introducedto the electric guitar creativity is actually written into the artist's muscles and bones seemed unique-that they would byJimi Hendrix and his follow- and blood and skin and hair. It stops residing only in the brain lead to the creation of a new kind ers,and then to vinylby and goes into the fingers and muscles and arms and legs. of music. We eagerly searched for turntableartists. He concludes has been out of fashion for now, ever since the outline of this new kind of thatthe tension between body Virtuosity years andmachine in as in the advent of art and other movements music that no one had ever heard. music, punk rock, conceptual modernlife itself, can only exist that emphasize the idea rather than its execution. Neverthe- Today we actually do have a new as anexperience to examine less, virtuosity of some sort is a necessary element of almost kind of music that has come directly andcriticize and not as a any performance. from electronics, and specifically problemto resolve. We all live in human bodies. Every one of us lives through from computers: electronic dance every day of our lives in the reality of our bodies. We struggle music. Throughout the whole his- to make them do the things we want them to do. We have aches tory of music prior to computers, no rhythm was absolutely and pains. We know the joy of using our bodies in an expres- perfectly timed due to the limits of human accuracy. This was sive and wonderful way, the frustrations of failure, and what it a good thing, however, as the nuanced irregularity in how the was like to learn whatever physical skills we have-riding a beat was actually played was one of the crucial things giving bike, playing a sport, typing, being sexual, anything. It is one distinctive character to different kinds of music. The precise, thing absolutely every person has in common. So when you perfectly timed beat was a sort of ideal grid that everyone kept give a performance that takes your body out of the mundane in mind but never actually played. With the evolution ofjazz, and into something extraordinary through art, it has a pro- the discrepancy between the ideal grid and what people ac- found appeal-this appeal is the foundation of all perfor- tually played came to be known as swing, but there was no mance. It need not be limited to virtuosity in the conventional music in the world that didn't have somebit of swing. With elec- sense of, say, a violin master. There are punk rockers who can tronic dance music, the precise mental grid that had been lurk- barely play their instruments but whose physical stage pres- ing unheard for thousands of years behind human music was ences-in body motions, voices or even just facial expres- pushed out front and center and made audible. sions-are extraordinary. That's revolutionary. It is a kind of music that could not exist I think most musicians working with electronics are proba- without computers, and it is a natural outgrowth of using com- bly not very satisfied with the state of electronic music today, puters with sound. Electronic dance music thus meets the cri- and the crucial missing element is the body. Many of us have teria of what in the 1970s we thought must be coming in music been trying to solve this problem for years but we have been but could not yet see, although it did not turn out to be what notoriously unsuccessful at it. How to get one's body into art anyone back then was expecting. In fact, many of us absolutely that is as technologically mediated as electronic music, with detest this kind of music. But if we step back for a moment, it so much technology between your physical body and the final is not so surprising that electronic dance music is what devel- outcome, is a thorny problem. oped. Of course, Hebert's dictum, which began this article, about I remember when the first MIDI sequencers (easily man- sensing the body of the artist in the art, should not be viewed ageable composition software for personal computers) came too literally. It is not that it is impossible to put a sense of one's out and everyone said, "Well,that's cool, but it sounds so ma- body into art made with assistance from machines. Hfbert is chinelike no one will ever listen to it." And the software mak- talking about a sense of the corporeal presence of the artist ers busied themselves trying to figure out how to make MIDI emanating from the work. It is not necessarythat an artist sequencers sound human. But before they could solve the "touch" an image or instrument in order to achieve this re- problem, a new generation of kids had come up who likedthe sult, but it certainly helps. machinelike quality of the sound, and if the software compa- nies had then found a way to make their sequencers sound human no one would have the software. A NEW KIND OF MUSIC bought Apparently I got into electronic music in the mid-1970s, playing analog Bob Ostertag (composer), 737 Capp Street, San Francisco, CA 94110, U.S.A. E-mail: <[email protected]>. Web site: synthesizers, which were just becoming available for personal <http://www.detritus.net/ostertag>. ? 2002 ISAST LEONARDO MUSICJOURNAL, Vol. 12, pp. 11-14, 2002 11 our tastes acclimate to technology faster and splicing them back together. "Per- look like those of a piano and are laid out than our ability to innovate technologi- formance" of these works consisted of in a pattern of 12 unique notes in an oc- cally. playing back the final tape. In the late tave in the key of C, most people would Or at least the tastes of young people 1970s I made some attempts to move tape understandably start to think like piano acclimate quickly. Reaction to music with manipulation out of the studio and into players and to think in conventional an electronically precise beat is the most performance by building contraptions of terms of harmony and melody. But the generationally determined thing I have multiple tape recorders I could crudely situation was even worse than that be- ever seen in music, or any other art form manipulate on stage, but this was a little cause acoustic instruments never sound for that matter. I cannot think of a per- far fetched. two notes in exactly the same way. There son I know over the age of 30 who likes Instead of using recorded sound, ana- are too many variables in how one's fin- electronic dance music, most certainly log synthesizers generated voltages that gers or breath actually produce the not anyone over 40. oscillated at audio frequencies and thus sound.Just as small variations in the beat In one sense, dance music solves elec- could be heard as sound when amplified turned out to be a critical nuance that has tronic music's problem with perfor- and sent to speakers.
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