Resistance Is Futile

[SES.]

http://www.stereophile.com/asweseeit/1205awsi/

Resistance Is Futile
Der findes hifi skribenter af høj klasse, Art Dudley er en af dem.

Vi har haft fat i den før - men nu kan alle læse den.

Art isn't truth, it's freedom from truth. Well den køber jeg

[pihl]

kender du Jürgen Egger fra tyske "Image hifi", han har ikke testet noget haedware i ca. 10 år, kun musik, nu har han i den nyeste udgave testet Technich 1210 pladespilleren, det er super læsning og MEGET anderledes

[3DX]

hvis jeg kikker på billedet, er jeg kunst elsker.

under jeg mig over hvorfor jeg kikker på billedet, er jeg filsof  

[micjac]

Hej SES.

Flottere kærlighedserklæring til denne hobby
kan jeg næsten ikke forestille mig.

Burde rammes ind.


Ps. Yes, sikke et skrivetalent -
til at få tårer i øjnene over.

mvh

[macwerk]

An original work is inseparable from the time and the place of its making, and that applies to the concert hall performance as well. Yet the very act of recording a performance and playing it back at another place and another time defies that axiom, and reduces music to little more than sound—and most of whatever scraps of meaning that are left hanging on its bones are of the listener's own making.

Hvad med samtidskunst beregnet for reproduktion? Selv spørger han således:

And what about music that never existed live? What about Pet Sounds or Sgt. Pepper's? What about that goofy Cage piece with all the record players lined up on stage?

Og han svare med:

All of those experiences are worthy; all of them are legitimate. But their worth is removed from any concept of an "original performance," and now has at least as much to do with what the listener makes of it—relativism again.

Undervejs er jeg løbet ind i et problem: Hvis SES og jeg tog i koncerthuset for at se en 'original performance' ville vi ganske sikkert få et mindst lige så forskelligt udbytte af aftenen, som hvis var blevet hjemme foran reprodusatoren.

Men der er måske bare mig, eller hur?


There you go:
A moment of creation at one end of the line and a perversion of intent at the other.

[3DX]

An original work is inseparable from the time and the place of its making, and that applies to the concert hall performance as well. Yet the very act of recording a performance and playing it back at another place and another time defies that axiom, and reduces music to little more than sound—and most of whatever scraps of meaning that are left hanging on its bones are of the listener's own making.

Hvad med samtidskunst beregnet for reproduktion? Selv spørger han således:

And what about music that never existed live? What about Pet Sounds or Sgt. Pepper's? What about that goofy Cage piece with all the record players lined up on stage?

Og han svare med:

All of those experiences are worthy; all of them are legitimate. But their worth is removed from any concept of an "original performance," and now has at least as much to do with what the listener makes of it—relativism again.

Undervejs er jeg løbet ind i et problem: Hvis SES og jeg tog i koncerthuset for at se en 'original performance' ville vi ganske sikkert få et mindst lige så forskelligt udbytte af aftenen, som hvis var blevet hjemme foran reprodusatoren.

1000% enig. derfor er det jo lidt svært at forrestille sig at vi i den anden enden også kan blive enige om hvordan det skal lyder

Men der er måske bare mig, eller hur?

næ... hvis det er, er vi mindst 2  


There you go:
A moment of creation at one end of the line and a perversion of intent at the other.

[macwerk]

Jeg tror bare vi skal bringe vores frihed til fortolkning helt ud og lade være med at dele kunst op i original og reproduceret kunst?

[micjac]

An original work is inseparable from the time and the place of its making, and that applies to the concert hall performance as well. Yet the very act of recording a performance and playing it back at another place and another time defies that axiom, and reduces music to little more than sound—and most of whatever scraps of meaning that are left hanging on its bones are of the listener's own making.

Men der er måske bare mig, eller hur?

Hej macwerk. Jeg læser afsnittet som en nøgle og noget i retning af, at vi godt kan opgive alt om 'rejser i tiden' og sådan set selv må bestemme, da det originale værk er (var) bundet til dets egen tid og egentlig ikke er til vores tid. Det er blevet til lyd, men var så meget mere. Dengang.

(eller har jeg ikke forstået hvor du ville hen)



mvh

[macwerk]

Han mener jo at reproduktionen "reduces music to little more than sound—and most of whatever scraps of meaning that are left hanging on its bones are of the listener's own making."

Jeg mener nok bare at "whatever scraps of meaning" altid er "of the listener's own making."

Men jeg overfortolker sikkert  

[SES.]

Jeg tror bare vi skal bringe vores frihed til fortolkning helt ud og lade være med at dele kunst op i original og reproduceret kunst?

Yes - vi har vores frihed.   

Desværre mener producenter af Hifi at de har deres frihed også. Det har de.  
Men det er altså ikke lige meget hvor dårlige højttalere man er i stand til at lave for 100tkr.