>There's also the risk of fetishing music-in-and-for-itself, as
>if a piece of recorded music is a finite object that exists in
>a sensory deprivation chamber and can only *really* be
>experienced as such. When we all know on a basic experiential
>level that music is perhaps the most commutative of the arts,
>that the shape and meaning of a piece of music can shift in
>different contexts, and that a piece of music exists far
>beyond the notes on a page or the soundwaves on a recording.
>This is not unique to music, but the portability of music
>today makes it the most compelling example of the openness of
>art.
>
>The critique shouldn't be against visuals as a whole. Perhaps
>we should be thinking about how visuals do and do not work as
>aspects of a musical experience.

I think I'm critiquing the fact that after decades of it, the experience is becoming less and less a testament to the music.

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Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." © Miles

"When the music stops he falls back in the abyss."