<div>Hello Eric,</div>
<div> </div>
<div>I normally read through most material that goes through the list and
don't reply, mainly due to time constraints, or because others
often say it before I get to the keyboard. But you have made a
remark that I find the need to comment on, partly because it is a bit
problematic.</div>
<div> </div>
<div>You write:</div>
<div>"Perhaps because he's black, from a culture we just don't get, we
will then escape the stupidity of our fathers history.<BR>No. That does
not work. We have to face the reality of Miles Davis, and cringe in our
failures.<BR>New media is nothing, and there are cultures far advanced
of us."<BR>————-</div>
<div> </div>
<div>You are here assuming that everyone else on the list is not black, it
appears. Who is "we" exactly? This is the main reason why I
am writing. Please reflect on what your statement really
implies. There is no need to defend yourself, but the statement
is problematic.</div>
<div> </div>
<div>And since I already writing, I will also say that I am
heavily involved with music and Miles is one of my main Jazz
influences. I am familiar with both discs that you mention and I
think that they are truly incredible pieces of art. But I am
not sure why you place him in opposition to new media. Miles was
actually very interested in what was going on in contemporary
culture. His last album from 1991, which you may already
know, explored the relationship of Hip Hop with Be-Bop.
He named the Album Doo-Bop. Check the word: <A
href="http://www.sweeting.org/mark/mp3/Miles_Davis/Doo-Bop.html">http://www.sweeting.org/mark/mp3/Miles_Davis/Doo-Bop.html</A></div>
<div>It was produced with Kool-Mo-Be. It is a remarkable synthesis
between loops, samples and improvizational jazz, including two
tracks produced posthumously around his sampled trumpet solos, and
which are indistinguishable from his other compositions,
which where improvised in the studio. Miles embraced what
his culture offered him at the same time that he contributed to enhance
it by making material for the future with what was new in
his own time. He embraced the new, just like any other
creative cat would and should do. So let's not put him
on a pedestal in opposition to theoriticians or emerging
technologies.</div>
<div> </div>
<div>Best,</div>
<div> </div>
<div>Eduardo</div>
<div> <BR></div>
<BLOCKQUOTE style="PADDING-LEFT: 8px; MARGIN-LEFT: 8px; BORDER-LEFT:
blue 2px solid"><BR>——– Original Message ——–<BR>Subject:
[SPAM] RHIZOME_RAW: miles davis and new media<BR>From: "Eric Dymond"
<e.dymond@sympatico.ca><BR>Date: Thu, August 05, 2004 9:40
pm<BR>To: list@rhizome.org<BR><BR>Miles and the Virtual<BR><BR>Tonight,
not unlike any other night I have been listening to Miles
Davis.<BR>Tonight I played Miles Davis Live from Montreaux and Kinda
Blue.<BR>Why do these sounds escape the rules of virtual
encoding?<BR>How is it that a mere human being can so deftly craft art
that easily escapes the rules of new media.<BR>He destroys Benjamin,
Gutarri, Deleuze and the rest.And he does it so easily. Why?
How?<BR>Does he see the world in a panoplay so different than the
rest?<BR>Does he escape human boundaries?<BR>Apparently he does. So
what are we left with?<BR>Maybe we should force ourselves to ignore
him. Banish him because he does not follow the new order.<BR>How do we
fit Miles Davis into the new media history.<BR>Perhaps because he's
black, from a culture we just don't get, we will then escape the
stupidity of our fathers history.<BR>No. That does not work. We have to
face the reality of Miles Davis, and cringe in our failures.<BR>New
media is nothing, and there are cultures far advanced of
us.<BR>Eric<BR>+<BR>-> post: list@rhizome.org<BR>-> questions:
info@rhizome.org<BR>-> subscribe/unsubscribe:
http://rhizome.org/preferences/subscribe.rhiz<BR>-> give:
http://rhizome.org/support<BR>-> visit: on Fridays the Rhizome.org
web site is open to non-members<BR>+<BR>Subscribers to Rhizome are
subject to the terms set out in the<BR>Membership Agreement available
online at http://rhizome.org/info/29.php </BLOCKQUOTE>
