Dear Readers,
this is the fourth installment of the HNW-Q. I am really proud, that the canadian soundartist Ian McDonald decided to complete it, although he had not developed his highly differentiated soundworlds (main projects: Vast Glory, Anamneses, Ian McDonald) under the HNW-heading. My initial idea to include Ian McDonald here was to lead the so called "HNW-paradigm" out of the desert of orthodoxy, complacency and lame repetitions towards real sonic singularity and artistical freedom. Music as a guide for the perplexed ! And "HNW" as a giant size pulsating rhizome or a complexio oppositorum !
The works of Ian McDonald are great examples for unorthodox sonic ideas, formulations and formalizations. I listen to his unique microscopic and micrologic soundworlds under his moniker Vast Glory since his release on Sam McKinlay's label as LAKE SHARK HARSH NOISE #05. His great 2012 2-tapes-release "Airequipt Circular Magazine" on Waterpower was one of my HNW-releases of the year (click here ) and McDonald one of my HNW-artists of the year (click here) . His latest release is "New Psychic" - you can listen to this one and other releases on soundcloud (click here to listen ).
Some of the unique soundworlds of Ian McDonald show firmly, that "HNW" was never and will never be an orthodox group-event, but a time-space to experience one's formless self. In the end "HNW" was not and never will be identical with itself. Consequently the observable self-dissolution of the "HNW-genre" into singular voices should be highly welcomed in any case, because singular expressions can only lead to the dissolving, disintegration or implosion of genre-boundaries.
In the end, the all too human desire to belong to a certain scene should not outsmart the mainspring and the primary desire of HNW and soundart in general to be a vehicle for singular sonic explorations. Good HNW will have been invented always incidentally, en passant, besides, a propos de nothing, without any intention ; grown out of the necessity of a singular and unrepeatable artistic and musical situation. Consequently HNW should be seen as a singular expression and not a given style. HNW could happen or not. Learn to perceive that while listening to Vast Glory. You can visit Ian McDonalds blog Modern Arrangements, get more informations about his available releases and support him here.
The works of Ian McDonald are great examples for unorthodox sonic ideas, formulations and formalizations. I listen to his unique microscopic and micrologic soundworlds under his moniker Vast Glory since his release on Sam McKinlay's label as LAKE SHARK HARSH NOISE #05. His great 2012 2-tapes-release "Airequipt Circular Magazine" on Waterpower was one of my HNW-releases of the year (click here ) and McDonald one of my HNW-artists of the year (click here) . His latest release is "New Psychic" - you can listen to this one and other releases on soundcloud (click here to listen ).
Some of the unique soundworlds of Ian McDonald show firmly, that "HNW" was never and will never be an orthodox group-event, but a time-space to experience one's formless self. In the end "HNW" was not and never will be identical with itself. Consequently the observable self-dissolution of the "HNW-genre" into singular voices should be highly welcomed in any case, because singular expressions can only lead to the dissolving, disintegration or implosion of genre-boundaries.
In the end, the all too human desire to belong to a certain scene should not outsmart the mainspring and the primary desire of HNW and soundart in general to be a vehicle for singular sonic explorations. Good HNW will have been invented always incidentally, en passant, besides, a propos de nothing, without any intention ; grown out of the necessity of a singular and unrepeatable artistic and musical situation. Consequently HNW should be seen as a singular expression and not a given style. HNW could happen or not. Learn to perceive that while listening to Vast Glory. You can visit Ian McDonalds blog Modern Arrangements, get more informations about his available releases and support him here.
The HNW-Questionary consists of 32 phrases to be completed in a playful, insightful, poetic, prolific and philosophical manner. The featured artist decides, which phrases he wants to accomplish. It is the task for the reader to perceive the voids and to think about the subtle interactions between Being and Nothingness, which are also important ingredients of the HNW-Artform. But, it is always important to see and hear, what someone is saying and what he is not saying.
The idea of the whole feature is to help the few real HNW-Artists to show and establish themselves as leading artists and to give them an encyclopedic space for their aesthetic and artistic convictions, conceptions and beliefs. It is a space to publish serious, original and important thoughts and ideas for the future of HNW as an important artform.
It is first of all exclusively for leading musicians, but in the future painters, writers and philosophers could also be invited to contribute to the seriousness of HNW and to the interrelatedness of HNW with other artforms. Maybe one day I will fill out this Questionary myself. I have several completed versions of it in the upper drawer of my mind. This HNW-Questionary was only conceived for the best. Consequently, my deliberately very elitist motto for this Questionary is: Light for the Best, Darkness over the Rest !
All lines in green ink are written and copyright by Ian McDonald. All lines in normal ink show you the HNW-Questionary written and copyright by me. This is the fourth HNW-Questionary brilliantly completed by Ian McDonald:
The HNW-Q No. 4:
[1] I discovered and invented HNW for myself, when ......
[2] The initial radicality of HNW would be preserved, if the listener suffered memory loss and experienced HNW again for the "first time."
[3] HNW is a term that is defined and interpreted by the individual, if they feel the need.
[4] HNW is not universally understood.
[2] The initial radicality of HNW would be preserved, if the listener suffered memory loss and experienced HNW again for the "first time."
[3] HNW is a term that is defined and interpreted by the individual, if they feel the need.
[4] HNW is not universally understood.
[5] I do not personally use the acronym H.N.W. to describe Vast Glory. I haven't felt it necessary to classify the project as such. There are definitely some aspects of the material that line-up with my understanding of HNW, but there was never a moment when I said to myself 'I'm going to do HNW.' I've been creating work on my own for years (under different aliases) with just a synthesizer and a very simple process. It started out as quiet, discreet drones, and has naturally evolved into what it is now.
[6] HNW is pure impurity ?
[7] The sound of machines are dynamic in some instances, banal in others.
[8] HNW helps a distinction between enthusiasts and naysayers to be revealed.
[8] HNW helps a distinction between enthusiasts and naysayers to be revealed.
[9] Monolithic walls are .................................
[10] The future of HNW would be ........................
[11] The death of HNW would be .........................
[11] The death of HNW would be .........................
[12] HNW should be related to sound and the absence of sound to understand it better.
[13] Singularity and originality in HNW are as (un)important as they are in any other genre of sound/art/whatever. Being "original" should never be a driving force or point of pride, and originality alone does not make something effective. Everyone has a 'voice' in some form, the challenge to find your 'voice,' and explore it. Explore all aspects of it. All of the nuances and all of the layers. Continue to learn and grow.
[14] HNW should be called Static Minimalism, because ...............
[14] HNW should be called Static Minimalism, because ...............
[15] HNW should not be called Static Minimalism, because ........................
[16] The permanent repetition of the HNW-Mantra (No ideas, no change, no dynamics, no development etc.) leads to no ideas, no change, no dynamics, no development.
[17] Volume in HNW is sometimes given more importance than it requires.
[18] Distortion in HNW is not a required feature.
[19] My Unconscious is ....................................... in HNW.
[20]Narratives, Analogies and Metaphors in HNW are meaningless if the auditory experience is lackluster. For me, the sound should be the most important aspect. When I am listening to noise, I am listening to noise. If the sound doesn't speak to me, how can I possibly decipher a message from within it? When narratives, analogies and metaphors are the most important aspect, audio may not be the best medium to work with. Rather, a more straightforward medium may work better to achieve the aim. If you can't make a sound component that is as strong as your reason(s) for doing it, you may be doing a disservice to your narratives, analogies and metaphors.
[21] Time and Space in HNW represented by the time it takes to record, perform, or listen to a piece of sound; and the space that listeners, performers, equipment, media (cassette, record, etc.), or packaging/artwork occupy.
[22] HNWhas no connection to absolute Nothingness.
[23] My HNW amplifies my syntheziser.
[24] Minimal Music and Cosmic drones are ...................
[25] Conceptualism is ..................... of HNW.
[26] The main ingredients of brilliant HNW is sonic intrigue.
[27] The purpose and the concept of my HNW are self-exploration. The Vast Glory project is not about anything beyond that. There are no overarching themes; I am not trying to say or represent anything material. Obviously I have my own opinions and interests that undoubtedly slip into the work, there is no avoiding that, but the guiding principle is simply self-exploration. I am trying to find out where I stand artistically, mentally, emotionally, philosophically, spiritually, sonically, etc. I am trying to find my 'voice.' The recordings that I create are personal documents. They are the product of my memories of experiences, will further shape, and be shaped by my future experiences and memories. Putting the recordings out there for others to hear has been a great way to connect and create new perspective. When I work on something, I don't go into it with anything in mind. I just record what seems "right" to me at the time; a notion that constantly changes as I change. I'm not even sure how suitable the HNW classification is for Vast Glory. I suppose it is a matter of interpretation/opinion. I think some of my stuff is downright soft in tone.
[28] The distinction between ANW/HNW is timbre.
[29] The philosophy of HNW can change each time someone interprets and explores it from their own unique, natural perspective.
[30] My first words about HNW were .......................
[30] My first words about HNW were .......................
[31] My final words about HNW would be ...........................
Many Thanks to Ian McDonald
for his version of the HNW-Q
and his unique and important soundworlds !
