Here's something you might be interested in.
Ask a Hipster — Advice you didn't know you needed
Big Screen — Movie commentary
Blurt — Music's inside track
Booze News — San Diego spirits
Classical Music — Immortal beauty
Classifieds — Free and easy
Cover Stories — Front-page features
Drinks All Around — Bartenders' drink recipes
Excerpts — Literary and spiritual excerpts
Feast! — Food & drink reviews
Feature Stories — Local news & stories
Fishing Report — What’s getting hooked from ship and shore
From the Archives — Spotlight on the past
Golden Dreams — Talk of the town
The Gonzo Report — Making the musical scene, or at least reporting from it
Letters — Our inbox
Movies@Home — Local movie buffs share favorites
Movie Reviews — Our critics' picks and pans
Musician Interviews — Up close with local artists
Neighborhood News from Stringers — Hyperlocal news
News Ticker — News & politics
Obermeyer — San Diego politics illustrated
Outdoors — Weekly changes in flora and fauna
Overheard in San Diego — Eavesdropping illustrated
Poetry — The old and the new
Reader Travel — Travel section built by travelers
Reading — The hunt for intellectuals
Roam-O-Rama — SoCal's best hiking/biking trails
San Diego Beer — Inside San Diego suds
SD on the QT — Almost factual news
Sheep and Goats — Places of worship
Special Issues — The best of
Street Style — San Diego streets have style
Surf Diego — Real stories from those braving the waves
Theater — On stage in San Diego this week
Tin Fork — Silver spoon alternative
Under the Radar — Matt Potter's undercover work
Unforgettable — Long-ago San Diego
Unreal Estate — San Diego's priciest pads
Your Week — Daily event picks
The quasireligious experience of Oneothrix Point Never
In a nondescript church with high ceilings, listeners assume a wide variety of positions; some sit cross-legged on the floor and some lie on their backs, some close their eyes and some stare catatonically.
Other listeners choose to play iPhone Tetris and check their email but unlike at other performances where such activities might feel impolite or disruptive, here they feel as though they are embraced as part of a collective quasi-religious experience. While social listening is often associated with group movement such as dancing, Daniel Lopatin’s Oneohtrix Point Never produces melodic soundscapes that inspire the same sort of disembodied inward reflection that one might associate with engaging digitally.
The sonic elements that comprise Lopatin’s live composition are familiar in that they evoke natural acoustic sounds, yet there is something artificial about them. While the timbre of the soft, emerging arpeggio resembles that of a church organ, it is identifiable as a digital simulation.
The overall pacing of the composition is irregular and unpredictable. Much like in digital spaces where there is a somewhat randomized relationship to content, Lopatin’s composition transitions in both its tone and sonic content unexpectedly. Employing the “loud quiet loud” technique, Lopatin barrages the listener unexpectedly with bursts of content. However, in this context the effects of the technique feel suspect; every emotional response to the music is accompanied by the feeling that the emotional response is as false as the simulated sounds that induced it. This hyperawareness of the manipulation of emotional response is furthered by the frequency of the attempts.
- Concert: Oneohtrix Point Never
- Date: February 7
- Venue: the Irenic
- Seats: General admission
Here's something you might be interested in.
The quasireligious experience of Oneothrix Point Never
The quasireligious experience of Oneothrix Point Never
In a nondescript church with high ceilings, listeners assume a wide variety of positions; some sit cross-legged on the floor and some lie on their backs, some close their eyes and some stare catatonically.
Other listeners choose to play iPhone Tetris and check their email but unlike at other performances where such activities might feel impolite or disruptive, here they feel as though they are embraced as part of a collective quasi-religious experience. While social listening is often associated with group movement such as dancing, Daniel Lopatin’s Oneohtrix Point Never produces melodic soundscapes that inspire the same sort of disembodied inward reflection that one might associate with engaging digitally.
The sonic elements that comprise Lopatin’s live composition are familiar in that they evoke natural acoustic sounds, yet there is something artificial about them. While the timbre of the soft, emerging arpeggio resembles that of a church organ, it is identifiable as a digital simulation.
The overall pacing of the composition is irregular and unpredictable. Much like in digital spaces where there is a somewhat randomized relationship to content, Lopatin’s composition transitions in both its tone and sonic content unexpectedly. Employing the “loud quiet loud” technique, Lopatin barrages the listener unexpectedly with bursts of content. However, in this context the effects of the technique feel suspect; every emotional response to the music is accompanied by the feeling that the emotional response is as false as the simulated sounds that induced it. This hyperawareness of the manipulation of emotional response is furthered by the frequency of the attempts.
- Concert: Oneohtrix Point Never
- Date: February 7
- Venue: the Irenic
- Seats: General admission