Saturday, April 04, 2009

irritating to be so far away..

I'm continually missing Nettle.* As in, I feel the absence of this group, sometimes, when my mind wanders. recordings don't provide enough for me to really feel them, somehow. Even though I've never seen them live. I'm glad to know they do what they do and track their ripples in the music world with interest, but sad that I haven't been in the right state to see them yet. Recently, Wayne made it happen at Brandeis.. and the review in Bostonist sparked some thoughts in me.

"Near the end of the performance, one song touched Bostonist in particular and proved to be a definitive moment for the band. Although the song isn't originally by Nettle, Moroccan group Nass el Ghiwane's "Mamhamouni" proved to be quite haunting in its beautiful execution."

I wish there was more attention to this point, rather rather than disclaiming it ("although..") --it's entirely meaningful that the song that touched the reviewer was not an "original" to the band. Especially considering the emphasis on collaboration across space and time, and embodiment of distance as well as communication and simultaneity in performance. But more broadly in terms of why or how things affect us emotionally, in the spaces beyond analysis, as well as in the pleasures of analysis of an experience. I would like to hear a lot more on how or why the song that was "not original" was at the same time the most memorable and affecting.

*I love nettles, by the way (spot the odd invocation of the South Bronx in that otherwise informative article!). They were very important to the street medics I worked with in NY who were also involved with herbal medicine and decentralizing medical knowledge. It's really true, if you grasp nettles firmly and with intent, they don't sting you. Then again, the stings, while painful, increase circulation, bring heat to your joints, increase flexibility. While discussions of the band's name focus on the irritant nature of nettles, this is one aspect of their character. Nettles are incredible good for you, high in tons of minerals, good for kidneys and bladder..lots of good stuff. Apparently it is like hemp (without the countercultural tee-heeing) in that it can be made into fiber, fabric, paper.. Once we medics drove miles out of the city to a river, picked nettles and watercress and made the most amazing pesto - I lived on it for a week.

3 comments:

  1. Your blog is quality dude. what are the decent books (i prefer them over articles) out there about your field?

    ReplyDelete
  2. thanks dude. not sure there are books in my field yet.. if you mean qualitative research on IP issues.

    will make a post on some books I have found helpful though.

    you can check out http://interip.wetpaint.com for an annotated bibliography of sorts but it is pretty article-focused.. wetpaints interface sucks, the best way to browse is to use the search function to search for any word, and on the results page the show you a tag cloud which can help you see which tags I have used for what articles.\

    off the top of my head:
    Neal Netanel's recent book takes a more traditional legal First-Amendment approach to culture-in-IP and is pretty interesting. There are some recent collections of essays that are good too (do those count as books?) Jamie Boyle edited one recently, he's pretty seminal too.

    There's books challenging the concept of the author from a historical perspective: Woodmansee & someone, Mark Rose.

    I really like the Legal Geographies Reader, which does analogous work on property in land..

    ReplyDelete
  3. loved your comments abt authentic, and ? abt listener's reaction...music is composed (when there is an original), then recomposed by the player, then recomposed by the listener...each time in the environment of the mind...the relationship of each of these composers is essential to the connection...respect due to each of these composers (no less the listener); maybe sometimes not enough relationship between original version to make connection, the new version has more. In all this, not enough respect to the listener-composer, who is actively constructing in the moment, an incredible act.

    ReplyDelete