Author William Burroughs' prescient works refer to word and image virus and the idea that behavior may be modified by unconscious receptivity to repeated and intentionally replicated verbal and visual imagery.
Predictive analysis easily indicates the spread of contemporary ideas, attitudes, and ultimately states of mind in this manner. Observe conversations follow headlines and popular memes, obscuring and dulling while reinforcing the mere semblance of original thought.
Spend hours viewing Renaissance paintings themselves until their being radiates through the brush strokes; afterwards, Botticelli's eye imposes its vision on the facial features of the girl across the room; Caravaggio's mystic light falls meaningfully on the mendicant at the street corner.
In terms of sound, such viral forms are the styles, rhythms and melodies, percussive qualities and instrumental timbres that shape emotional tension and perspective, individually and over widespread cultural contexts, most often outside the listener's knowledge and control. These are external forces that become replicated internally, through memory, as auditory illusions of music, also known as ohrwurms.
The individual may define the extent to which these "earworms" reflect or define mood and attitude; informed self-consciousness of this kind does not occur collectively.
Sound designs may be composed that literally stop the ohrwurm and sound virus dynamics, releasing their burden upon consciousness while enhancing perceptive listening. Interestingly, this is, in fact, a secondary effect of atmospheric compositions designed to parallel sound events that spontaneously occur in nature and in various contexts of human environments.
Simply put, my compositions are fabricated as sound events that are neither random nor the result of a synthesis of traditional musical elements. Rather, they are fundamentally based upon the spatial relationships of tones, asymmetrical arrangements, and cyclical movements.
Listening to the recordings of Black Mountain School will certainly stimulate the imagination as well as brighten aesthetic sensibilities. Additionally, they do not merely mask, but will disperse "songs stuck in the head" while enhancing atmospheres and pleasurable perception of sound.
Predictive analysis easily indicates the spread of contemporary ideas, attitudes, and ultimately states of mind in this manner. Observe conversations follow headlines and popular memes, obscuring and dulling while reinforcing the mere semblance of original thought.
In terms of sound, such viral forms are the styles, rhythms and melodies, percussive qualities and instrumental timbres that shape emotional tension and perspective, individually and over widespread cultural contexts, most often outside the listener's knowledge and control. These are external forces that become replicated internally, through memory, as auditory illusions of music, also known as ohrwurms.
The individual may define the extent to which these "earworms" reflect or define mood and attitude; informed self-consciousness of this kind does not occur collectively.
Sound designs may be composed that literally stop the ohrwurm and sound virus dynamics, releasing their burden upon consciousness while enhancing perceptive listening. Interestingly, this is, in fact, a secondary effect of atmospheric compositions designed to parallel sound events that spontaneously occur in nature and in various contexts of human environments.
Simply put, my compositions are fabricated as sound events that are neither random nor the result of a synthesis of traditional musical elements. Rather, they are fundamentally based upon the spatial relationships of tones, asymmetrical arrangements, and cyclical movements.
Listening to the recordings of Black Mountain School will certainly stimulate the imagination as well as brighten aesthetic sensibilities. Additionally, they do not merely mask, but will disperse "songs stuck in the head" while enhancing atmospheres and pleasurable perception of sound.
