The listener is at the center.
The spectacle is staged: lights and visuals of every kind intensify the sound performance. Like video, it exists for the eyes, not the ears, yet it completes the circuit of attention, as do sound designs for films that augment action and emotional scenarios with fitting music and effects.
Outside the spectacle, the listener is free to do other things and to move about, engaging in both passive hearing as well as active listening: auditory perceptions are altered accordingly by these movements. Musical ambience may be composed and recorded for such contexts, to be enjoyed and engaged in such a manner.
Fullness of experience is far greater than anything mere spectacle can provide.
The spectacle is staged: lights and visuals of every kind intensify the sound performance. Like video, it exists for the eyes, not the ears, yet it completes the circuit of attention, as do sound designs for films that augment action and emotional scenarios with fitting music and effects.
Outside the spectacle, the listener is free to do other things and to move about, engaging in both passive hearing as well as active listening: auditory perceptions are altered accordingly by these movements. Musical ambience may be composed and recorded for such contexts, to be enjoyed and engaged in such a manner.
Fullness of experience is far greater than anything mere spectacle can provide.
