Culture and Communication

The composer must be committed to the art and to the listener.

The listener begins with commitment to the art, with its cultural as well as personal connections. This is the engagement the composer shares.  One does not measure dedication and responsibility such as this in terms of gain and loss.

Eye, Ear, Mind

The inner ear of mind, like the eye of imagination, exists beyond temporal limits and conceives the extraordinary.

Yet refinement of the former rarely takes place, as the latter is given ascendancy of the senses. To envision a work of art in sound, one must listen, hear, and devise means to bring its elements into being.

Detail, Aural Sensation, Sensibility

Listening implies discernment.

In composition, do not fail to distinguish between the coarse and refined, the prominent and indistinct, and the plain in contrast to the subtle.  But do not fail to contemplate their presence as representative of natural reality, and thus, essential.

Hyperreality and Perspective

Consider creation and juxtaposition of aural imagery as imaginative reflection.

Clearly, observation of social norms indicates scenarios in which "perception is reality", when, in fact, no such reality exists, but rather one or another personal or cultural constructs that substitute for the objectively real world of phenomena and appearances.

What I am looking for, as an artist and aural composer, are representations, through sounds, of the real that are indicative of aesthetic perspective given to the world of humanity and nature, meant to open the imagination in ways that enhance, rather than falsify, experience and events.

Surrounding the Temporal

Sounds move in directions of openness and may be manipulated accordingly.

Time and space are aspects of the fabric of reality, but they need not define every perception, nor every form of artistic representation. Sound imagery, in particular, may elevate the imagination and the senses beyond temporal attachments.  Composer and listener do not make this happen, but allow it to take place.

Occurrences

Every event is multifaceted, the outcome of convergences of innumerable phenomena.

Meaning takes place individually, and selectively, as when witnesses respond to their perceptions of singular incidents.  Thus the composer chooses tones and sounds as poetic representations of sonic experiences, to be conveyed to the listener, laden with uncanny implications and possibilities.

Across Probablilties

Abstractions and known paradigms serve as starting points.

One speaks of such things as ambience, minimalism, indeterminacy, and so forth as matters of shared knowledge, yet realization of meaning comes through processes leading ultimately to total effect.

Speculation, for the composer, is action rising into being.