Simultaneity II

Classicism and the Modern do not always converge, but neither are they mutually exclusive.

Narrow thinking produces limited and foolish expression, absurdly demeaning the genuinely elevated as belonging only to time past.  All perspectives take place within myriad frames of reference, and the arts of sound embrace clarity and aesthetic purpose in communicating the gestures of life, from the grand and sweeping to the minute and ephemeral.

This is human character and expression, thrusting aside the burden of temporal considerations.

Edge of Memory

Attend to the phenomena of existence.

Look for the impression that does not reveal itself directly.  Listen for those sounds that reach the uncanny depths of imagination.  Hear the incompleteness of time past becoming manifest in time future, while in the moment now.

Timeslips

When concentrating on perceptual events there are variations in temporal awareness that do not always escape notice.

Mere moments may hold the attention with a profound and lasting impact, or hours pass "in the blink of an eye", yet it is not the qualities of time that change, but the intensity of consciousness.

Such effects as these are among many the composer seeks to evoke within the listener through subtle, uplifting immersion in auditory imagery imbued with the atmospheric elements of sound art.

Territories

Culture may sometimes be viewed in artistic terms as a nexus of memory, history, events in progress, and projections.

From such a vantage point both personal and impersonal forces are at play in the organization and execution of artistic pieces, regardless of form.  I think in terms of applying various elements of visual presentations to soundworks, and I am cognizant of the development of electronic technology in the course of the past half-century through both literature and criticism of the subject as well as by direct experience. While this leads me to listen and compose outside the constraints of what might be called the fine arts as well as those that reflect the popular imagination, it nonetheless demands adherence to those peculiar ideas, theories, and methods that result in desirable artistic outcomes, and therefore working within limits of my own design.

In Studio

At a distance from popular culture and popular opinion, it is possible to engage life's experience differently.

State of being is different, unburdened by subjection to immediacy, the sense of connection to those ideas, cultural events, and social expectations outside the scope of the spiritual faculties of the artist and composer.

When reason and free will determine perspective, narrow focus on the sensational and ephemeral appears as it is, absurd.  Beyond this is the direction of clarity, where the adventure of exploration begins.