Partly recognizable, partly outside experience altogether: this is the experience of the uncanny.
The artist can, with effort and conceptual vision, create such experiences. For the artist as composer, the elements of sound are at play. I say sound, not music, for the simple fact that all the elements of music are so familiar as to be without effect. Rhythm, melody, harmony, etc., are known quantities. The nonlinear sounds of environments in situ hold meanings within tone, shading, and movement that are not so easily recognized and perceived.
These are my interests and goals, the sounds of reality, contemplated and aesthetically stylized as listening experiences beyond the temporal and mundane.
The artist can, with effort and conceptual vision, create such experiences. For the artist as composer, the elements of sound are at play. I say sound, not music, for the simple fact that all the elements of music are so familiar as to be without effect. Rhythm, melody, harmony, etc., are known quantities. The nonlinear sounds of environments in situ hold meanings within tone, shading, and movement that are not so easily recognized and perceived.
These are my interests and goals, the sounds of reality, contemplated and aesthetically stylized as listening experiences beyond the temporal and mundane.
