Expansion, Diminishment

Some define the role of the composer as an author or creator of "art" as "serious music".

While this may be useful to certain people, and particularly those who adhere to general cultural norms related to music, it is a view that is inimical to wide-ranging perspectives on art and sound.  

These latter viewpoints cannot be conveniently restricted or labeled, but they are in many ways notable as modern, dynamic, individualistic, and avant-garde, though these terms simply suggest starting points for an aesthetic understanding those bound to the former are unlikely to pursue.  

Ambimusica.com

Purlieu

Any setting is replete with sounds.

Cultural and social conditioning contributes to the suppression of auditory perception.

The disposition to "not hear" sounds present in the environs, once overcome, presents the listener with an expansion of perceptual acuity, and offers the composer a palette of infinite variation.

Listen to Be

Information provides understanding, and choices.

Thus the impetus for heightening the sensory perceptions, these contributing to the subtlety and refinement of critical observation, analysis, and judgement.

These are essential tools of the composer's art.

Creation and Loss

There can be no compromise.

Free expression is worth the sacrifice, or it is not.  Choose to lead, and lead by example.

Value and Respect

All cultural roles are available to the artist, for whom choice and responsibility are one.

One's duty is to one's art, not to social expectations, academic and cultural criticism, or the various "demands" of the public.

It is self-reliance, coupled with individual freedom, that makes this possible.

Pop Downturn, Reform Pop

What is know as the "popular imagination" conforms to a dull immediacy.

By "immediacy" I am referring to the dubious sense of urgency associated with the omnipresence of media.  The dullness, or lack of imaginative acuity, is the consequence of incessant repetition of the same ideas, beliefs, and social norms in opposition to the same "transgressive" perspectives, as if these latter were, in fact, of any consequence in comparison with expression of original, creative thought.  That is the state of culture, unless and until efforts are made to transcend the mundane, and those efforts recognized as essential to the idea of a forward-thinking civilization.

Time Flash

There exists an absurd belief that the artist is only capable of creating for a present audience.

Futurity is not a mere abstraction, but a reality to be created and claimed.  For the artist who can comprehend this, there can be no expectations, only work in the process of coming into being.

Perceived Atmospheres

Let silence speak.

Discover that there is no real silence, but only the silencing of expression.

Expression as Disputation

Consider the possibility of irreversible intellectual decline.

Contrast present cultural perspectives with objective experience.

Identity, Image, and Audacity

Typically, diversion and dance come to mind when discussing the purposes of music.

Further consideration suggests the use of music in ceremony and ritual, and for artistic expression of emotion and ideas. Enhancement of concentration and meditative focus, refinement of perception and the reinforcement of contemplative states of mind and being, however, are of far greater importance to those who practice these ways of engagement with reality through expansion of consciousness.

Certainly this is the position of one who composes works in sound to such ends as these.

As Forge Demands Fire

Much is made, in contemporary terms, of the concept of progress.

But progress implies improvement.

Show me this improvement.  Reveal it, that I may believe it.

Otherwise it is only a word to obscure the consolidation of power of the status quo.  This much is plainly evident, everywhere, at all times.  Look and see directly.  Listen, and hear.

Resistance III

Neither oppression nor repression of the arts ever reach an end.

Whether imposed by historical traditions or through contemporary cultural imperatives, subjection to collectivist thinking in academic and political circles will always plague artists no less than historians and all those who strive for true representations of reality. The purpose is simple: to eliminate utterly the power and value of the individual.

And the artist is nothing if not an autonomous free agent.  Nothing more than a lackey, a bootlicker.

Evidence of this is plain and clear.  It is not hidden from sight; one need only look at it directly.

There is no end to it.  Yet even if there is no winning, there can be no surrender, or all-- and this means all that is essential to cultural reality itself-- is lost.

Cloud-Hidden

At the nadir of cultural decline lies ignorance and apathy and self-absorbed complacency.

Since neither art, nor its understanding, are effortless, intellectual curiosity cannot be neglected by those who would gain the broader, deeper perspectives on life the arts reveal.

This is a critical contemporary issue, and its most odious aspects are intentionally reinforced by the elite institutions and mass media under the guise of "populist" egalitarianism.  Since these conditions are, in point of fact, the direct results of social engineering aimed at producing an anemic, totalitarian, collectivist mentality, the resolution of this cultural crisis is far from certain.

In any event, the work of the artist moves forward, openly or underground.

Clairaudience and Reason II

The truly simple is often difficult to grasp.

Similarly, complexity will not mislead perception if fundamentals are understood.

Equanimity and Tone

Light, space, and atmosphere are conducive to evolved thinking.

Sound in the aesthetic environment enhances, but does not dominate. This is the nature of refined, or, if you prefer, critical thought, in that it is self-sufficient, highly informed, tempered by experience, and internally motivated. Thus the composer rejects bombast and predictability, holding to a vision defined by intellectual curiosity and perceptual stimulation.

To Sense

Emotion is energy, whether active or passive.

But emotion is neither vision nor clarity of purpose, and each requires reason.

One must rebel, first and foremost, against irrationality. The artist must see, and the composer must hear, those things that go unseen and unheard in the self-immolation of superficiality and the tyranny of the media-directed spirit of the day, else perish in mediocrity.

The shadows fall in the surrounding world as if the presence of something uncanny announces itself, seizing the attention as if by mystic force.  It is here, an opportunity for shade against the heat, and it appears suddenly and strangely to the distracted mind, as if it is always no more than a mere image, and light years away from common experience.  Lose the facts of reality and lose culture, and life.

Élan Vital

The art of sound, as I see it, contributes to sustaining the light of reason.

The aesthetic moment is one of clarity of consciousness evoked through experience of art, and yet it is outside the awareness of all but a very few. Though it may be refined, and overanalyzed to an absurd degree, it is merely a moment of vigorous insight into life itself and the act of living with awareness and grace.

It is available to all, sparked by perception and cognition, unfettered by politics, identity issues, cultural disputations, or the influence of the juggernaut of digital mass media on the collective zeitgeist.

It requires nothing more than recognition of the contemplative means by which such understanding is conveyed.

Pause, reflect.  Listen, and hear.

Opening

Merge sound and setting.

Within the dynamic of such an atmosphere, possibility and action can converge, thought finds form, and meanings become clear.  Music in other forms serves various purposes, but sound as expression of consciousness in real time opens the doors of perception.

Atmospheres for Imaginary Settings

Cultural conditioning sets limits that define music.

Certainly in free societies this does not have to be the case, and with knowledge and percipience come broader, more critical perspectives than those associated with predictable musical content.

In point of fact, very few listeners, songwriters, and composers take an interest in expansion beyond the generalized commercial and academic horizons, not because audiences would have no interest in such endeavors-- a lack of interest in musical genres and fashions, even the so called "refined" ones, declines precipitously as the listener moves further beyond adolescence-- but because the knowledge of advanced aural compositions, their aesthetics, and their purposes have yet to articulated properly to the public at large.  Ambient music, as defined by Brian Eno and others, has indeed been established as such, and with intellectual clarity according to its character.

But it is what I would call the sonic setting composition that is different in nature than ambient music, engaged, as it is, with the perceptions and consciousness of the listener, and created according to an entirely different paradigm. This requires analysis accordingly, and ultimately, a kind of introduction, via informed artists and individuals, into the broader cultural setting.  Otherwise one need expect no more than the perpetuation of the state of things in the musical arts.

The Need for Sound Art

The fish, it has been said, is not aware of the presence of water.

The discriminating listener is constantly aware of the sounds of art subverted by "programming".  It is the same set of generic structures adorned with different characterizations and attitudes of style. The artist must transcend this, and provide the listener the opportunity to acclimate to a different state of auditory awareness.

Yet it is effortless to recognize the uniqueness of these aesthetic atmospheres, composed, as it were, of  "reverse-engineered" representations of perceptual sound environments.