Week 11 3/17/19

Direct energy, frequency and vibration toward balance and movement.

These are sounds not limited by linear temporal perception; the desired outcome is expansion. 

Compare, at this far distance, to expressive possibilities of Zaum and its linguistic metaphysics. It is not difficult to do so, and without graceless pretension it is revealing.

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Week 45 11/11/18

Out of silence, grasp sound and motion.

Compose the sonic field for the ear as the visual artist does for the eye.

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Week 40 10/7/18

Find patterns in ambiguity.

Compose to suggest atmospheres, allowing possibilities of auditory pareidolia.

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Week 37 9/16/18

Allow impressions of the surroundings to form.

Compose fields of sound accordingly. These are atmospherics, owing little to "music".

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Week 31 8/5/18

Disengage from the false and contrived.

Perceive without subjectivity. How would this enhance cognizance of what is genuine and true?

To listen is to concentrate, to hear is to expand the perception. There is always more to know.

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Week 29 7/22/18

Listen with intent, and against conditioning.

Knowing contrasts, hear the calm after the storm.

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Week 28 7/15/18

Expand the field of perception, in thinking, in creating.

Effect change in the environment. Alter the dynamic of the moment.

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Week 19 5/13/18

Some simply accept.

Others expect more, desire more, and do more. They see, they listen, and hear. They create.

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Week 16 4/22/18

Be aware, conscious of  the reality of individual perception.

For the atmospheric composer, this means apprehending the essential synthesis of presence and perception, yielding aural textures, patterns, and myriad qualities of the sonic field.

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Week 14 4/8/18

Atmospheric sounds, though not necessarily musical in nature, may be emulated.

Thus such sounds may be arranged, even "orchestrated", in aesthetic, if not overtly musical, form.

Week 11 3/18/18

What appears to be "random" occurs as part of a larger pattern.

Close the eyes, erase subjectivity, and focus the concentration on sound only.  As the fullness of sounds reveals itself, imagine the combinations in compositional form, continuing to expand.

Week 8 2/25/10

Transpose the visual into sound.

Consequently, perceive atmospheric qualities, sense tone, depth, illusions of distances, apparent patterns.  Yet this is something that is not the same as "music", nor is it meant to be so.

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Week 5 2/4/18

The artist is perceiver; the work of the artist is expression.

In a universal sense, the business of the arts is to communicate and enlighten.

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Week 51 12/25/17

Listen, and hear.

Change brings change.

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Week 35 9/3/17

To evoke atmospheres, the composer must minimize the subjective.

The result, in the final expression, is a sense of vibration and the engagement of perception with as little interference, or influence of personal dynamic, as possible.

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Week 20 May 21, 2017

Give attention to the setting.

Consciousness expands, engaging reality and sensory awareness.  This is understanding separate and distinct from the social, cultural, and political abstractions that encompass daily pursuits.

This is experience revealed in elevated expression.

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Week 18 5/7/17

Many find "ambient music" desirable as a retreat from the stresses of contemporary life.

This is worthwhile as a beginning of understanding.  Plainly, we are conditioned to certain ideas that produce expectations of life and our place within it. We expect "intensity" and it is expected of us. We expect "extremes" and believe them to be "normal" within the scheme of things.  But this is a kind of programming that is deleterious to elevated states of being and consciousness.

It is necessary to discern what stresses in our experience lead us to clearly appreciate the cultural expressions that directly oppose them.  Gaining a fundamental sense of such things, rather than ignoring them in a specious "quest for authenticity", makes perceptual change permanent, rather than simply possible.

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Expression and Impression

Observe the high degree of what is commonly called distraction.

Observe also the decline in perceptual capacity, the emotional attachment to being "in the moment" rather than conscious of the larger human and natural world.  The total effect is one of distress and exaggerated, frenetic self-importance.  Of course much music is designed to intensify perspectives of this nature, to fuel a "drive" toward ever-increasing hubris and vainglory.  

My compositions, in contrast, aim for the perceiver to recognize and develop a perspective that is entirely different, one closer to that of a universal awareness of both sound and sense of being.

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Space Time Sound

Consider the surrounding environment a vessel.

Envision, generate the sonic palette, and compose according to the idea that it is the virtue of the vessel to be filled.   From these simple fundamentals, approach new sonic atmospheres. 

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Listen, and Hear

Language is music, laden with meaning.

Every perceptible sound is charged with intimations of equal moment, if we can but read them.

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