Week 17 4/28/19

Concepts of forward movement and expansion imply different perspectives.

Perceptions of sound and time are not the same for everyone. Some are self-evidently accurate, while others are distorted. What is coincidence?

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 1 1/6/19

Extend moments of clarity.

The Art of Sound is not limited to expressing emotion.

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Perspective Shift

Observe any environment carefully.

Detailed observation reveals that elements of the environment may be seen as both separate and unified forms.  With care, sounds may be composed and presented in ways that may be perceived in like manner, as opposed to methods utilizing the common aspects of musical composition and production.

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Contemplative Depth

To hear, to see, perception must be freed of distraction in the guise of the marvelous.

Where specious excitement and frenetic sight and sound imagery cloud the day, the inner ear is stopped and the eye of imagination is blinded to the real.  Discard this clutter, choose awareness.

The nature of elevated consciousness and expression welcomes immersion and clarity of being.

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Simplicity, Expansion

Sounds coalesce.

Sensory experience suggests order, through a spectrum of degrees and myriad perspectives.

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Artist and Medium

Control what is possible, let go what will be fulfilled beyond interference.

This is the virtue of gesture, the reward of practice, and the fruit of experience.

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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.

Exercise I

Visualize sound.

Reverse the process, by combining sounds suggestive of the visual.

Note: abstract, static visuals suggest sonic possibilities that may differ from direct perception of environmental atmospheres. This reflects the sensibilities of any artist, to one degree or another.

Real Light

A balanced, yet critical and incisive state of mind is not effortless.

The purpose of my compositions and recordings, beyond the application of experimental and aesthetic principles, is to promote and enhance the emotional state of equanimity.

In terms of contemporary music, very little is done in that regard, and very little of that is done effectively.

Yet to Be

No one finds without searching.

Therefore, some things simply remain unknown.

Take This Moment

Thank you.

Philosophy of Composition II

Reason and honesty inform acts and expressions of permanent value.

The statement is a fundamental position, beyond technique and process.

Image, Information, Awareness

Low cloud cover reflects distant environmental sounds.

Music is no longer a rarity, as it once was. It is the nuanced perception of atmosphere that is an uncommon experience, so unusual as to be uncanny. Thus, for composer and listener alike, new inspirations, and ultimately new forms.

Sonic Setting

Perception of sound registers far more than "music".

Yet cultural norms would have it that only "music" is the creative apex of sound composition. This is absurd on its face, as is the idea that "experimental" music must lead to meaningless noise.

Sense the beauty of sounds as they evolve without interference in all surroundings, whether urban or pastoral, and take this aesthetic into the context of artistic expression, for example, sculpture, collage, cubist perspective, or impressionism. Let "music" exist according to it's elements and techniques, but listen beyond into uncharted areas of imagination. There lies the future.

Reasoning Music

The aesthetic environment is by nature a "thinking" environment.

Responses to the vicissitudes of life according to the art of reason are simply superior to frenetic, emotional reactions to the ways of the world.  The art of sound is not simply meant to fill a void.

As composer, I bring sounds together as representations of the physical, aural nature of the world with the purpose of revealing both the dynamics of atmospheres and those of the imagination.

Mystery in Reality

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 Long View III

Any form of art presents risk.

One cannot be certain if a thing is worth doing at all.  But no artist will ask such a question.

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.

What is Black Mountain School?

Take a moment beneath the surface of appearances.

The listener, to any of these albums, is simply asked to grasp what cannot be held, to perceive, however briefly, human experience before words and music.