Range of Meaning

Interpretation need not be constricting or absurd.

Perception and experience may be directed internally and externally.  In the case of sound design and non-linear musical fabrication, the composer can appeal to both the appreciation of the external environment as a whole, and to the inner world of the listener as well.

The total effect contributes to enhancement of both atmosphere and mood through sonic imagery, and respects the experience and imagination of the listener.

Resonance

Sound is the language of imagination.

The listener who perceives the vision of a musical work as well as its compositional and instrumental elements absorbs its existential and spiritual meanings.

Spirit

Often, expression sums up experience in terms of content.

Art and experience exist in the context of history, tradition, and culture; expression belongs to the artist.

Feel

Cultural arts given over to excessive, subjective emotion are always on display.  Those who deny they exert an influence have reasons for deception.

Emotional reserve is at odds with such perspectives; classical restraint appears distant, cold, and suspect, because the nature of these attitudes is clearly motivated by something other than outward appearances and ideas in common currency.  This appears truly radical in a climate of reactive and immoderate emotionality.

Yet one need only consider the ease with which affective consciousness may be manipulated beyond an individual or group's awareness or control for dubious ends in order to appreciate art that appeals to the spiritual faculties of reason and free will.

Word, Visual, Sound

Speak and listen, see and hear.

What one may not express, another may reveal.

Processes and Expressions

Experience, contemplate and consider, assemble materials.  See where they lead.

Allowing these assembled materials to determine the direction and scope of a work, particularly a sound composition, speaks to the issue of control, and to the extent to which perception on the one hand and ego on the other determine outcomes.

The former manipulates subtly, and moves with the work to bring it into being of its own; the latter exerts force and pressure towards a predetermined end.

Very few follow the first path, the way of the artist.

Still Point

Intuitively and thoughtfully, analytically and with rational feeling, the observer and artist considers the distance between cultural norms and individual experience.

Along the axis between the two there are numerous perspectives.  There are variables that determine points of balance, as one discovers in a composition in which elements are chosen and arranged to satisfy this equilibrium.

The observer and artist recognizes these variables in terms of honesty of expression and personal motivation in the context of cultural and social expectations, and acts accordingly in bringing creative concepts into being.  Certainly this is a deliberative effort, informed by imagination as well as the reality of cultural conditions, and predicated upon a degree of objectivity.

It is also a matter of integrity of character and expression, for those who practice it.

Sway of the Modern

The extent to which the modernist perspective began as rebellion and rejection is debatable; that it grew to a means to rebuild, redefine, and clarify the broader cultural and historical outlook in the moment now is certain.

Visions contrived outside this paradigm yet remain frivolous; forces of history and shared global traditions reflecting the highest order of genius persist in power and influence.  Dynamics, means, and methods of expression change, but the permanent things do not, through continuous processes of being and becoming.  These abstract ideas and ideals-- among them love, integrity of character, honesty, beauty, and faith-- are brought to meaning through art and made new in the experience of living every day.

Over the course of a century the modern retains its force and virtue.  It yet unfolds, no less illuminates.

Illusions Forming Barriers

Much of the cultural conditioning of the last century is gradually fading away.

While there still exist the critics, trendsetters, and celebrities, the cachet and sense of cultural influence associated with them is slowly vanishing, and with that, the limitations their perspectives promulgate.

One drawn to the arts need not be pressured to court their favor or, more importantly, to think or create within the boundaries they and their predecessors have established.

This brings fair weather to creative atmospheres and to those who thrive within them.

Like Water II

Every moment emerges constantly, receding into time past and carrying forward into time future.

The basic concept of music as "movement of sound through time" need not be strictly limited to linear time, with its beginnings and endings and "captured moments" as commonly delineated.

Objectively, recordings do not change, but the listener's perception of them can and does.

Compositions in sound can be so designed as to place minimal emphasis on movement between points in time, to stress greater fullness of experience in the movement or flow of the moment itself.

Time need not be the dominant factor around which art revolves, nor is there any need for an art so conceived to be confrontational, affectedly ugly or disagreeable pour épater les bourgeois.  This is a lack, if not a failure, of vision in the modern world; there is beauty to be found here and given voice as the way of the flow of life.

Atmosphere, Effect, Development

Within settings, variations in sonic dynamics are brought about by any number of environmental factors, including such elements as barometric pressure, wind direction, and changes in topography.

In transformational compositions, the composer chooses the extent to which direct influence upon sound and structure is desirable.  In directing the evolution of a work that reflects awareness of auditory imagery within a changing atmosphere, I seek the suggestion of impressions rather than predictable patterns while aiming towards a balance between the orderly and the apparently random.

The aim is to reveal, or bring to light, the authentic and effortlessly grasped aesthetic listening pleasure that may be found within a nonlinear aural dynamic or sound and tone collage.

Cultural Continuity

Any number of things taken for granted are unnecessary.

Art is not among them.  Discover the past, know the present, illuminate the future.

Image and Essence

Music is generally understood in terms of common knowledge, in the way that recognition of imagery signals its meaning.

The listener's expectations are centered upon style and instrumentation, while the musician discerns method and technique, and all these are conveyed in performances and representative recordings.

Yet sound and beauty converge in countless other ways, producing myriad shades of meaning.

Environs

Musical selections programmed for public places presume, with some accuracy, various attitudes and emotional perspectives, and adhere generally to the rhythm and pace of social activity.

In short, such music reflects and promotes movement, manipulates and entertains.

Consider, in contrast, musical environments conducive to reflection and contemplative, creative activity, designed in such a way as to illuminate consciousness while contributing to clarity of thought.  

Changes in the Nature of Listening

Conceptual compositions designed to reflect the manner in which the observer encounters sounds in the real world also draw the receptive listener into altered perspectives and perceptions of sounds and surroundings.

As a result of becoming oriented to ways of listening and hearing beyond one's accustomed norms, sensitivity to aesthetically beautiful aural impressions-- what might be called the fair sounds of the everyday-- grows to be constant and immersive.

Intimacy and Transcendence

Moving freely to diverse perspectives, the authentic and the artificial become less well-defined and the imaginative, suggestive, and perceptually striking seize the attention.

The tedium of constant familiarity loses its grip, giving way to the impulse toward fuller cognition and deeper awareness of setting and scene, implication and intention, the visionary and the uncanny.

Listen, hear, experience; move beyond general expectation and the excessive and the absurd as well, on toward clarity, balance, and, one may dare say, the beautiful.

Open Air

The casual observer will see clearly that perception of music is the result of cultural conditioning,

Yet the contemporary stage is set for the listener to explore far beyond narrowly defined cultural expectations for musical realities, and there no longer exist viable sub-cultural social contexts defined primarily by music styles (and adherence to associated fashions) for good reasons.

The common and the outré, being easily accessible, are on equal footing, and as a result the insular mentality engendered by sub-cultural identification has grown untenable and ridiculous, particularly over the last decade.

 The listener is free to follow any sounds in any direction, and so is the composer and creative artist.

Possibilities

Lack of meaning is merely that.  Nothing more.

Art is endless connection and implication.

Diffusion

Styles spread throughout culture, gradually losing impact as saturation takes place, then languish and dissipate, as the history of music and the arts demonstrates.

The individual artist must act according to personal vision and fundamental facts.  Medium, method, and message stagnate without the will to investigate the unexplored and the discipline to risk failure.

Neither failure nor success are ends in themselves.  

Movement, Distance, Direction

Culture provides, exploration reveals, and art offers perspectives.

In the world of auditory arts there is the given, everywhere in evidence, and the unusual, being out of the ordinary.  But there exists also the unexpected or uncanny, and with it a change in perception.