Elevate, Decline, Continue

Sound environments reflect the rise and fall of things.

Whether the composer chooses a subjective perspective or simply allows the composition to unfold as it would in the physical world alone is of little consequence, provided the work's total effect is one that reflects aesthetic integrity.

Closed, Opened

Continually stop the ears with mud and the loss is apparent.

Re-learn the art of listening and the perception of hearing.  Think, and perceive.

Recall

Seek the unknown, unseen, unheard.

Imagine, and find the atmospheric sounds that cannot be imagined. Make them real. Listen, and hear. 

Original Expression

It is a simple matter to alter musical perception.

The art of representation in sound is not one that involves additional articulations of percussion, rhythm, melody, harmony, and so forth.

It is rather elimination of unnecessary formal elements that conveys and clarifies perspective in unforeseen and unique ways.

How Imagine

Excessive absurdity: faces buried in phones.

How does one live, and what does one believe beyond the given?  One cannot simply leave it to the "artist", so designated by cultural consensus, to discover the facts and appearances of these matters.

If one must become the artist oneself, so it must be.

Morning

Meanings, Objects, Actions

Expect the invention of new forms.

It is not necessary to abandon the old forms, and unwise to act as if the historical forces that shaped them no longer exist.  One must be prepared for the unexpected, take the measure of possibilities as they emerge, and create according to the means afforded reason. Regardless of the risks of failure, (and there will be many), the future will be come into being, renewed by perception and forged with daring, integrity, and sweat.

Sound and Appearances

Listening implies expectations, usually emotional and often motivated by impulse.

But there are other ways to listen, just as there are other ways to compose with sound.

Begin with reason; explore the contemplative and subtle, the objective atmospheres, as opposed to the common inventions of subjective imagination.

Critical Awareness

The brain is not the mind, any more than the organ of listening is the inner ear.

Studies conducted at the University of Virginia in Charlottesville in 2014 concluded that large numbers of people preferred pain, specifically an electric shock, to being alone with their thoughts.

Such conditions of mind, culturally reinforced, as they are, by everything that stigmatizes mysticism, spirituality, and the uncanny, are unnatural, even dangerous. Clearly, what is called transcendental vision, and even the simple daydream, reflect human perceptions and potentials, and not abnormal, morbid realities.

In contrast, sound art composed to enhance listening imagination can evoke the contemplative states, as described by Boethius, that illuminate consciousness and unburden perspective.

The composer will do well to remember the essential qualities and purposes of art, and especially their incalculable value to humanity.

Atmospheres d'art

These compositions evoke undistracted, extended, contemplative moments.

With sound, create the double, or mirror image, of auditory environmental settings and events.

Arc of Time

Events go unnoticed.

The brain filters perceptions, yet is influenced by focus and intent.  It becomes necessary to develop awareness by learning to perceive what is ignored in the everyday scheme of things.  This changes the nature of experience, opening the mind's eye and the inner ear.

Then the world represented by the artist is clarified in seeing, visualizing, listening, and by composition, whether with sound or the written word.  What once dominated is at a distance, and what seemed like a lifetime is a moment.

Stand By

Age of technocracy.

Unchecked, no curiosity or purpose, no belief in something greater, no aesthetic vision, no concept of the mystical or the uncanny.  And it falls to the artist to say: this is not living, not experience. No.

Unawareness and its Opposite

Intense focus and unnatural importance are attached to inconsequential events, people, and things.

One chooses aesthetic purpose, rather than meaningless cultural and social perspectives that focus on mundane diversions, not to disengage from experience, but to embrace reality.

Experiment

Stand at a remove from contemporary culture.

Forgetting the artifacts and figureheads carved into the moment, consider what remains of reality.

Cognizance, Awareness

Among the things the artist can control are perspective, execution, symbolism, and tone.

Among those things the artist cannot control are the opinions and perspectives of others.  But this is not an issue.  What matters is the creation of artistic representations in any media that convey, with clarity, the reality of experience.

Along

The moment now moves with sound.

Though the sound movement may have the semblance of brevity, it neither begins nor ends.

Experience, Imagination

Find the sonic atmosphere free of interference, as it is, without expectation or musical bias.

Create the objective semblance of such an atmosphere with manipulations of sound media, strictly in the form of auditory imagery.  Having gained this understanding and expertise, reveal atmospheres perceived with the inner ear.

Follow

One uses, or is used by, technology in cultural contexts.

The composer who comprehends and applies theory develops ideas as they emerge in processes, and individual expression carries the day.

Embrace

The human and natural worlds are interrelated, not separate.

So the composer cannot say, I seek to replicate nature, as if removed from it.  All sound forms exist within the limits of perception, and none are alien to the creative mind and process.

In and Out of Place

In musical terms the idea of order relates to a perceptual recognition of sequences.

Such sequences are critical even in the most complex works, and represent exquisite degrees of human design. These arrangements of musical elements are systematic and purposeful.

Nonetheless, alternatives to these designs need not produce chaos and noise. They may instead be composed as representations of any number of processes of objective reality for which there are no human equivalents, specifically such things as the motion of atmospheric currents, tidal ebb and flow, erosion of stone, and other phenomena.