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.
Aesthetic vision transcends identity, or fails both.
Art has been subjected to the wretched perspectives of identity politics for a century, and this must be brought to an end, by vigorous application of moral reason and courageous individual expression.
Instead, offer rational observations as objectively as possible. This is cultural awareness that is communicated clearly, not obscured by guile and pretense, and lends authenticity to art.
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.
One artist's business is to bring these understandings within reach, while another abandons them for social, cultural, and political agendas. Discern the reality.
Sound intellect is not conferred by academic degrees, but developed by painstaking application of moral reason.
The historic cycle dominated by the collectivist mentality of the past century is coming to a close with the worst of its elements collapsing in full view of the astute cultural observer. Following this state of affairs, the self-reliant will prosper, and mere propaganda will be transcended by the force of individual expression that will appear in entirely unexpected, visionary ways.
It is necessary to convey understanding of reality. This is essential in times when false judgments are taken for literal fact, history is re-scripted to suit political agendas, and culture is manipulated with the intent of silencing individual expression.
Nikola Tesla observed the essential nature of "energy, frequency, and vibration" in reality.
Additionally, Tesla encouraged inquiry into "non-physical phenomena". Examine such observations as they relate to "music" etc., but beyond this, in relation to auditory perception generally, and to non-musical constructions and their effects.
The issue is the application of music to social and cultural situations in which music, "as we know it", is not optimal. This is always the case when music demands the listener's full attention, and, though it is less intrusive when it simply invites attention, it may still become a distraction.
Reading, thinking, conversation, and things of this nature do not benefit from distractions, and sound developed and expressed for these scenarios must be conducive to being relaxed, yet alert.
Brian Eno's ambient music develops rarefied musical events to evoke this stage of consciousness; I have been developing, over the past decade, a means to a singular, and to the extent possible, an over-arching, non-musical, atmospheric and environment effect with disparate implications.
To paraphrase Poe, it is a total effect designed as a singular, overarching expression, suitable for the aforementioned occasions, and for the expansion of consciousness. Yet, as I have since verified in academic practice, it has additional, peculiar effects, such as allowing, thus increasing, individual focus of attention on other activities, and providing extended relief from such challenges as ADHD.
While not intentional, this is nonetheless a proven fact, verified by objective results, and a welcome artistic development, with possible applications to PTSD as well. This necessitates continuing experimentation, study, and review.
Invention and discovery demand trial, assessment, and verification.
Experimentation allows risk, while the introduction of something entirely new, for an entirely new purpose, requires caution.
Terms must be defined, understanding assured, before experience becomes clear, as it will in the course of the coming creative dynamic and presentation. To listen will be to hear with new ears.
We are all familiar with the common sounds of music, with the genres, and the "artists". Do not be fooled. There is always more to discover, but there is the unknown, and risk, to consider.
Envision nuance and pattern. These are auguries of direction, movement, and meaning.
Awareness becomes intensified, and more direct, encompassing a broader spectrum of perceptual reality. In terms of auditory sensitivity, listener, artist, and composer share aesthetic interest and purpose. But this is an abstract proposition, and only as good as it yields concrete experience in listening that is subjectively enjoyable for some, and objectively so for others.
Regardless, "music culture" and its adherents cannot dictate direction to that which is not music.
Nor are those whose sensibilities are essentially stupid and banal expected to grasp its virtues.
Situational awareness involves more than knowledge of the state of circumstances.
Of equal, if not greater, importance is the locus of perception. This center of awareness may expand to an elevated set of impressions of the surrounding environment, extending to the auditory as well as the visual and other senses. This is simply to say that the more that is known, the more that can be known in terms of consciousness and creativity, particularly as applied to problem-solving, whether concrete or abstract in nature.
The artist and composer will do well to actively see, and to listen, and to envision in such a manner.
Listen, and hear, becoming aware of the preponderance of musical artifacts.
This is the consequence of a long standing, selective process of exclusion of musical artists from the commercial cultural setting, specifically in the pursuit of extravagant political agendas.
Music culture must evolve naturally, because manipulation of musical culture destroys it.
