Sensory Environs

Consider sound designs as stylized representations of reality, particularly the reality of the movement of consciousness and perception through the various atmospheres and events of the day.

The scattering of aural events might then serve as one model for sound composition, as variations of the emergence, clustering, and dispersal of diverse sonic forms could provide structure for others.

Participation

Auditory imagery moves freely in all environments, but may also be framed in perspective.

In composition and production, a balance must be struck; to do more is interference, to do less diminishes experience.

As It Is, Infinite

Culture is not burdened by the stilted and the linear, nor is modern perception averse to nonlinear forms.

Absurdly, obsolete models remain the norm, particularly in the arts of sound. The musical formulas remain static, serving as little more than a vehicle for stale, nineteenth century aims: essentially, to épater le bourgeois.

Like the listener, the modern composer is interested in utterly different effects, sounds, ideas, and imaginative visions.

Temporal Slip

In the archetypal setting, the sense of linear time is abandoned.

One does not escape the bonds of time and space, but may nonetheless perceive them with detachment.

This is one among many perspectives I intend to share as composer of these works.

Distillation

Human perspective is constantly renewed by exploration and vigorous, elevated thought.

Nor should sound arts be burdened by narrow interpretations and diminished limits that grow ever more inadequate to the range of popular imagination.

Promoveo, promovi, promotum.

Sound and Subtext

Diverse listeners gravitate to myriad sounds, particularly those of preferred genres of music.

These musical forms are predominately defined by rhythm, beat, melody and harmony.  Their effects are such that they may take ascendancy over consciousness, induce physical movements, reinforce sensibilities and attitudes, convey emotional states, and influence thought and imagination as well as provide diversion and entertainment.

I am interested in creating sound works that make no demands upon the listener and evoke entirely different phenomena altogether.

To Observe, Listen, and Hear

The listener will be cognizant of sounds, or enveloped by them unaware of their influences.

This is a legacy of recorded sound.  Within individual memory, illusions of music, voices, or vagrant rhythms circulate repeatedly in forms absorbed or impressed upon the listener.  Even as recently as the late nineteenth and early twentieth centuries such a condition would have been considered as a rarity, if not an aberration, in terms of a sound state of consciousness.

As a composer I am interested in designing sound works that enhance listening pleasure yet produce entirely different effects, releasing the attention and, consequently, heightening lucidity of thought as well as expanding perceptual awareness.

Space of Being

Think.

Certain environments are conducive to creativity, contemplation, and development of inspired ideas.  If this is desirable, one acts accordingly, gravitating to such atmospheres and bringing one's immediate surroundings into accord with those elements that enrich them.

From my perspective as a composer, this is the art of sound as well as my purpose in bringing works of this nature into realization.

Sound Composition as Aural Vortex

Sound is naturally perceived as a complex of surrounding auditory events.

Even though one may be inculcated by experience to understanding music as linear movement of manipulated sounds through time, the listener may easily find non-linear, avant-garde yet artistic, sonic atmospheres aesthetically pleasing.

The phenomenon of hearing itself  implies the recognition of sound events in this manner, requiring no special preparation, esoteric perspective or attitude to enjoy the experience of listening to works of such character.

Wake, Art, and Artifice

Sound phenomena are fleeting, their motion through consciousness evoking a broad spectrum of persistent impressions.

Composition of sound designs to produce such effects contrasts with that of musical works crafted to be imprinted in memory, being created to reflect environmental events rather than directly engage the listener with variations of predictable patterns.

Each expresses perspectives; one reflects creation, the other, movement in time.

Transmutation

Convert the visual to the auditory.

Unify the perceptions, emotions, and intellectual impressions and express them in sound.

Influence and Release

The composer comes to terms with art by the degree to which control is desired and expressed.

It is a choice that determines the extent to which the total effect will reflect both the action of the creative ego and the force and virtue of the work itself.

Tracing the Arc of Sonic Ideas

Listen, hear, think, create.

Engage conscious awareness of both active and passive auditory perception.  Consider the totality of sounds, music, noises, and atmospheric effects that form the palette of impressions.

Arrange the composition plainly and directly, avoiding interference in the development and formation of the whole, and experience its intrinsic beauty as it unfolds.

Sense and Technology

Perception informs imagination; technology extends expression.

When expression contributes to the expansion of consciousness, clarity of light reaches the eye and sound is realized in the inner ear.  Consequently, perspectives are heightened, rather than constricted as they are by representations of the mediocre and the mundane, artful though they may be.

Mirror to Nature

The sounds of the phenomena of reality reflect a greater order than those corresponding to the structures of music.

The artistic vision and the inner ear of the composer perceive within the limits of individual consciousness, but only by choice within the confines of expectation.

Sequence, Continuum

As a composer, I view each work and recording as an element in a single process.

These are atmospheres in succession, as over the course of seasons, progressing in gradual and subtle flux.

Aural Gesture and Meaning

Perception seeks expression.

The process of bringing sound designs into being is a movement from mental image to total effect.

Sound and Sense of the Real

Sound and visual media offer not only representations of reality, but illusions that are anathema to lucid perceptions of life in the world as it exists.

This is a matter of conscious choice, one of perceptivity, sensibility, and creativity.

Transitioning

There comes a point at which the things of the past appear far removed from the moment now.

But these are the impermanent things, for the most part, and they seem alien to the present just as such things that now represent the chaff of culture will appear in the future.

The way of integrity and timelessness is the way of the artist.

Imagining Sounds

The visual artist envisions objects and ideas.

Sounds emerge spontaneously in dreams; the listener, and particularly the composer, may cultivate these perceptual phenomena by reflection, contemplative examination, and experience in listening and hearing.

In such ways the reach of the inner ear expands, and with it, perceptual consciousness.