Transmission IX

There is much for the artist to explain. It is expected, even welcomed.

But it is never necessary, whether for cultural, social, or artistic purposes, to explain one's self.

The Real and its Representations

The mask of the actor makes no sound, but amplifies the motivation of character behind it.

Personal aesthetic experience is not cultural immersion, but individual attitude of mind and perceptivity.

Whether the former dominates the latter, or vice-versa, depends upon cultural vigor and integrity. It is the strong culture that listens, and hears the individual; the weak one simply generates noise.

Threshold

Observe the processes in motion as history, tradition, and culture are discarded.

Condemn the whole of the past, assume the motivations of rats in a maze, cast down the possibility of every ideal, particularly those resting on an understanding of beauty and truth.  Render ideas of art in every form worthless, and the artist inconsequential, until the act of creation becomes impossible in the unthinking, shallow void of the moment.

Disaster follows. The sleep of reason yields monsters.

Reality of Expectation

With a decline of thought comes a decline of perception.

Recognize when the "spontaneous moment" in art is a contrivance, and inauthentic. It then becomes clear that not only is this the case now for most expressions, but it has been so for almost a century.

Resistance II

Consider the relationships between the work of Einstein, Picasso, and Eliot.

In cultural terms, it is the artist who must choose to do the difficult things.  This is the path of persistence, courage, and hard work.

Transformation Ambient II

The concept of the sonic setting emerges from transformation ambient processes.

These processes involve the development of atmospheres that reflect those of environmental surroundings, whether in natural settings, public spaces, or smaller, more intimate confines.

By intention and application of compositional methods, these represent events as they occur, regardless of design, within particular parameters, or circumstances of time and space.  And as representations, they are akin to musical compositions such as classical tone poems, but are not subsumed under musical theory. Rather, they are intended to appeal to aesthetic perceptivity as opposed to musical sensibility.

This is the case with all the albums by Black Mountain School and Ghost Radio Orchestra, as the open, aware listener will easily discern.

Atmospheres for Imaginary Settings

Cultural conditioning sets limits that define music.

Certainly in free societies this does not have to be the case, and with knowledge and percipience come broader, more critical perspectives than those associated with predictable musical content.

In point of fact, very few listeners, songwriters, and composers take an interest in expansion beyond the generalized commercial and academic horizons, not because audiences would have no interest in such endeavors-- a lack of interest in musical genres and fashions, even the so called "refined" ones, declines precipitously as the listener moves further beyond adolescence-- but because the knowledge of advanced aural compositions, their aesthetics, and their purposes have yet to articulated properly to the public at large.  Ambient music, as defined by Brian Eno and others, has indeed been established as such, and with intellectual clarity according to its character.

But it is what I would call the sonic setting composition that is different in nature than ambient music, engaged, as it is, with the perceptions and consciousness of the listener, and created according to an entirely different paradigm. This requires analysis accordingly, and ultimately, a kind of introduction, via informed artists and individuals, into the broader cultural setting.  Otherwise one need expect no more than the perpetuation of the state of things in the musical arts.

Not All Things Are Instantaneous

Listen and hear, bring all the senses to bear, everywhere at once.

Perceive, and become cognizant of surrounding forces, vast and impenetrable.

Vision and Danger

Whatever enters consciousness is chosen, or it is imposed.

Listen and hear. Be told what to think. One or the other. Never both.

Word, Sound, Sword

A hundred years pass, and the West remains burdened by failed nineteenth-century ideas.

Yet it is in works of the eighteenth and nineteenth centuries that the full Voice of Reason is raised, and it remains in the cultural artifacts of the period that speak with equal and essential power in the modern perspective today.

The noise of the mob drowns it out, only to drown in the mediocrity it glorifies. Collective absurdity, for such it is, produces nothing, impedes progress, and silences free thought.

Its center remains the guillotine.

In precincts where modern genius yet thrives, it is understood that there are no problems for which solutions do not already exist.  And all the arts, in concrete and abstract forms, are gathering force.

Art is Dead

Again and again, observe the instances in which the cultural norms are thrust upon the individual.

Not everything called by the name art is art in fact and being.

Where there is no more individual expression, but only that approved and allowed by collective forces intent upon "controlling" culture, art is indeed dead.  And it must, as a power, as an abstract, aesthetic ideal, and as a principle, be resurrected.

To Hear Oneself Think

Static may be loud, but it changes little.

A culture overwhelmed and burdened by noise is incapable of change; it stagnates, and decays. The same is true of individual experience.

These works are dedicated to combat the impress of negative forces against individual freedom.

Listening, Advancement

Understanding sound beyond music, composition advances.

Set aside concerns with time and space, meter, rhythm, and melody: perceive the unfolding of reality. 

Agency

Observe the predictability of collective action and expression.

Consider instead the singular dynamic of the personal, individual perspective in action. Here may be found focused and sustained creative progress, in opposition to brief obsessions consumed by one crisis after another, none of which are ever resolved.

Wandering Imagination

Travel to an environment in which there is no noise, only the sounds of life.

The atmosphere casts a spell. This is enchantment in the ancient sense, a contemplative state.

And this is the perceptual sense of being we strive to evoke in these Black Mountain School works.

Aside

Observe the extent of contemporary conditioning on the human psyche.

Led to believe there are few, if any, "new" ideas beyond those established as being of extreme significance in the cultural surroundings, audiences of entertainment and the arts are bereft of contemporary voices, ideas, and productions that impel and inspire social awareness beyond the status quo.  This is an untenable scenario.

Free people will not long tolerate such conditions.

Sound Expression

Many make "statements". Few of these are of any moment.

It is a short step from poetry to philosophy; from there, the sound of being is all encompassing.

Bones

Word is expressed in symbol, and through sound.

But the ultimate expression of word is being, represented through the arts of poetry and sound.

Transcend. Elevate.

Rise.

Axis

Civilization is predicated upon the transmission of culture.

The rise and fall of the way of nature is reflected in the Boethian wheel. Neither east nor west, the center also surrounds.  In this manner art emerges in the composition of sound.

To understand this is to listen, and hear, with the inner ear.

Elemental, Abstract, Infinite in Aspect

The contemporary produces popular culture.

But it is the modern. properly understood, without the biases against tradition that first identified its nature, that produces the wider culture, sustaining the abstract values and the permanent things in the course of progress.