[microsound] meta-theory

[Manannan Mac Lir]

I've been wondering about exactly how much of a role my own body plays in
experiencing sound. On a very simplistic level cold showers usually
trigger really fast music in my head/voice as my body turns on the
adrenaline, similarly I was walking home late the other night and started
looking at a light wavy (I think it's called cirrus) layer of cloud
moving slow enough to just perceive and it seemed like I was watching
Ligeti's Atmosphere (back to him I know), but is my experience of music
based entirely on the creation of physical states, which then become an
analog of experience? i.e. am I experiencing this physical sensation
through sound?When I was watching the cloud it was like it's movement,
it's texture all the tiny droplets of moisture it was comprised of had
been realized in sound, internalized and it was like I was somehow
experiencing a dissolution of the boundary between myself and the cloud
(not literally unfortunately). So is my experience derived almost
completely from "the body" in the expanded sense? Or, to treat it like a
scientific experiment, how would I go about reproducing that experience
for another objective person? To me the effect that the experience/music
had was like a synaesthesis more than a kinaesthesis like these
experiences had been waiting to merge back into each other, cloud, music,
cloud... Still gettin to grips with your paradoxes but I think we really
experience the paradox as "logic" but because my education/perception has
been inverted for so long it takes a little used to turning your ideas
inside out, but if you start from the outside it all seems to make
sense... maybe?

  ----- Original Message -----
  From: "Adam Davis"
  To: microsound at microsound.org
  Subject: Re: [microsound] meta-theory
  Date: Tue, 6 Oct 2009 20:18:33 +0100

  What a fantastic and encouraging response. Thank you. Ligeti's
  "solid, infinite block of sound" is inspiring...I've not heard of
  that one before. It reminds me of something I was contemplating
  recently...an idea I like to call "transolipsistic art". An example: A
  regular geometric object, on any order of magnitude. To not merely
  perceive it, but to literally be it. Thus, to be the harmonies and
  rhythms of a static, geometric object in space. The object is
  "perfectly" solid, ie, not constructed of smaller components like
  molecules, atoms and sub-atoms. It is an indivisable object, even on
  our "macroscale". The harmony and rhythm of indivisable solidness
  whilst paradoxicall having borders and limits in the forms of the
  faces, edges and outside surfaces of said object. Hmmm.   "I dont
  think any music theory has really taken into account feedback loops
  in the contemporary sense." I should try pitching it all to people of
  magazines, journals, blogs!  
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