[microsound] Sonic Reality?

[Ryan Dunn]

The notion of fiction in this broadened sense is potentially applicable to all experience—no two things are ever the same, whether intended to be, or playback of the same material, and perception always involves a kind of personal sensory filter. Because of this I doubt the original author intended to tap into the existentialism of mediation extending into the removal of human sensation. However, this is a fruitful line of inquiry and I'll think more on whether I have any particular references to pass on.

Best,
Ryan T Dunn
206.369.6842
http://www.liscentric.com
http://www.tritriangle.net

On Jan 12, 2013, at 8:29 PM, Ted Pallas wrote:

> I think that one of my main considerations in this question would be "could I see the physical origin of the sound being heard with my own eyes?" A violin player in a room playing the violin in your presence is Really Real - you can break his violin and make your own sonic reality.
> 
> A recording of a violin player, on the other hand, can be presented (and generally is presented) in such a way that it's easy to destroy physically today and then hear again tomorrow, with differences potentially so minimal as to be obscured by the similarities. This, to me, is the Sonic Fiction - "you can hear this again." Acoustically that's not true - you've only got the reality of right now, and it's always changing. 
> 
> This is a fun ponder. 
> 
> Ted Pallas
> Sandwich Construction Consultant
> c - (516)286-9661 24/7/365
> e - ted.pallas at gmail.com
> 
> On Jan 12, 2013, at 3:19 PM, Boris Klompus <boris.klompus at gmail.com> wrote:
> 
>> Hello All,
>> 
>> I've just started reading Sonic Warfare by Steve Goodman. In the first chapter he references a quote by Kodwo Eshun, from his book More Brilliant Than the Sun, (pg2 Sonic Warfare Goodman quoting Eshun) " 'Sonic fiction, phono-fictions generate a landscape extending out into possibility space ... an engine ... [to] people the world with audio hallucinations.' " The passage/chapter is about Afrofuturism, and Black music and counter-culture as a means of breaking out of marginalization. 
>> 
>> The term, however, sonic fiction, and how it is defined led me to think about the idea of immersion and escapism/fantasy through the use of not only music but sound in general, and listening specifically. It made me wonder about what "Sonic Reality" may be in this case, or if such a thing could exist. 
>> 
>> Would, in the case of phonography, sonic reality exist outside/amidst a microphone, and sonic fiction be the recording/playback? Or is the acoustic ecology and geography as experienced in real time and spontaneously (i.e. not the playback of a recording) by someone the same listening act when listening back to a recording of it? The brain providing the filter and coloring to the sounds of the live events as opposed to the microphone, recording and playback technology, and eventually the brain when listening back to it? 
>> 
>> Taking the listener into account in any given acoustic action, is there ever a time when listening cannot be categorized as this sonic fiction?
>> 
>> Appreciate any thoughts, insights or links to further reading!
>> 
>> Thanks,
>> Boris
>> 
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