<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><div>in the text sonic experiences found here:</div><div><br></div><div><a href="http://www.marinoskoutsomichalis.com/text/text.html">http://www.marinoskoutsomichalis.com/text/text.html</a></div><div><br></div><div>I discuss my approach to sound-art,</div><div><br></div><div>m</div><div><br></div><br><div><div>On 26 Σεπ 2009, at 12:41 π.μ., Manannan Mac Lir wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><div><p class="MsoNormal" style="MARGIN: 0cm 0cm 10pt"><font face="Calibri">I very much enjoyed some of the theoretical debates, particularly the meta-theory thread.I have been reading a biography of Afred Schnittke recently and it seems that his later approach is aimed at creating a meta-music, where time, style, genre are all entwined in a musical utopia, a utopia in which rational time is overwhelmed by musical time. This seems to me similar to the late ideas of Philip K. Dick where he sees his Valis trilogy as a sphere of information through which infinite journeys are possible. The director Werner Herzog also uses the term ecstatic truth to describe this type of expression, that of an experience beyond the rational truth, this could possibly apply to Lynch’s Inland Empire . I would like to propose a discussion on the types of theoretical models used by us in our work, be they psychological, mathematical, philosophical or just plain mystical. I was tickled by the meta-theory idea and believe that as a group, microsound has a huge potential in this area of creative investigation. All aboard?</font></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 10pt"><o:p><font face="Calibri"> </font></o:p></p><p class="MsoNormal" style="MARGIN: 0cm 0cm 10pt 36pt"><font face="Calibri">Le grand Macdara</font></p></div><br>
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