<DIV>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? <BR><BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #1010ff 2px solid">----- Original Message -----<BR>From: "Adam Davis" <TECHNOHEAD3D@GOOGLEMAIL.COM><BR>To: microsound@microsound.org<BR>Subject: Re: [microsound] meta-theory<BR>Date: Tue, 6 Oct 2009 20:18:33 +0100<BR><BR>
<DIV>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:</DIV>
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<DIV>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.</DIV>
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<DIV>Hmmm. </DIV>
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<DIV>"I dont think any music theory has really taken into account feedback loops in the contemporary sense."</DIV>
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<DIV>I should try pitching it all to people of magazines, journals, blogs! </DIV>
<DIV> </DIV><BR>_______________________________________________<BR>microsound mailing list<BR>microsound@microsound.org<BR>http://or8.net/mailman/listinfo/microsound<BR></BLOCKQUOTE></DIV><BR>
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