Saturday, December 29, 2007

Field Music Diagrams




(this seemingly linear view actually moves in both directions, in the other drawings the center of those drawings represents the noise to silence vacuum at the margins of this one, similarly, the center of this represents the periphery of those, this is because these are two dimensional models of a three dimensional model of sound acting in a field sense moving between vibratory modes of equivalence between greater and lesser apparent complexity, dig?)
and this below is just a transcipt of what you cant read in the above photo:



stasis/symmetry feeling of movement/asymmetry asymmetry stasis/symmetry

large scale structures perceptible....surface perceptible only....large scale structures perceptible


combinatorial/transitional region combinatorial/transitional region


aperiodic periodic aperiodic periodic aperiodic
silence noise continuum pulse rhythmic increased complexity harmonic noise silence



yet it is the perceptual results of each stage that are interesting, in terms of what it is possible to pay attention to, for instance at either end of the scale, one's internal personal frame of reference provides the movement while towards the middle the imposition of the the musical structure increasingly provides the listener with a frame of temporal reference that must be adopted, coming first from one side in terms of silences added to a continuum to build rhythmic complexity as aperiodic relationships reestablish themselves, and on the other side in terms of increasingly distant harmonic relationships tending to a similar aperiodicity, that again reaches critical points in complexity and returns to pattern formation or silence.


So I hope this illustrates the idea somewhat. The sci-fi picture was irresistible (the more legible one ). Totally silly but since my drawing are very difficult to actually read it might help, if anyone is reading this anyway, to combine the two. Basically these drawings are cross sections of a three dimensional model for a way of seeing sound as expressed in music. The three dimensional form, not in cross section would look sort of like an attempt to render a Twistor (Robert Penrose) in a 2d drawing. Like a doughnut hole that feeds back on itself. An infinite surface that consists of a black hole at the top but then at the bottom it wraps back around mobius strip style and feeds back into itself through its own top, ass end style. Make sense? well I will try and put a drawing of that up or something but I haven't got a drawing program and I am probably going to get kicked out of this place soon enough anyway. Just wait, it might appear. Ah yeah and also its got two or three fat rings again made of the same substance, that form around the tube made of the hole as it elongates downward.

So its like an upside down atom bomb picture with those rings around the blast funnel, but instead of a big thunderhead of broccoli at the top it bends back around in all dimensions and feed back inside of itself. get it? A self-farm. And this is a cut made through it, and really none of this exists at all, its a model of how sound gets complex and simple and how its really all related you know, in music, man. You know what I am talking about??

Also, I tried to and create a typed analog of the "linear" chart under the drawing of itself. Please try and keep in mind that the whole thing is actually a cross section of a three dimensional form (that is itself only a model, I am not trying to show the structure of any physical phenomenon obviously). Thus these things are like skins. Okay and they are skins of movement that sound trajectory takes in terms of increasing complexity. Showing that after maximum complexity its all back where it started. dig?

and sorry I cant write right tonight ight

what I mean to say is partially:
silence is symmetrical the way that zero is
noise is extreme asymmetry on one scale, and equilibrium on another
at points of phase change, symmetry brakes and pattern formation begins
the perceptual mechanisms of people adjust to each of these differently as do composers
g'night.

Wednesday, December 19, 2007

"Whatever you do with a surfboard in the surf remains a part of surfboarding."

That quote is part of the liner notes of David Behrman's piece on the record The Sonic Arts Union from 1971.

Seems sensible, no?

Tuesday, December 11, 2007

Sort of Like the Photo Below of the Black Wooden Pieces

I think that there are really two poles of my interest and in my music, which interact like magnetic poles.

One deals with music of a continuous nature. This can be imagined as a drone or as like a pedal tone in a Bach organ piece, but one with no figuration above it, such that that the pedal tone itself or the details within it come into focus and figure/ground relations are discovered within it itself, and infinitely. Periodic pulses, regular and/or overlapping ostinatos also. These have similar effects. For me, the music I am writing dealing with these affects has to do with perception. It has to do with perceptual activity and creating a field for it to occur within. I am not pushing anyone but it is like an installation of sorts, an environment one enters voluntarily in which certain peculiar perceptual affects take place.

The second aspect of my interest deals with what at first seems to be the opposite. Music (by which, of course, I mean simply organized sound, or even sound-payed-attention-to, as this itself is a highly organizational activity), anyway, music made of sounds and silences whose relations and durations are unpredictable. In other words these occur with an aperiodic or at least an unpredictable juxtaposition or intersection to one another. This can be true for the performer, for audience members, or both. Who, after all, can say what another will predict?

The interesting thing for me, is that these two situations that I love seem at first to be so opposite one another, yet in truth they are completely related.

In the first case, the music functions almost as a machine for focusing attention.

In the second, focused attention is required for one to be interested. By "interested" I mean for separate from what one might ignore in the outside world. By being interested in such textures one's perceptual acuity is developed. Its fascinating.

well

interest = payed attention to

isn't that interesting?

"whatever I did it wasn't in my mind...and that leads to a kind of improvisation that results in discoveries"

that from John Cage. I tend to like those moments and cultivate or at least look for them. Its okay with me if you don't, but please allow me to continue to do so.

Wednesday, December 5, 2007

The Special (Form Is Inevitable, Part 8)

No
Nothing
Nothing can
Nothing can be
Nothing can be said
Nothing can be said to
Nothing can be said to exist
Nothing can be said to exist and
Nothing can be said to exist and simultaneously
Nothing can be said to exist and simultaneously denied
Nothing can be said to exist and simultaneously denied structure.


*

(Nothing that can be said to exist can be denied structure)

*

That got discussed alot earlier, in parts 1-7 of this essay. In addition, earlier, ideas where spoken of in terms of a special category. They were given a special designation because, although they interact with, act on, and motivate material forms they themselves are immaterial.

"If something is immaterial can it be said to exist?"

Of course, it can. Try it.

"If an immaterial thing is said to exist what constitutes its structure?"

An immaterial form is constituted of immaterial structures. This is why ideas may often transcend the physical laws of material forms. Ideas need not obey the law of gravity or the arrow of time and so we can fly in our dreams and revisit our childhood memories in reverie.

Yet if ideas are to interact with material forms in the ways summarized here and discussed at length earlier, how can they do this? There must be an intermediary that shares something of both the material and immaterial world of forms and structures, similar to the way a sign in a grammar shares something with the signified in terms of use, or metaphor. In fact this particular intermediary must share as much as possible with the world of material form while behaving with the freedom of immaterial form, as an idea.

The intermediary, of course, is language. Though immaterial and malleable (as doubtless evidenced in many places here) it is itself a system of signs functioning in terms of a grammar, the structure of which approaches laws and rules more commonly found in the material world than the material. As such, language may be used to transmit images from mind to mind regarding material or immaterial forms through a material medium of many levels (levels of linguistic structure, levels of physical material such as paper or air pressure) while remaining in itself an immaterial form which nonetheless clearly possesses structure.