- Imagination and encoding between visual and auditory (conceptualizing)
- Between auditory fiction and reality of body (procedure of sound composition)
Thesis:
„I BELIEVE THAT THE USE OF NOISE
Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at 50 m.p.h. Static between the stations. Rain. We want to capture and control these sounds, to use them, not as sound effects, but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of anyone's imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.
TO MAKE MUSIC
If this word, music, is sacred and reserved for eighteenth- and nineteenth-century instruments, we can substitute a more meaningful term: organization of sound.“
(„The Future of Music – Credo“ von John Cage, 1937)
From John Cage: Documentary Monographs in Modern Art, edited by Richard Kostelanetz. Praeger Publishers, 1970. Scanned and re-formatted by Eluna.)
Hypothesis:
In between end of twentieth century and early of twenty-oneth century
I believe "I BELIEVE THAT THE USE OF NOISE" and also according to John Cage's contemplation
TO MAKE MUSIC
"If this word, music, is sacred and reserved for eighteenth- and nineteenth-century instruments, we can substitute a more meaningful term: organization of sound.“ and additionally my research questions "How is music with nineteenth- and twenty-oneth-century instruments (from acoustic and traditional to electronic and computer-generated)" and "what would be organization of sound in twenty-oneth century".
John Cage's contemplation was about what is music such as about origin of the music, and music and (human) life in the present.
Sound B.O.D.Y.
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About "meaningful" in his contemplation; thereby there is my contemplation for the sound B.O.D.Y. about sound semantics and semiotics in the traditional music and their intruments and how I 'd transformed them into the presently organization of sound by the contemporary instruments scuh as electronic and computer-generated and how it was created/generated new (presently meaning) by the contemporary instruments. These are more literary and musicological essence in the musicological aesthetics which be complementary 'still image' - B.O.D.Y..
Sound B.O.D.Y.
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These refer to the Auditory Cognitive Neuroscience in the scientific exploration that is aspects of auditory cognition such as from perception of music, speech, natural sounds and noise to emotion, memory etc.
(In the musical and historical context from western perspectives such as the contemplation of John Cage in the period of the postcolonialism which was been referred to the postmodernism. The colonialism was included in the western modernism and in this historical period there was the opposite of the western colonialism that was the imperialism, in the case of Japan and Germany during the world war II was on the reverse, back to back 'fascism'. My hypothesis is from the perspective of the historical period after the second modernity. )
Sound B.O.D.Y.
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Sound B.O.D.Y.
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Sound thesis:
-> visual art
-> installation
-> performance (performative)