Constructed from multiple CD sized discs shaped into a large, 6ft circle. Residue from surfaces of volcanic rock rupped on each disc represents a sonic component of an imagined volcanic explosion of molten lava amidst the actual silence of the space.
"In Cage’s cosmology (informed by Asiatic philosophy) the real world was perfect, if we could only hear it, see it, understand it. If we couldn’t, that was because our senses were closed and our minds were filled with preconceptions. Thus we made the world into our misery.
But if the world was perfect just as it is, neither terrible nor good, then it wasn’t necessary to demand that it should improve (one begins to know what to do with difficulties without making such demands). And if our art was no longer required to provide a substitute world, it was okay to give up trying to perfect and control it (hence the chance operations and noises). What happened for some of us was that our newly released art began to perform itself as if following its own natural bent. It may have occurred to us that we might live our lives in the same way.
Most Westerners would find this hard to accept, while for those who accept its wisdom it is much easier said than done. But here, I believe, is the most valuable part of John Cage’s innovations in music: experimental music, or any other experimental art of our time, can be an introduction to right living; and after that introduction art can be bypassed for the main course."
— quoted from Allan Kaprow, ‘Right Living’ (1987), in Kaprow, Essays on the Blurring of Art and Life
"The belief that sound is a valid and critical factor in understanding
contemporary art marks a shift from what is still called visual art – a term that suggests art engages exclusively with sight and visuality. Can this shift be examined so as to better interpret art created to engage senses other than sight? Is this a change in what it is for something to be art or simply an opening out of what was already there?"
" To be human is to have great ranges of expression, to have such infinite range that one moment there can be warmth and the next moment coldness. But what a dreadfully inadequate description that is…it needs a poet to give even a hint of the richness of being human. What words can hope to describe it?
But could we, perhaps, here just attempt an analogy? For it is as if the human being has thousands upon thousands of energy stores, each tuned for a purpose, each charged with a potential which allows it to sound forth. It is as if each human being is an instrument of concord and discord, consisting of thousands upon thousands of finely tuned circuits; each circuit with its own control of pitch and loudness, able to adjust its voice, in harmony or dissonance, in balance and accord, so that it becomes part of the great pattern which makes the individual."
— quoted from Daphne Oram, An Individual Note
"Anyone who has become entranced by the sound of water drops in the darkness of a ruin can attest to the extraordinary capacity of the ear to carve a volume into the void of darkness. The space traced by the ear becomes a cavity sculpted in the interior of the mind."
— quoted from Steven Holl, Questions Of Perception: Phenomenology Of Architecture (via house-thestillness)
The deliberately graphic score-like drawings of Swedish artist and composer Travis Wyche contrast with his psychedelic & folk music (a la Bo Hanson), which is rather classically structured with no place for aleatoricism or dripping, as far as I can tell – though his 2010 Numinous Marginalia album is rather freeform ambient and experimental music.