›Considering the world’s objects as instruments, its inhabitants as their players and all sounds on the globe taking place simultaneously, leads to the imagination of a global composition. Any audible phenomenon is part of this huge ongoing concert which includes all living beings and unites them in – mostly unintentional and uncoordinated – collaboration.‹ (The Global Composition)
With ›The Soundscape‹, published in 1977, R. Murray Schafer inspired this idea of a global composition. At the correspondent Conference on Sound, Media and the Environment in Darmstadt-Dieburg in July this year, Schafer opened the meeting with an introductory lecture, including a sample of his so-called ear cleaning games.
R. Murray Schafer at The Global Composition 2012
Continue reading “R. Murray Schafer’s ear cleaning game at The Global Composition 2012”
Experimental sketch on the socio-cultural aspects of the soundscape (detail; comprised in my master thesis on the soundscape as a field for cultural-anthropological research, p. 102)
›Close observation of a single subject, whether it is as tiny as Pasteur’s microbes or as great as Einstein’s universe, is the kind of work that happens less and less these days. Glued to computer and TV screens, we have forgotten how to look at the natural world, the original instructor on how to be curious about detail.‹ (Jennifer New)
Or, in other words: ›… reality is often stranger and more fascinating than anything we can make up.‹ (Jonathan Sterne)
I presented my master thesis at The Global Composition conference. An abstract is available here.
Jennifer New (2005): Drawing from life, Princeton architectural press, p. 20.
Sterne, Jonathan (2005): The Audible Past. Cultural Origins of Sound Reproduction. Durham: Duke Univ. Press, p. 338.