Categories
Aural Cultures

EoW Research – The World Of Concrete Contents

Overall this chapter was very hard to make sense of. It made me question again the usefulness of such rigorous philosophical exercises. Even Naess himself says in parts of the book that those of us who are engaged with our personal ‘place’ have no time for metaphysical thought, in favour of concrete action; “People who are completely absorbed in the land have no need for high levels of abstraction and articulation”. Although a digression from the intended reflection of this blog post, it is important to know that this quote is preceded by the sentence, “Most supporters of the deep ecology movement are intimately acquainted with urbanisation” which in turn gives them better training to make their implicit global attitudes a basis for action (Naess, 2016, p.45). From this, some light might be gleamed on the advantages of both concrete action and abstract thought.

The beginning of this chapter recognises the persistent criticism that environmental activists face when trying to save a natural entity – such as a river, forest, animal or some other form of living/ non-living thing – due to the subjectivity of their personal experience with said entity. Their critics argue that this is not “reality as in fact”, but “reality as they feel it.”

According to Galileo, the motion of water molecules are an intrinsic property of water and so part of reality itself. Felt warmth however takes on a subjective existence. Naess argues, however, that the primary properties of a thing are conceptual or ens rationis, in that they only exist within the mind and so inherently are not parts of reality for the observer. Galileo’s thing-in-itself conception of water is challenged again by Naess’ idea that “no quality of a thing is such that it is separable from others.” Naess sees sensing and comprehension as the ‘primary qualities’ of a thing; Concrete contents have a “one to one correlation with constellations,” defined here as a group of associated things. As a result our experience of water is in relation to an irreducible and complex constellation of relata, that eliminates both objectivism and subjectivism. Such is “the colours of the sea as a part of innumerable gestalts” (Naess, 2016, p.73).

Problematically, Galileo’s worldview that secondary contents are a result of our own projections removes the need for altruistic intentions altogether. If we were to reduce our conception of things to their supposed primary qualities, and pay no attention to our spontaneous experience of them using our senses, then everything is suddenly reduced to a resource. Naess rejects the notion that sense qualities are projected and that things in themselves exist separately from their myriad of secondary and tertiary qualities. Instead he proposes an ontology whereby all qualities are on par with one another, as a traditional take on primary properties presupposes them as merely characteristics of abstract structure, not contents of reality.

Using Naess’ ideas we can formulate a more sustainable method of creating environmental motivation. For the conservationist, concrete contents are most likely understood as a constellation of gestalt relations, whether they are conscious of it or not. For the developer, however, ethics surrounding environmental concerns are informed by feelings based on their objective view of reality. As a result, any attempt to appeal to their morality will fall on deaf ears. It seems it is more a matter of personal ontology. Therefore changing conception should be our primary concern as opposed to brute force. “There is no way of making the developer eager to save a forest as long as he or she retains the conception of it as a set of trees” (Naess, 2016, p.77).

“Ecology changes our values by changing our concepts of the world of ourselves in relation to the world.”

(Callicot, 1982)

Despite the reduction of primary properties to abstract structures, being those that exist within the mind, Naess reminds us it would be unwise to underestimate their importance. Such structures are applied throughout the world by humans to help gain a deeper understanding of it. They are paramount to science and that of deep ecology too. Nevertheless, these structures should not be over-identified as contents of the world we experience. As Naess puts it, “Abstract structures are structures of the world, not in the world” and “The world of concrete contents has gestalt character, not atomic character”(2016, pp.79-80). Thoughts on perspectivism, too, can help us reduce a subject-object division by using the term ‘experience’ without giving it ownership. After all, according to his holistic world view, our mere existence is only another piece of relata in the constellation of the world.

Bibliography

J. Baird Callicot, “Hume’s Is/Ought Dichotomy and the Relation of Ecology to Leopold’s Land Ethic.” Environmental ethics 4, 1982, pp.163-174

Naess’, Arne. “An Example of a Place: Tvargastein.” Ecology of Wisdom, edited by Alan Drengson and Bill Devall, Penguin Classics, 2016, p.45

Naess’, Arne. “The World of Concrete Contents.” Ecology of Wisdom, edited by Alan Drengson and Bill Devall, Penguin Classics, 2016, pp.71-80

Categories
Aural Cultures

Deep Ecology & Inupiat Practices

The rather lengthy intro of Arne Naess’ Ecology Of Wisdom‘, while fairly repetitive, establishes a strong foundation of his fundamental beliefs. His unique home of Tvargastein and his passion for deep inquiry have culminated in a worldview in which he regards humans as, not superior, but equal to all other organic beings. His set of platform principles, namely deep ecology, is a framework for people to develop their own ecologically responsible philosophies. He coins these personal philosophies as Ecosophies: “All philosophies of life consist of basic value norms and basic hypotheses about the nature of the world. When these philosophies take careful account of ecological responsibilities, they become ecosophies” (Drengson, 2016, p.17).

Diversity in philosophy is celebrated within Deep Ecology. Quoting Naess, “There is no absolute truth and we must instead work together and respect each other’s methods and views to reach an integrated whole.” As I ponder on this I am reminded of certain indigenous practices I’d been exposed to whilst reading Karen Bakker’s book The Sounds of Life. An example that comes to mind is the Iñupiat (indigenous alaskan) fisherman who, in 1978, protested against the Whaling Commission’s ban on subsistence whaling in the Arctic. They argued that the number of whales left was far greater than the Commission’s calculations. Western reductionist science had already drawn its conclusions however, and the traditional, holistic knowledge of the Iñupiats were dismissed. While the techniques of data gathering scientists placed human perception at the centre of experience, the Iñupiats chose instead to listen closely to what their aquatic counterparts were communicating. Fascinatingly so, they had learnt to retrieve important information regarding whale activity by “placing the end of an oar up to their jaw, with the paddle in the water (Bakker, 2022, p.33).” An Iñupiat hydrophone? Methods such as these gave them an advantage over the Whaling Commission’s scientists and an Iñupiat-led bio-acoustic operation inevitably disproved the erroneous calculations. Their culture ultimately suffered unnecessarily as a result of industrial whaling and western ignorance. Returning to Naess’ quote, we see here how an integrated method using advanced western technology, indigenous knowledge and biocentrism became the most ideal solution.

Society has previously impacted the environment negatively by having a ‘consumption only’ relationship with the spaces it inhabits, driven by economic convention. By displacing indigenous peoples from these spaces, humanity discarded valuable, generational knowledge concerning a symbiotic relationship with our environment that made without the use of harmful technology. By simply listening to the whole (their extended selves?) and remaining a humble member of a wider gestalt, indigenous communities realised access to immense information that science is only now proving, many of which use obstructive techniques. Perhaps with the knowledge indigenous communities hold, we can refashion our utility of technology and science to restore said symbiosis.

On a more critical note, Naess’ suggested 4th principle of Deep Ecology states that we must “reduce our numbers” which I believe tows the line of ethical narrow mindedness. Without thorough context it fails to acknowledge the lack of education and healthcare in developing countries, that Naess may have had in his home of Norway. The prevalence of discrimination, marginalisation, lack of legal rights, fair education, inequality of opportunity and poverty globally strips people of the basic needs required for mental clarity. According to the UN, 71 percent of the world’s population live in countries where inequality has grown and “In 2018, the 26 richest people in the world held as much wealth as half of the global population” (n.d.). When such disparities exist it makes it somewhat unjustifiable to ethically condemn those with unsatisfactory living conditions. In this sense, privilege then becomes a pre-requisite for deep inquiry. Perhaps I would put greater importance on the relationship between social justice and environmental change if I were to rewrite the principles of Deep Ecology divulged in the book’s overture.

Added note from further reading: Given the wider context of the book, this ^ idea is implied and there is mention of this later however – “When basic needs are met human development is about being more, not having more.” (Earth Charter Initiative, 2000, cited in, Drengson, 2016, p.29)

Bibliography

Bakker, K. 2022. The Sounds Of Life. 1st ed. New Jersey, Princeton University Press, p.33

Drengson, A. 2016. Introduction. In: Naess, A. Ecology Of Wisdom. Drengson, A and Devall, B. Great Britain: Penguin Classics, p.17

Earth Charter Initiative, 2000. www.earthcharterinaction.org/2000/10/the_earth_charter.html, quoted in: Drengson, A. 2016. Introduction. In: Naess, A. Ecology Of Wisdom. Drengson, A and Devall, B. Great Britain: Penguin Classics, p.29

Nations, U. (n.d.). Inequality – Bridging the Divide. [online] United Nations. Available at: https://www.un.org/en/un75/inequality-bridging-divide#:~:text=From%201990%20to%202015%2C%20the [Accessed 12 Feb. 2024].

Categories
Aural Cultures

Brainstorming Ideas

I curated a research playlist to kickstart the brainstorming process for title ideas. Notes I made in response to this have led me to the eco-philosopher Arne Naess and his book ‘Ecology of Wisdom.’ I believe his theories would marry well with the field of acoustic ecology.

Categories
SOUND STUDIES & AURAL CULTURES

Audio Paper Abstract Idea

It can be said that improvisation is embedded in the interaction between all matter at any given point. Constantly reacting and responding to one another, it is this energy exchange that creates progress within a social and natural context. When harnessed within creative practices. such as music, it has paved the way for new modes of thought and approaches to life. This essay will explore the importance of improvisation on the advancement of human society, and the implications that might arise when we go too far in our quest to increase its means through our ever evolving technological creations.

Title Idea:
Investigating improvisation as a vehicle for the progress of the human race, and the implications of its relationship with technological advancement

Categories
SOUND STUDIES & AURAL CULTURES

Nodal

In order to gain further insight into technology as an improvisational tool I thought it would be a good idea to have some direct experience with a software that could do so. Using a generative software for composing music, called Nodal, I set about experimenting with different structures and the self generated improvisation that could arise from them.

Nodal utilises a network of nodes and edges, that refer to the connection between the nodes, in order to create a pathway for a musician to traverse. Using its parameters, such as time, pitch and velocity, one is able to create complex sequences that are ever changing, depending on how you link the nodes up. As the composition plays, we are able to alter the settings, setting new rules in place, changing the constraints within which the improivisation can exist. I found it a brilliant tool in which one could either go to for musical inspiration, but also be used as a means of exploring improvisation and music through different systems. An example i thought of would be the relation between geometry, shapes, music and rhythm as a fairly simple example in comparison to what it could be used for.

On the other hand, while a great tool for pushing the boundaries of music and improvisation, it didnt satisfy the spirtiual element of improvisation that I’d become accustomed to reading about when looking up non technological forms of improvisation, and led me to ask whether an eventual, hypothesised reliance on software for improvisation would have an adverse effect on our cognitive ability as human beings.

Nodal is generative software for composing music, interactive real-time improvisation, and a musical tool for experimentation and play. Nodal uses a new method for creating and exploring musical patterns, probably unlike anything you’ve used before. You can play sounds using Nodal’s built-in synthesiser or any MIDI compatible hardware or software instrument.

Screenshot of my experiments with improvisation in Nodal
Categories
SOUND STUDIES & AURAL CULTURES

Music of The Atoms, Quantum Improvisation and Composing with Particles

During research into quantum improvisation I came across a video of Suzie Shrubb, composer and performer, leading a conference on her work with particle physics as a means of improvisation. Coining the particle detectors as ‘Atomophones’, taking inspiration from the name ‘Membranophones’, given to materials stretched over an instrument like a drum, she goes on to explain how these detectors can be used compositionally.
Mentioning that much music usually emerges with and from a social context, she states how, in the case of particle physics, the context is the relative fields and masses of the particles at play. Using this idea, she supports her vision of the universe as a piece of music continually composing itself, that we find ourselves in the middle of all the time.
Applying this to particle physics, she explains how identifying different kinds of quarks, which are the fundamental constituents of matter, in a proton has provided her with new harmonic, scalic and rhythmic structures and patterns as well as new narrative and formulaic possibilities.
Taking the energy and masses of each quark found in a proton and turning it into a figure that could be translated into hertz, and thus a note, is the method she applied to gain the relative pitches of said quarks. Using these to create a new tuning system, free from the constraints of equal temperament, the interaction of these particles can be used as instructional brainfood for compositional ideas.
Another example of this would be her method of exploiting the Circle of Fifths, in order to denote an Anti Quark as the diminished 5th of the original Quark, as it would theoretically be on the opposite side of the circle.
Her method involves a combination of technological instruction and human decision. She even states her self awareness of the fact that some of her subsequent decisions regarding the composition may not fit with the physics, but is still an idea that she remains excited to explore, which interests me as an idea that perhaps the involvement of technology and music is a lot more mutable than I initially thought when first reading Oliveros’ essay on the subject matter.

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SOUND STUDIES & AURAL CULTURES

Research for Aural Paper: Vs. Interpretation (Part 3)

The final reference to this book I will make is Peter Goodwin Heltzel’s (professor of theology) essay on John Coltrane’s work as an improviser. Whilst he centres a large part of this essay around the parallels found between jazz and religion, it was his explanation of the origins of jazz that stood out as most relevant in regards to the direction I may take for my aural paper’s title. Jazz, if traced back long enough, takes us to the blues of the Mississippi Delta. The ‘Delta Blues’ arose as an outlet for slaves of African descent to express their struggles and longing for freedom. From here jazz eventually emerged from blues and a host of many other genres, as a result of French colonisers intermarrying with Native Americans, African Americans and the Spanish ‘to create an unprecedented zone of intercultural interaction’. This intercultural movement gave rise to Creoles, whom integrated with African people in New Orleans in the 1890s, influencing one another musically and culturally, paving the way for jazz culture. Through this short recount of the history of jazz, I found that I became increasingly aware of how important racial and cultural mixing, bred from themes of ‘religious transcendence and political opposition’, was in birthing this new genre. Jazz, as a counter cultural practice, is also rooted in the very act of improvisation. A form of improvisation summed up by the term ‘creation continua’, meaning ‘a continual creation drawing on existing materials to make music in new ways’. In the same way, multiple genres were refashioned to create an exploratory and progressive form of music, cultures and old practices intertwined to form a new dialogue relating to equality and resistance to oppression.

The essay goes on to mention John Coltrane and his rendition of the jazz standard ‘My Favourite things’. His musical conversation with pianist Mccoy Tyner in this specific song is an example of the canvas jazz provides for exploration into improvisation and spontaneous expression. Heltzel describes musical improvisation as something that is unique to the surroundings and existential state of the musicians in question. From this statement we can then understand why he goes on to say that the traditional view that the composer is the most important figure within a piece of music is not necessarily true, as even the musicians are interpreting the composer’s score in their own way, through the constraints applied to them. Moreover, improvisation is a dynamic process, and one that is not only limited to the players, but also the audience, as it requires collaboration with every element and being within the space at hand.

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SOUND STUDIES & AURAL CULTURES

Improvisation, Creativity and Consciousness

Through reading this book, written by Sarath and informed by his 30 years of experience as a music professor and trumpet player, I was introduced to a plethora of meditative practices that many jazz musicians partook in, and learnt about the potential tangible benefits it can have on their ability to improvise. An example would be that of Alice Coltrane, who partook in daily meditations, studied Hindu mysticism and eventually joined an Ashram. Looking further for more examples of this, a series of interviews I found on youtube of the revered saxophone player Sonny Rollins showed him recounting his experiences of eastern spirituality and how practices, such as disciplined yoga gave him understanding and direction and a centre from which to gain access to his subconscious, allowing for deeper levels of improvisation.

It can be said that, through reading this, I’ve drawn the conclusion that improvisation, to many of the forerunners of its practice, is deeply connected to self growth and development. It requires self reflection and introspection and Sarath argues that its holistic approach would have massive benefits for society if administered in higher education today.

Going back to Oliveros’ idea of computed improvisation, I think again of the lack of credibility I feel it has in comparison with human improvisation as the practice of improvising, by its very nature, is not just a random generation of new substance, but rather a vehicle of navigation based on the the advancement of society, consciousness and human connection.

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SOUND STUDIES & AURAL CULTURES

Research for Aural Paper: Vs Interpretation (Part 2)

Some other essays within the book that stood out included the pianist and composer, Jeffrey Goldberg’s essay on ‘Improvisation as a Practice of Trust’. I noticed his idea that the body and state of mind plays an important role in the act of improvisation (referring to how one must warm up themselves as well as their instruments and connect deeply with their breath) implied an opposition to Oliveros’ ponderings on the validity of computed improvisation. The very nature of connecting with oneself in order to take part in improvisation suggests that the human condition, mentally and physically, plays an important role in the ability to spontaneously improvise. Whilst the physical condition of technology can alter the means of improvising, there is no varied mental nature to it, and rather an unwavering state of existence, reducing any kind of meaningful and emotive colouration on the outcome.
Moreover, he states that the state of deep listening is paramount to successful improvisation, as reacting to our immediate surroundings, as well as ourselves, is intertwined with it. To what degree can technology respond in the same organic way that humans can? Highlighting the inclusion of the word ‘response’ in responsibility, it makes me think of moral obligation and intuition, both of which can inform how one improvises. While there might be a machine that has or can be designed to interact with it surroundings, it would be mechanical and not based in empathy and respect of who it shares the room with.
Considering the benefits of improvisation, Goldberg explains how improvisation encourages vulnerability and intimacy with the self. To be free of judgement, and full of humility in order to engage in the process of allowing, whether the notes that one might produce are conventionally correct or not. Essentially he states that improvising can be a gateway into self growth, trusting our own intuition and accepting the here and now (presence). ‘There are no wrong notes’

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Vs. Interpretation (An Anthology on Improvisation)

Research for Aural Paper: Vs. Interpretation (An Anthology on Improvisation)

“vs. Interpretation: An Anthology of Improvisation, vol. 1 is a compendium of essays edited by David Rothenberg. It includes a Usb compilation of improvised music by multiple different sound artists. It is essentially a tool for living in and interpreting the world around us”

After reading this I was exposed to multiple different ways in which improvisation occurs, seeping into all forms of our existence and the matter around us.

Broken into a series of interviews and compendium of essays by multiple different sound artists and scholars on improvisation, I aimed to find some direction in what themes to explore for my Aural Paper

Starting with Pauline Oliveros’ chapter in the book, titled ‘Play As You Go, I was exposed to the implications, but also the benefits of using technology as a means to advance our means of improvising. Finding parallels in the first bird-bone flute dating back 40,000 years, an ancient version of music technology, to the data laden and algorithmic software we now use today to increase our means of improvisation, such as the program SARA (Simple Analytic Recombinant Algorithm) that produces new compositions in the style of the music in its database, Oliveros argues that technology and what she coins as ‘Quantum improvisation’ can go a long way to find new ways to express the relationships between mind and matter. Upon reading this however, I questioned whether computers and data could ever really compete with the human mind and all of its complexities. While Quantum improvisation can technically produce an infinite amount of new material based off of old material, would it have the same edge as a conscious human mind that is coloured with emotion, experience and subsequent taste. Can a computer compete with the individuality of a human being?
While the use of technology and computing has allowed us to increase the speed and means in which we can develop our creativity and accelerate growth through learning, reading and improvising music, if we were to completely take the human being out of the equation, would an algorithm still be able to create music of the same calibre or authenticity. That is, until said computer or data set developed its own consciousness, somehow…