Events in our everyday experience (e.g. growls, laughter, sobbing and even a spoken voice) produce sounds, but usually we don’t pay them attention in musical terms. Others depend on non-acoustic events like the flow of dynamically varied data.
Although referring to non-musical experiences, many may be described in terms of sonic dimensions. And despite their loose bound to music they may unveil unexpected sonic qualities, evoking tensions, resolutions, expectancies.
What about if the composer retracts his/her claws and refuse the probing of the colonizer? What about hunting for a balance between the dominant ambitions of the artistic ego and an ecological urgency in manipulating real-word phenomena for musical purposes?
When part of the energy of a non-musical experience survives the process of its sonic translation, the results sound strangely familiar as to be rooted in a different – albeit not alien – logic. Can we practice an attitude in composing by listening to real-world “affordances”?
I produce acoustic lenses for making some world (still) muted fragments audible.