Message-ID: <alpine.NEB.2.00.1412172155340.16523@panix5.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: Time Reversal and Anticipation in Music
Date: Wed, 17 Dec 2014 22:00:32 -0500 (EST)
================ Time Reversal and Anticipation in Music ================ http://www.alansondheim.org/before4.png http://www.alansondheim.org/before1.mp3 qin http://www.alansondheim.org/before2.mp3 qin http://www.alansondheim.org/before3.mp3 dual qin http://www.alansondheim.org/before3.png ================ Using reverse reverberation, it's possible to create a simulacrum of time reversal, the spatial environment itself producing the sound, which always follows, always ensues. In other words, spatiality, temporality, produce the sound which is emblematic, responsive, to the exigencies of the aural resonance, and likewise, the human body, the body of the musician, is an emergent property of the whole. Space is a dwelling in eternity, and speech has already been spoken in a form of future anterior. Behind us, we find ourselves in the future, and before us, the anticipation of a creation yet to come. * ================ Best listening with headphones. My Qing qin was used for all three pieces, accompanied by a modern qin on the last (which has remarkable subtle stereo). I personally like the first and third best. Editing was in Audition. The images are from a local OpenSim server on my laptop, with the Imprudence viewer and modified prims from my MacGrid regions. ================ * See Derrida, No Apocalypse, Not Now, (full speed ahead, seven missiles, seven missives), Diacritics 14/2, 1984 ================ */record, reverse, reverberation, reverse, normalize/*