algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
algorhythmically
determined
creatively
industrial
authentically
alternative
tenant
farmers
James Rushford

James Rushford

MORGUE OARS

LISTENING IS CREPUSCULAR. MUSIC IS A SHADOW.

(The anemone and glow-worm help me to unconsciousness)

In listening to music, we can speak of perspective as the conscious foregrounding and projecting of specific objects and events. We can also speak of an inversion of perspective by focusing on that which might initially be ‘backgrounded’ in listening (a constant aim of music analysis and psychoacoustics). But this is still just a projection of listening, a desiring-listening. Is it possible to listen without any foreground?  Would this involve something like ‘backgrounding’ consciousness?

(Hiddenness is something intentional but also something we are thrown into, refusing to bend to our will)

Music itself is saturated by noise (a whiteness, not necessarily physical noise, partly the noise of listening?) but how do we hear its intensity? What is its aesthetic blackness?

(“darkness makes sight concentrate to such a degree that besides pain it sometimes brings blindness to the eye if it lasts too long … [d]arkness is not the pure state of privation but is of visible nature deriving from the conjunction of the privative and positive entities”)

(Is a crepuscular listening that which is emerging or receding in consciousness?)

The image of musical shadowcan be used to unpack a notion of aesthetic ‘darkening’ and reduction in the treatment of compositional materiality, process, and perspective (in both performer and the listener). Chiaroscuro paintings by Adam de Coster, and the use of Claude Glass mirror in 18th century landscape painting techniques, can provide a conceptual camera obscura in which Black Metal is viewed through Wandelweiser aesthetics.

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