2005.12.03 @ 01:33

to reiterate the thesis.

the object of art is best represented and executed via the network. the object of sonic art is best represented and executed via a loop network. the sonic artist researcher operating within the academy works within place-world constraints that modulate the aspects/nodes/elements of the loop network and the way they interact (sucking the emphasis to observation, dictating the methods of circulation, tuning the effect of feedback into critical response (noise -vs- music). this is true of any placement of the artist. my goal is not to prove this thesis with theory and rhetoric, but to demonstrate it and describe it in action. this means, construction of a network in tandem with description of the field within which this network operates.

the academic is concerned with that beyond the everyday, of being in the loop to know the loop and potentially, escape from it. the artist researcher is particularly well placed to engender and inform social revolution. to comment upon the everyday using the medium of the everyday, in a way that the feedback this provides can be consumed in the activities of the everyday rather than the activities of the super-habitual realm of academic observation. the artist revolutionises the role of academia and research in general by repositioning research in terms of the everyday.

music is a theory of how the world could sound if it were harmonious. noise art is a techno realism, a realisation that we are better off working with what we have than dreaming about that which might never be. phonography is the compromise, whereby the music of sounds is teased out via the arts of suggestion, juxtaposition, association.