impulse)

OCCUPY GEZİ-TAKSİM !!!

EVERYWHERE IS TAKSİM, EVERYWHERE IS RESISTANCE !!!

WE ARE THE SOLDIERS OF MUSTAFA KEMAL ATATÜRK !!!

ONE INSTRUMENT WITH FOUR FOLDS, Michael Pisaro

[…]

Although all acoustic sounds are in transition, the bowed sound is special in that it is a physical (and easily seen) manifestation of this aural fact. As the bow passes along a string, the hairs of the bow are constantly catching and letting go of the string; each individual hair acting in complex relation to the others; altogether producing a sound which is made up of many tiny sounds and spaces. Once again, the bow makes it clear that a sound is a linear collection of an infinite number of minute perceptions, as a line is a collection of an infinite number of points. “In order to exist in time, the point must repeat itself.” (Xenakis)

But the perception of a sound reorganizes this series of infinitely minute events. An entire sound can not be heard all at once, especially when it is sustained. The mind, attempting to deal with the multitude of information, moves between attentive listening, and shutting out the sound. This shutting out creates a silence in which there is time to sort out the complex stimulus. Meanwhile the ear takes note of the continuing events which make of the sound. The mind, returning to the listening stage, races to catch up to the present. Thus listening seems to occur on two levels simultaneously: one in and the other out of time. As the mind works, outside of the time structure of the sound, it fuses the infinite into a whole, which is now something quite separate from the multitude of imperceptible moments. Just as one makes a composite image of the multitude of positions involved in a bow change, one makes a composite image of a sound.

[…]