Pierre Schaeffer considered calling electroacoustic art Music Plastique, but taking a stance in opposition to what he heard as overly formalised music, he opted for Music Concrete. This caused mass confusion to non-French speakers, but also led the way to concrète renforcée, the version of which I gravitate towards, usually called 'Acousmatics'.
I'd like to say my research projects are significant and far reaching, but really, I'm just keeping an ear out for what's out there. Sometimes I like to get skilled intuitive players, like free improvisors, and get them to mimic auditory scores. I've written about it in my PhD. Look for 'Aural Models' (it's an auditory score really). I get given a little grief about it when I refer to it as acousmatic, but I have proof.
At its most pure, my studio work is organic. Some sounds are attractive either for their own intrinsic qualities or their associations with life, or usually both. I record them, listen, and find what I can that needs to be brought to the surface.
In the same way as studio practice, the purest form of free improvisation is by far my favorite. sitting down with other people and finding where your voice can fit. Maybe your voice is a bit of trumpet, maybe it's an imposing silence. I like improvisational strategies as well, but the peaks offered in free are very high.
Besides providing a record of the world around us, the very act of gathering sound dramatically changes, informs, and reorients the way the recordist listens, and therefore, thinks and hears. That being, it seems almost obligatory that given the means, a sound artist, whether a musician or other, should act.
That was brilliant
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