The Big Deal!!!

'The audience moves around in their minds trying to "get a grip" with the aural horizons and fields (Emmerson) that these relational elements create.' c.vear more to follow:

Merleau-Ponty writes that when we encounter an experience, say a piece of furniture, we position ourselves sensorially in a way as to embody the experience - to get a grip of the sensations of physical proximity, visual field, eyes of the skin - in relation to our 'perception filters, memories and imagination perspectives.

So with the relational elements of sound and the aural horizons and fields in my works the listener embodies the dimensional experience and positions himself within this dimension to get a grip of it.

Listen to track 3 [?] of side 2 France Folk Music
- first section just the man
- second section he music hall
Notice the shifts we each make to get to grip with the information and phenomonology of the sound worlds.

These are 2 different dimensional situations BUT we all volunteered some solution for the information we experienced. Each individual would allow in different elements through the perception filter and coloured this with memory and imagination. We all get to grip with it, embody the experience and make it fit.

When I talk the sound is always in more than one space - and more than just physical space. "It emanates and in doing so fills space and others ears. To speak then is to live in more than one head, beyond an individual mind. Listening is thus a form of perticipation in the sharing of a sound event' (LaBelle pg 3) Furthermore: there is no sound between my voice and your mind, just air molecules vibrating fully to every agent. As I am talking I am inside all your minds at the same time. I am forcing you - actually you are volunteering - to make some experiential sense of it beyond semantic.

This dimensional embodiment in the audience is a similar psychological/ physiological process that happens to musicians embodying an instrument, the mental 'driver' is adjusting, compensating, desiring and making sense of the new sensations inputted through the senses by this new body extension (the instrument); the audience are to shifting and making sense of these new situations but their cognitive output is not motor.