First off, I am not the best writer, although I fancy myself to be, I
realize I am so-so. With that in mind, please reconsider something...
Toneshifting as an effect (major/minor shifting in repetitious percussion)
is only , that, a mundane psychological effect. But the *theory* of
Toneshifting as it can be applied to music (and perhaps even more wide
spread than that!!) is far more complex in that it uses that effect as a
tool to achieve total equality between the audience and the artist. It is
primarily concerned with techno and its new approach to art ("it" using
toneshifts as its main "medium" if you will), and indeed, how techno as an
art is appreciated by the individual in an entirely different manner than
other modern musics, I contest with this theory that techno has to create a
whole new ground aside from other music and all the pre-existing theories,
it operates like no other...
I am trying to combine art with psychology, sociology, and philosophy,
daunting task yes, but nonetheless, possible. And keep in mind that our
music and the scenes that came with it are left unassessed (why?) and
perhaps soon to be forgotten if left that way. Anyways, down below is some
excerpts from a conversation I just had with someone on this list, I use it
to demonstrate that there is more to this than simple acoustics...
The other thing I *know* is happening is people are getting quite mad
(admittedly or not) in that I am basically stating that an artist is pretty
mush on the same level as the audience, if not even lower, I am attempting
to strip the glory and glamour of the artist (I am an artist too, it is
something I am more than happy to give up). I truly feel that this is
explainable through things such as personality traiting and such, and such
is what I believe. I also really don't think we are all that different from
one another, we are all the same species, thus making it possible to at
least be some what general in approach (the MMTI has about 16 personality
types, all of which are very accurate in personality prediction, something
to ponder.)...
Here's my words from the conversation [edited]:
In a different approach, is that with say a piece of melodic complexity, the
artist is speaking and projecting _out_ his/her views and visions in a very
precise manner. To the audience, that piece is a matter of interpretation
and entertainment only, the audience does nothing more (at best he can
"relate" to that piece). Toneshifting with repetition however is the exact
opposite, nearly eliminating the artist as an all powerful being speaking
his word. With toneshifting, we are reducing him to a point not much
different in prestige of simple a mason worker, unrealized yet skilled
(something the artist generally hates, thus giving fuel to those who argue
against toneshifting). It is the audience that has the soul and ideas in
which are important, and will add life and imagery to create a soulful and
complete track. So instead of the artist being the lone projector and
speaker, it is the audience too that carries this primary role...
Sure, the music that is quantified and theorized upon can be pretty mundane
unto itself once the formula is realized. But that's the point and should
be sought after with techno, take away that artists _defined_ soul and
imagery from the music and just leave raw emotion, and allow the audience
the freedom to project his/her soul and defined emotions to where the soul
and defined emotions are lacking, this is the essence of what I am trying to
say, and do so with toneshifting (something you just can do with Paul
Oakenfold or other "artists" that project their highly defined emotions and
souls _out_ at the audience). So, not only does toneshifting make the music
complete, but totally *interactive* and *equal*. So I contend the music can
be much more than just a recording with this theory I propose to you, in
that *each and every listener is going to think and project something
completely different from the next listener, thus making the music
absolutely timeless and boundless...*
*No longer, with toneshifting, is the audience expected to simply hear,
interpret, and reflect, now instead, the audience has the ability to put
what ever emotion or imagery they want into the picture. Techno allotted the
individual to in complete control of there wandering minds, and thus a whole
movement was based on this notion of escaping through dreaming...*
darw_n
"create, demonstrate, toneshift..."
http://www.mp3.com/darw_n
http://www.sphereproductions.com/topic/Darwin.html
http://www.mannequinodd.com
