Many years ago, I had a university friend who was simply an evangelizing devotee of the abstract painter Marc Rothko. From the her gushing around a catalog of Rothko's albanische lieder 2022 work, while I was convinced that I should be aesthetically challenged; I just didn't "get" it. After all, a lot of the paintings were just big rectangles of shade, with minor irregularities and a contrasting edge or stripe. All the familiar reference factors of point and form, perception and shadow, were gone. I could appreciate them as "design," but much less "art." While these were pleasing enough,
I couldn't see why anyone could rhapsodize over these abstractions... till I first found them for myself in person--a very different knowledge! When I encountered them at the Memorial of Modern Art, they virtually stopped me within my songs, subverting conscious thought and crashing me instantly in to an improved state. They were not merely smooth canvases on a wall, but appeared a lot more like living points, pulsing and throbbing in resonance to a wavelength that had a simple link with the Source of things. I was stunned.
They didn't "express" a feeling--they were a lot more like feelings themselves, and they felt like nothing particular if you ask me, or Rothko, or anyone. When I later looked at the reproductions Rothko's works in publications, they reverted to flat swatches of color. There clearly was a recollection, but number recreation of my experience. This is an experience that depended on the current presence of the original artifact (art: a fact).
I used my early musical life working generally with audio that used-like representational art--some group of common audio events to produce its effect. There are numerous vocabularies of track, counterpoint, rhythm, harmony, and framework that position music in a context of form that means it is comprehensible to listeners. "Comprehensible" is not properly what I mean--it implies that audio communicates only rational a few ideas, whereas actually,
it delivers and conveys an entire range of a few ideas, emotions, feelings and associations. But there's an element of "intelligibility" to conventional kinds of music that depends on a shared conventional terminology of expression. There are familiar aspects that listeners use to anchor their real-time connection with a structure, formal or sonic things which can be borrowed from different pieces made and paid attention to in the past.
