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Nature loves to hide
Things loves to hide, things are there, but they are not there. They have withdrawn, yet we have traces, samples, memories...
Our environment is like an open secret, a mystery. Mystery suggests a rich range of terms; unrevealed, enclosed, withdrawn, unspeakable. But Things are perceptible, like a region of traces and footprints, an aesthetic dimension, an constantly ongoing composition, a tuning.
the experience of beauty and of the sublime, is one of tuning yourself to the object (Kant)
The sound of water is the surface of the water. Passage. Moment. Shape.
There is that feeling that there is always more of the object than we think. One object - say an oud, a lute - can be attended to, attuned to, in different ways that bring out hidden properties of that object. In this sense playing an oud is like doing phenomenology. You are attending to the inner structure of the object, allowing yourself to be taken over by it. An oud is roughly the same object as a lute. How come you can get such different sounds from it, such different translations? The answer is the way things withdraw from total access. (Timothy Morton, Realist Magic)
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soplidos
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The details of a thing can be the sign of a new world wich, like all worlds, contains the attributes of greatness. Miniature is one of the refuges of greatness. (Gaston Bachelard, poetics of space)
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ramas
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„If we want people to listen to the sounds of the environment I think it’s not such a good idea to just play back field recordings, because our habit to block out sounds in daily life will click in also, when we hear simple environmental recordings over the radio. So, yes, I think we have to exaggerate such sounds or soundscapes to a certain extent so people actually notice them."
Hildegard Westerkamp
Any point of a rhizome can be connected to any other. its non-hierarchical.
Rhizoms have the principle of multiplicity. They have the principle of asignifying rupture, the principle of cartography and decalcomania. (Deleuze-Guattari)
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