Produced the machine kosmik well-off "rendering high-pitched," one of the deviations returned to the reproduction machine that ended by reproducing anything apart from a scratch featured all the lines, fought for one featured all the voices. The claim was that someone opened music for all the incidents, all irruptions, but finally one-ing the reproduction of a randomisation that prevented some sort incidents happening. One All has left was resonance space in the road to form a black hole. The too rich material continue to too much "territorialized": in the source of noise, in the characteristics from the object... (This in fact was current for the Cage piano). One made the aggregate fuzzy, not defined fuzzy aggregateby the consistency operation or the consolidation regarding that. Because this was the important matter: the aggregate fuzzy, a synthesis of the different element, only was defined by the level of consistency that enabled to distinguish the different element that was that the aggregate (discernibility), 54 material must be enough deterritorialized to molecularized and was open to something kosmik, not lapsing to the heap of statistics. This condition was fulfilled if having certain simplicity in the uniform material: the peace maximum was counted in his relations with sia-element that was different and the parameter. The peace from the collection was what made for the Machine impact wealth. The person often had too many trends to reterritorialize to the child, mad, noise. If this was carried out, some fuzzifies not made the aggregate
memproduksi mesin kosmik mampu "rendering nyaring," salah satu penyimpangan kembali ke mesin reproduksi yang berakhir dengan mereproduksi apa-apa selain sebuah coretan menonjolkan semua lini, berebut sebuah menonjolkan semua suara. klaim adalah bahwa seseorang membuka musik untuk semua peristiwa, semua irruptions, tapi akhirnya satu-ing reproduksi sebuah pengacakan yang mencegah peristiwa apa pun terjadi. satu Semua telah kiri adalah ruang resonansi di jalan untuk membentuk sebuah lubang hitam. Bahan yang terlalu kaya tetap terlalu "territorialized": pada sumber kebisingan, pada sifat dari obyek ... (Ini bahkan berlaku untuk piano Cage). Satu membuat agregat fuzzy, bukannya mendefinisikan fuzzy aggregateby operasi konsistensi atau konsolidasi berkaitan dengan itu. Karena ini adalah hal yang penting: agregat fuzzy, sebuah sintesis elemen berbeda, hanya didefinisikan oleh tingkat konsistensi yang memungkinkan untuk membedakan elemen berbeda yang merupakan bahwa agregat (discernibility), 54 Material harus cukup deterritorialized untuk molecularized dan terbuka ke sesuatu kosmik, bukan lapsing ke tumpukan statistik. Kondisi ini terpenuhi jika ada kesederhanaan tertentu dalam bahan seragam: maksimum ketenangan dihitung dalam hubungannya dengan sia-elemen yang berbeda dan parameter. The ketenangan dari kumpulan adalah apa yang membuat untuk kekayaan dampak Machine. Orang sering memiliki terlalu banyak kecenderungan untuk reterritorialize pada anak, gila, kebisingan. Jika ini dilakukan, salah satu fuzzifies bukannya membuat agregat fuzzy terdiri, atau memanfaatkan kekuatan cos-mic dalam material deterritorialized. Itulah sebabnya mengapa marah Paul Klee ketika orang akan berbicara tentang sifat kekanak-kanakan "" gambar-Nya (dan Varese ketika mereka akan berbicara tentang efek suara, dll). Menurut Klee, apa yang diperlukan untuk "membuat tampak" atau memanfaatkan Cosmos adalah galur murni dan sederhana disertai dengan gagasan objek, dan tidak ada lagi: jika Anda kalikan baris dan mengambil seluruh objek, Anda mendapatkan apa-apa tapi berebut, dan suara visual effects.55 Menurut Varese, agar proyeksi untuk menghasilkan suatu bentuk yang sangat kompleks, dengan kata lain, Distri kosmik-bution, apa yang diperlukan adalah sosok sederhana dalam gerak dan pesawat yang mobile itu sendiri, jika tidak, Anda mendapatkan efek suara. Ketenangan, ketenangan: bahwa adalah prasyarat umum untuk deterritorialization hal-hal, yang molecu-larization bahan, dan cosmicization kekuatan. Mungkin seorang anak bisa melakukannya. Tapi ketenangan yang terlibat adalah ketenangan hati seorang anak menjadi yang belum tentu menjadi o / anak, cukup sebaliknya; yang menjadi-gila terlibat belum tentu becomingof 'orang gila, justru sebaliknya. Jelas bahwa apa yang diperlukan untuk membuat perjalanan suara, dan melakukan perjalanan sekitar suara, sangat murni dan sederhana suara, sebuah emisi atau gelombang tanpa harmonisa (La Monte Young telah berhasil di ini). ST/SC
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Semakin tipis atmosfer, semakin berbeda elemen Anda akan menemukan. Anda sintesis elemen berbeda akan thestronger semua jika Anda melanjutkan dengan sikap sadar, suatu tindakan consi
producing a cosmic machine capable of "rendering sonorous," one lapses back to a machine of reproduction that ends up reproducing nothing but a scribble effacing all lines, a scramble effacing all sounds. The claim is that one is opening music to all events, all irruptions, but one ends up reproduc- ing a scrambling that prevents any event from happening. All one has left is a resonance chamber well on the way to forming a black hole. A material that is too rich remains too "territorialized": on noise sources, on the nature of the objects ... (this even applies to Cage's prepared piano). One makes an aggregate fuzzy, instead of defining the fuzzy aggregateby the operations of consistency or consolidation pertaining to it. For this is the essential thing: a fuzzy aggregate, a synthesis of disparate elements, is defined only by a degree of consistency that makes it possible to distinguish the disparate elements constituting that aggregate (discernibility),54 The material must be sufficiently deterritorialized to be molecularized and open onto something cosmic, instead of lapsing into a statistical heap. This condition is met only if there is a certain simplicity in the nonuniform material: a maximum of calculated sobriety in relation to the disparate ele- ments and the parameters. The sobriety of the assemblages is what makes for the richness of the Machine's effects. People often have too much of a tendency to reterritorialize on the child, the mad, noise. If this is done, one fuzzifies instead of making the fuzzy aggregate consist, or harnessing cos- mic forces in the deterritorialized material. That is why it infuriated Paul Klee when people would talk about the "childishness" of his drawings (and Varese when they would talk about sound effects, etc.). According to Klee, what is needed in order to "render visible" or harness the Cosmos is a pure and simple line accompanied by the idea of an object, and nothing more: if you multiply the lines and take the whole object, you get nothing but a scramble, and visual sound effects.55 According to Varese, in order for the projection to yield a highly complex form, in other words, a cosmic distri- bution, what is necessary is a simple figure in motion and a plane that is itself mobile; otherwise, you get sound effects. Sobriety, sobriety: that is the common prerequisite for the deterritorialization of matters, the molecu-larization of material, and the cosmicization of forces. Maybe a child can do that. But the sobriety involved is the sobriety of a becoming-child that is not necessarily the becoming o/the child, quite the contrary; the becoming-mad involved is not necessarily the becomingof 'the madman, quite the contrary. It is clear that what is necessary to make sound travel, and to travel around sound, is very pure and simple sound, an emission or wave without harmonics (La Monte Young has been successful at this). The more rarefied the atmosphere, the more disparate the elements you will find. Your synthesis of disparate elements will be all thestronger if you proceed with a sober gesture, an act of consi
