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Four Experiments in Broadband Auralneirics

Four Experiments in Broadband Auralneirics DAVID CECCHETTO One One night, I dreamt my head was 1,000 feet wide. The expansion was executed between the outside edge of each of my eyes and the inside edge of each corresponding ear; the distance between my eyes remained the same, but that between my ears increased greatly. In the dream, I'm sitting dead center in the Alix Goolden Hall in Toronto listening to a pianist (I can't say who it is) play Bach's Goldberg variations, specifically the Aria. The playing is beautiful, perhaps the more so because there is a half second delay between the visible actions of the pianist and the music I am hearing. The delay is unsettling: I feel at once as though I am acutely present and strangely distant. Present, because I'm buzzing with the new configuration of my senses, my eyes scrambling for a purchase that would let them skip the beat that insists on separating them from what I hear. Strangely present, too, because there are weird congruencies of timing when what I'm hearing does seem to line up, a temporal coincidence that isn't really that surprising given both the world of "continuous multiscalar transition" that we live in (Hansen http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png symploke University of Nebraska Press

Four Experiments in Broadband Auralneirics

symploke , Volume 23 (1) – Dec 31, 2015

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Publisher
University of Nebraska Press
Copyright
Copyright © 2008 symploke.
ISSN
1534-0627
Publisher site
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Abstract

DAVID CECCHETTO One One night, I dreamt my head was 1,000 feet wide. The expansion was executed between the outside edge of each of my eyes and the inside edge of each corresponding ear; the distance between my eyes remained the same, but that between my ears increased greatly. In the dream, I'm sitting dead center in the Alix Goolden Hall in Toronto listening to a pianist (I can't say who it is) play Bach's Goldberg variations, specifically the Aria. The playing is beautiful, perhaps the more so because there is a half second delay between the visible actions of the pianist and the music I am hearing. The delay is unsettling: I feel at once as though I am acutely present and strangely distant. Present, because I'm buzzing with the new configuration of my senses, my eyes scrambling for a purchase that would let them skip the beat that insists on separating them from what I hear. Strangely present, too, because there are weird congruencies of timing when what I'm hearing does seem to line up, a temporal coincidence that isn't really that surprising given both the world of "continuous multiscalar transition" that we live in (Hansen

Journal

symplokeUniversity of Nebraska Press

Published: Dec 31, 2015

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