1. Omniverse .:. Frequency

Omniverse .:. Frequency:

Since the demise of four-channel [Quadraphonic] play-back technologies in the mid-70s, the recording industry [cartel] has been intent on limiting the time-space-field dimension of sound recordings. By defining "stereo" sound as a neutral/natural sound space that reflects an actual state of sound, it silences other spatial representations of sound. Those sounds that are not scientifically advantageous for the goals of the Company ["All praise be to the Company"] are made obsolete as it controls the way in which sound [time] is defined through various means [radio, media, consumer electronics, etc.].

Sounds are translated from the infinite Omniverse of existence of the mind space, into an inadequate two-channel [binary] sound source that collapses other realities, "there are other worlds than this". By this very situation, the limitations of sound become enforced as "natural law". The logic is thus: humans use two ears to perceive sound; therefore, a play back system should have one source pointed at each of the sound receptors. [Two sonic guns aimed for maximum efficiency at the receptors.] The efficiency of the Company is paramount.

Conceptually, music, such as it transits today, must be a specific time-space event. It must begin and end [CDs can be programmed to repeat, but 8-tracks were designed for infinity], and be presented from specific sound sources [stereo], and that does not begin to address the aesthetic asphyxiation implicit in sound recordings which have been completely abstracted from the realm of performance and representation, except for crass commercial purposes [MTV, The GAP, VW, etc]. The need for a beginning and an end is required to delineate the repetition, and for the cycles of consumption to be effective.

The recording industry - which drives the technology on the manufacturing side in the wake of the Heath Kit/Radio Shack Dynasty - has no interest in the expanse of sonic perspectives. Though one might argue the stage is being set for 5.1 sound in home theater setups to expand the borders of sound; however, this will merely begin to remedy the spatial dimensionality of sound in a positive direction, and not address the question of time events in sound production. Furthermore, the application of this technology in the recording industry for sound recordings is remote at best. The two-channel structure is not the root, rather its dominance and status as the "natural state" for music transmissions. Sound, in this way, is corrupted in space - much the same way it is in time through meter [earth-time-centric]. These technical limitations regressively work into the music itself, which exhibits increasingly fewer sound-space potentials.

Omniverse Frequency is presented with the aforementioned concepts in mind. The linearity of time is not expressed in a specific reality: sound is engineered from various time-space perspectives. Segments of time have been grafted onto each other in ways which suggests an alternate plane of being. Throughout the recording a "stereo pair" has been severed from it original sound-space so that it is aurally askew. It creates a tension in the "past-present-future" argument that is implicit in sound recordings. There is a "here-there-not here" delineation that orients the ear in two positions: there is no primary or secondary [i.e. an echo], they co-exist as a unified schizophrenic demanding two worlds at once. This effect serves to spit the mind's ear [which is contrary to the Company's aim of focusing and limiting sound] and the resulting representation itself creates new space ways for the listener. In other instances the sounds from this original sonic event are presented through a prism, with the frequencies being refracted in several directions, while simultaneously being static. Ominverse Frequency is not exhibited as representational, that is to say a reflection of what it is, but rather an expression of the force therein and a desire to unify all elements of the time-space continuum, with an eye [ear] to question the structures that have emerged around it [why are they static?].

Despite these goals, meaning must be applied to music for it to transcend transient sound, unless that is the aim. The reality of a "stereo space" cannot be altered through the "re-purposing" of stereo devices in parallel. There can be meaning in the assembly of ideas, but to supply the raw sound materials, and ask the listener to arrange and construct meaning, reduces one to that of an art supply store. Music that is reduced to random events, thereby abstracting all meaning or reassigning that meaning over to the listener, is altogether something else; despite its potential to disorganize the stereo cartel.

What has been ascribed as sound may not be that after all. The meaning of "sound as frequency" may not be a perceptible concept, except in the ways in which the larger meaning of space itself is questioned; or better put, the limitations of our current relationship with sound production is revealed as flawed.