Milan Guštar - Abacus | Jamendo Music - Free music downloads
Abacus Jamendo Music album cover
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    • jauariu avatar

      Me gusta tu portada, pero la música carece de algo que es característico e inherente a ella misma. Has puesto muchas notas y tus frases pueden sonar a "minimalistas", pero tu obra no tiene ni un sólo matiz, con lo que parece que has pintado una pared y no un cuadro

    • Ivan1984 avatar

      Very interesting concept and it makes good minimalism certainly. How do you find your music is received, are there emotions, sensations, feelings associable with the separate tracks? I don't know if this is what I've been looking forward to finding, or my worse nightmare. I have had an interest in semiotics and was particularly looking for instrumental music to see if I could apply my hypothesis. In a nutshell, the idea is conceived, translated into an allocative form and transmitted, then received and re-interpreted. This can cycle, i.e. re-interpretations, and involves a potentially infinite number of variables which can effect any part of the transmission of information. It seems to work well with stuff at biological levels, chemical talk, but I was interested in applying my idea. So here is the framework of communication: CONCEPTION (U.V.R. 1) described as unbounded virtual reality; defined further as the complex formation of heterotopia (after Foucault). Wherein arises the 'original' thought derived from within an unbounded, ubiquitous mindset (as an open system interacting with the world-system), hence perception of reality derived, or representative of, weltanschauung. This becomes a realisation of Foucault's heterotopia, metastable, dynamic "otherspaces, or spaces of otherness," formed by "shifting subjectivies" and "nomadic displacements". TRANSMISSION (Semiotic Expression) described as INTENTION (pragmatic) engendering MEANING (semantic) expressed as a FORMALISM (syntactic) by the use of signification, i.e. CODES & SYMBOLS (empiric). The semiotic expression of the conception (UVR). A gradual, fuzzy process that gives form and symbolism to the original UVR, producing a version known as a bounded virtual reality. ALLOCATIVE FORM (BVR-1...) described as bounded virtual reality, e.g. eMail, book, hypertext, as the allocative form which contains distributive, autonomous meaning/intention to varying degrees. This version is bound, like an actual book is bound or a letter is enveloped. This encapsulation is allocated a striated space, using codes and symbols at the lower levels, i.e. chemical interchange, binary code, data packets. These underlying codes and symbols may have the emergent property of taking on an intelligible form, still chiefly allocated in striated space as a complex signification derived from more atomic signification, such as linear text, i.e. letter, email, novel. RECEPTION (Semiotic Receipt) described as signification, i.e. CODES & SYMBOLS (empiric) interpreted as a FORMALISM (syntactic) inculcating MEANING (semantic) representative of INTENTION (pragmatic). The semiotic receipt of the conception as expressed in allocative form. A gradual, fuzzy process that gives intimations of meaning and intention underlying the form, by deciphering the version of bounded virtual reality, in terms of the codes and symbols used and their signification in terms of the representative formalisms used by the originator. INCEPTION (UVR-2) described as unbounded virtual reality; defined further as the complex formation of heterotopia (after Foucault) based on the original, though not identical. The 'copy' of the original, the derivative version infiltrates and become imbued with the subsequent situationing within another unbounded virtual reality. So, those are the phase definitions. Unbounded simply refers to the potentially infinite number of variables that may or may not be effective upon all stages of the transmission of communication. Now I felt that this model of communication could be applied easily on a biomolecular level, i.e. chemical transmission of chemical information from one part of a cell to another animalcule. But what I wanted is to know whether it could be applied to higher levels, and I found the higher I went the more I had to accept that chaotic element, infinity, and try to assimilate that into the model. I was trying to complexify the Shannon/Weaver mathematical formula for communication and incorporate the 'human condition', i.e. the assimilation of chaos. The fear is homogenisation of music equating to blandness and lack of individuality, passion, mistakes, etc. How is infinite chaos termed mathematically and was that element incorporated in the music? Send me a direct message if you want to discuss. Thanks.