Vaisheshika
Sound defines space. In fact, the sense of hearing is the basis of our volumetric model of the world. The ancient Vedic system Vaisheshika describes the sequence of manifestation of the universe, beginning with primordial cosmic mind, and emerging through Dik, Kala, and Akasha. Curiously, this translates as an enticing model of the physiology of hearing: pressure (Dik) over time (Kala) gives rise to subjective viscerally "real" volumetric space (Akasha).
Here we explore this insight into the basis of Maya, and take delight in the phenomenology of sound itself, which is a more than coincidental analog for the fine vibrations of the quantum field that compose the universe.
Sound, as experienced subjectively, can be considered as occupying four domains of cognition:
- speech — linguistic pattern with specific conceptual referent
- music — quasi-linguistic pattern with melody, harmony, and meter
- known — nonlinguistic pattern with real world referent
- unknown — nonlinguistic pattern or non-pattern, without referent
By exploring the unknown (sounds not recognized), we accomplish several things. First, the mind is freed from the entire speech-processing faculty, which together with music processing binds the attention to a linear experience of rigidly enforced sequence. Although we can’t escape from the subjective necessity of sequential perception (more on that later), vast mental resources are allowed to relax when the audible field is devoid of verbal and musical content.
Here we should acknowledge that our operating definition of music is rather limited in the present context. We therefore suggest sonic art as an alternative term for creative audio expressions that are not limited to melodic, harmonious, and/or rhythmic forms.
Another interesting outcome of the exploration of nonlinguistic non-recognized sound is the newfound accessibility of two extremely important determinants of the subjective experience of hearing: timbre and ambience.
Because speech, melody, harmony, and rhythm are so powerful, and marshal such substantial physiological resources for their perception, they easily overshadow most of the underlying experience of the timbre (tonality) of what we hear. In addition, they mask almost completely the vital ongoing spatial monitoring which we rely upon for ongoing knowledge of the volumetric characteristics of our surroundings.
The sonic galleries on this site contain various creative explorations into sound, emphasizing this domain of the Unknown, but inevitably toying with elemental tastes of the other domains. It is almost impossible to eliminate conceptual referent, and even more difficult to eliminate all traces of melody, harmony, and meter. But as the mind casts about, searching for “origins” of the various timbres and sound spaces, we may find some welcome freedom from worldly context, and perhaps glimpse a little deeper into the inner workings of the grand illusion everyone finds so convincingly real.
(P)©Copyright 2003 Allen Cobb. All rights reserved. All text, audio, and images are owned by the copyright holder. Downloading excerpts, tracks, thumbnails or larger versions does not convey any rights to store, reproduce, modify, or distribute these works. For commercial use of any kind, direct or indirect, written permission is required from the copyright holder.
