space” [7], creating difficulties for the ontological level: it is something inter-subjective, but still not objective because it does not reside in the qualities of the object in spite of the subject; and secondly placing it as an interesting phenomenon that undermines the fixed plans of subject and object and production-reception.
emotiveness, the theory of atmospheres starts from a given body-sound report that is as basic as essential: sound is the modification of the space investigated by the body, a sound which is able to shape the emotional position of listening in an environment. In this case then the experience of a lot of contemporary music is meaningful, not just concrete, based on records of the real environment, not so much to show that each corresponds to a sound, but that sound describes a “living” space immediately understood by its inhabitants and condensed and reassembled for those not accustomed to those sounds [9].
In relation to the theme of the sound landscape, both real and virtual, we can clearly observe how its perception and production, do not ever relate to the specific ontology of objects, that represent the objective characteristics of the object that allow the knowledge of it, but its enactment, in other words, the qualities through which it spreads or radiates into space [8].
its scenic presence and the reaction of the listener, which leads to a succession of contrastive moods, or direct them towards perception inputs.
Moreover, the debate also overlooks the modern trend of technological and musical experimentation to exclude the role of the score as the best way to understand music, rehabilitating instead a direct and sensory immersion with the data of sound. Indeed the innovative aspect of the aesthetic approach by Gernot Böhme is to try to weave the possibility that the subject has to perceive the environment as an interaction mediated by the same spatial sounds that cross it and characterize it through a primary state of policy-situational context [10].
Indeed compared to the theories of association that have characterized the relationship between music and
This eliminates the need for music to be made by man, and so all the discussions on technique and the
Precisely because of this extremely ecstatic orientation, their importance for the contemporary artistic experimentation emerges, not only as a result of the use of multiple possibilities of spatial diffusion, but above all due to the desire to outline a sound or a sound landscape and see
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