The thing about objectivists is...


Listening is the essence and central activity of music appreciation. Listening is purely a result of the essential reality of subjectivity, and not that of any "objective reality" which is assumed to exist "out there." The human mind tends to rigidly cling to measurements, pedestrian concepts, and elaborate abstractions in attempt to simplify, subdivide, define, and categorize within the immensity of the realm of the experiential/subjective.

Over-reliance on concrete definitions and ideas serves to attach oneself to a sense of stability and security. The mind secretly hopes this will sufficiently ward off the uneasiness of feeling unsure, or off-balance, about one’s actual degree of comprehension regarding a given topic.

But what is it that is capable of registering sounds, recognition of patterns, recalling memory, and awareness? It’s pure subjectivity. It’s not the brain. That’s only an idea which is based on an entire system of definitions which define other definitions. The mind fortifies the boundaries of its interconnected structure by using circuitously self-reifying definitions.

Consider this: A description of a thing, proposed by the human mind, is only of that which a thing is not. A thing’s reality is not the same as its description.

What is it that is present in the pure silence during the instant just prior to sound waves propagating into the air space of the listening room? What is it which listens?

It’s subjective awareness, devoid of mental content. Your ideas aren’t listening, your experiential awareness is listening.

The more one thinks the same boring ideas one’s been thinking for years, the less one can listen. Subjectivity is the self-existent authority prior to the discernment of any quality, measured quantity, or the detection of that which we term "music". The deeper we can relax and sink into pure, silent subjectivity, the more deeply and purely we can listen and behold. Our subjective awareness becomes purer and less colored, our mind becomes more open and flexible, and experiential reality is seen to be the ever-present continuum which is of the greatest value of all.

128x128gladmo

… (while pushing proverbial audio-nerd glasses up with finger) …

@tylermunns 

Like this ?:

 

Digital clocks could be superbly accurate, but that is not the issue.  The issue is their implementation as part of the DA conversion process.

The issue with digital is a fundamental one - why convert analogue, the sound we can hear, to digital.  And then back again.  Everyone knows that such conversions have unavoidable costs, such processes always impose costs.  In digital, the main downside is the need to convert a real-time event into a digital clock time-frame, and then back again.

Because no analog recording format exists that does not have a myriad of far more significant issues but is that relevant to the discussion? Perhaps? Our interpretation of reality is influenced by what we choose to believe and what we chose to believe is often wrong.

The issue with digital is a fundamental one - why convert analogue, the sound we can hear, to digital.  And then back again.  Everyone knows that such conversions have unavoidable costs, such processes always impose costs.  In digital, the main downside is the need to convert a real-time event into a digital clock time-frame, and then back again.

And copies can be sent to servers all over the world and not lose any bits, nor gain any noise.

@tylermunns ,

Your response makes about as much sense as your statement that I tried to address. Kind of nonsensical. There's nothing vague in what I said, nor was it rude. 

Rhythm and pace, or as the British use to call it, PRAT, has always been known to refer to just how realistic the sound is to the point where it has you actively participating with it as you listen. You know, moving your feet or bobbing your head. 

It's just another perfectly acceptable way of saying it sounds more realistic and I don't see what the problem is with anyone using it.

All the best,
Nonoise