5 Matching Annotations
  1. Jan 2019
    1. home being another, larger kind of pouch or bag, a con-tainer for people, and then later on you take it out and eat it or share it or store it up for winter in a solider container or put it in the medicine bundle or the shrine or the museum, the holy place, the area that contains what is sacred,

      These places, these larger containers, have their own purposes and functions, and, according to Rickert's Ambient Rhetoric, they also have a rhetoric of their own. They speak to us in various ways. For Le Guin, these containers speak of her status as human, enable her to feel part of humankind.

  2. Jul 2017
  3. Apr 2017
    1. ambience

      Related to my other note on violence/parasitic imagery, it's so interesting that ambient music is his metaphor. I think language/rhetoric/rhetorical situations have for the most part been associated with ruptures, conflicts, lava. Now we have ambient music which doesn't really have major musical shifts or discordant sounds and seems completely different.

    2. Ambient1:MusicforAirportsandMusicforFilms

      Is it just me, or do these albums seem like very different projects, and yet that's not really addressed? I mean, I suppose I can imagine a need for ambient music in background scenes for films, but soundtracks are so often used for overt emotional manipulation that I imagine relying on ambient music of this sort would actually lead to a sort of "uncanny"/discomforting experience for the audience. Barring a weird indy film where that is the goal, I can't imagine what market there would be for a film soundtrack from "the guy who brought you Ambient I: Music for Airports."