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Replying I have to say that I am a very intelligent person. No matter how much I am able to be flown with 'kick' during my sensuous experience and how far I might be drifted with flows I always try to rationalize and to learn the nature about my sensations. I do not know it care if it good or bad but I know that I do like it. Learning and discovering about myself it very fascinating and offers a lot. So, I have very little semi-psychotic and unconsciousness reasons. I have sub-consciously idiotic and deliberately foolish but they are hardly ever unconscious

Motivations to listening music? Wary, but I’m not one of those who claim that music is a some kind of summit of human experiences and quote those overly glorified comments about music. Music is one of the forms of humans’ expressivity. There are many form of humans’ expressivity, some of them more or less allegorical, symbolic or figurative and some of them more or less shaped in formal artistic form. I do no build a hierarchy over the humans’ expressivity and I like all of them that I am able to consume.  The humans’ expressivity and at very high level might be found very far from artistic environment as well.  Many years ago I was playing card with a “partner” against quite serious people and in a culmination of a very expensive game I was able to read a change of harmonics of my partner’s breathing, which allowed me to win. There was no cognitive messaged passed but the information was exchanged at the level of interpretive humans’ expressivity. A woman moving her hand across your body, can stop her hand and press it against you, passing enormous amount of expressivity. Do those experiences compete with structured artistic subliminal messages? I do not think so, thy rather all enrich each other…

Music as any other form of structured artistictism cares a promise of expressivity witnessing. Going to  a symphony hall, opening a book, going to a gallery or doing whatever else we do in a structured art are we are in away an enter an agreement: we promise to contribute our interpretive witnessing awareness and in exchange we are promised to experience humans’ expressivity. With music is it very interesting as music is easy to arrange collectively and interaction in real time with collective consciousness is possible.

Ok, where is audio sits in the view of it? Very much above of it.

I do not like dogs. They are domesticated; know the protocol of inner-human interaction and they use human awareness to live with humans. Cat on another hand do not give shit about human and they are absolutely not engaged in human “language” (I use word language wider then just speaking language), If you point somewhere to your dog then it will be looking at what you point. A Cat will look at your finger and she will not understand your intention.  From this perspective a Cat acts as an alien force that is not exposed to human “resonances”. Pretend that you have a horse and you drive it from you work to you home a half of your live. Eventually sit on your horse, say “home” and the horse would know where to go. Call it Pavlovian reflexes or whatever but it is a domestication  - a situation where an animal, or your friends, or your wife(s), or kid(s) read your intentions and accommodate the behavior accordingly. Cats do not do it. Now pretend that you ride from work not a horse but an automobile.  An automobile will certainly not read your nether expressed nor implied intention. Audio is very same…

Audio is stupid machinery that has no reference of feedback from to the humans’ expressivity. It will have as much awareness about humans’ expressivity as much you will make it to have. So, audio is a way a superstructure within which you might reflect you own expressivity, implement your own interpolation and your own understanding of the “load” of the musical even you try to reinstate by the means of your audio.

I know it might be difficult to a typical audio person to understand it - audio people mostly do not use audio as an expressive language but rather as a sonic dildo.  However, I found audio is very interesting expressive instrument as it, like Cats, free of any ego. Any exchange where human protocol involved inevitably gets converted into trading of zones of egotism (or altruism, which is the same). However, in audio, as in any other fields of human-machine interaction, Audio as a machine deals only with intentions, objectives and means. It is pretty much garbage in – garbage out… This is one of the reasons why we have so many horribly sounding playbacks in audio…..

This modulation of unconscious machines, enabling them to resonate in affinity with intentions of human expressiveness is my very favorite topic. It opens so much opportunities, raises so much predicament and mysteries! Do not be under impression that only audio people do it. Now I am reading a Katie Hafner’s book “A Romance on Three Legs”. It is a story about the “Glenn Gould's Obsessive Quest for the Perfect Piano”. Glenn did the same, he was looking for the best machine that would be able to render his intention, or in context of this thread it would be the best machine that would be able to best reflect the Gould's perception of those events.

In the signature of my posts I used the Friedrich Nietzsche’s comments that "Our writing equipment takes part in the forming of our thoughts." In the 1883s Nietzsche switched from wring to typing and as a result his prose style changed. One of his critics told him that “thoughts in music and language often depend on the quality of pen and paper” and I think it is very the same in audio ….

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