Divergence Press is an online, open access, peer-reviewed journal for contemporary music, published by the Centre for Research in New Music (CeReNeM) at the University of Huddersfield. The journal examines current practices in composition, performance, sonic arts, musical multimedia, creative uses of music technology, and multidisciplinary work engaging with sound, space, listening, & performance.
Since I finished Music after the Fall in spring 2016, the world has, let’s say, changed a bit. Did I accidentally capture an era, from 1989–2016? What do I think has happened since then that will change the direction of music? (It might not be what you think.)
The Anthropocene, oceans full of plastic debris, climate change, beauty, rituals and magic. As an artist, Liza Lim deals with subjects which might be considered to be way too complex for a single composition. The composer grew up in different cultures and came to prominence in an era of global problems. In almost every work, she deals with extramusical ideas. Her works carry messages, but at the same time she explores sound, experiments with playing techniques, and the possibilities of communication among musicians on stage. Despite this article being titled ‘Farewell to Humans’, Liza Lim does not say farewell to humanity, even in works where she explores dimensions beyond our civilisation.
The basic premise of this paper is to briefly speculate on a philosophical paradox concerning Brian Eno’s use of the word ambient in relation to his compositional work between 1975 and 1982 and indeed, what ambient has come to mean in a broader cultural sense in 2018.
To begin with, three important definitions of the word are considered for this argument:
1) The Latin root of ambient (ambire) is discussed with particular reference to Eno’s various press statements c. 1978 that Ambient music is intended to produce calm and a space to think.
2) Music for Airports is identified as an example of monocratic composition (one that subtly reinforces borders) within an historical timeline beginning in 1975 and is juxtaposed with Lou Reed’s Metal Machine Music, which is considered as a parallel (albeit unintended) Ambient experiment and identified as a mutable composition (one that subtly annihilates borders).
3) The broader, philosophical implications of ambient are addressed in particular reference to current notions of dark ecology.