By Mark S. Reinhart
Highlighting Chet Atkins' 50-plus-year occupation as a virtuoso, singer, songwriter and list manufacturer, this publication is an research and appreciation of the main noteworthy recordings of 1 of the world's maximum guitarists. Atkins' entire physique of work—truly unequalled within the background of recent musical entertainment—and approximately a hundred and forty of his all-time maximum recordings are mentioned. A concise review of his existence and paintings is supplied.
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In practice, however, sound is treated mostly as an embellishment, providing content for visual data or demonstrating processes imminently transcribed into a visual language. Overshadowed by the persuasive nature of a visual topography, sound remains unable to overturn the principles of geography to show us a more doubtful and ephemeral world from down below. Social geography replaces God and cartography with human agency, which includes sound and listening; it does not grant that agency possibilities however, but only uses it to observe and endorse the actual.
Distances and closeness become simultaneity, new sounds changing shape, changing place of the rooms I am in, changing my shape and my place. Semantic material organizes itself in my perception against the pull of truth and necessity in the suspension of habits through which I inhabit the world blindfolded, sensitive to its movements and mine. I am not reading the meaning of this sonic materiality as reduced “objets sonores,” but generate from their reduction a sensorial sense of what they might be.
Dark mobility, grating expansion, rolling and crackling material moves around me turning in and out, turning me with it. As I imagine Lidén in the wind I am in the wind too, less cold I am sure, THE LANDSCAPE AS SONIC POSSIBLE WORLD 37 but baffled and astonished by sound’s ability to move us both in space and in time around a thing that is normally still, and still does not move but sounds the potential of movement of what it did once upon a time and what it can do in our imagination now. In the gallery these mobile, churning, turning sounds are trapped in a concrete block, resting on the floor but suspended from the ceiling, from which they emerge and which in turn holds them into a visual silence a muteness even, that threatens to suffocate and yet lets go and makes apparent not the muteness of the sound but of the visual world: it is not the visual building on its stilts, swaying in the wind, but the sound and our listening that produce what is real as a fleeting materiality, a possibility heard in the cold arctic night that might never have been at all and yet it expands our actuality nevertheless.