Overview
This entry explores a phase in which the body became the primary instrument for recognizing sonic truth. Before theory, before structure, and before musical language, physical resonance emerged as the guiding criterion for sound.
Rather than relying on academic knowledge or technical validation, this stage centered on embodied perception—the capacity to feel alignment or dissonance directly through vibration.
No Formal Training, No Predefined Method
At this point, there was no formal musical education. No study of scales, harmony, or composition. Instruments were approached intuitively, without adherence to established technique or stylistic conventions.
This absence of training did not function as a limitation. It removed expectation.
Without preconceived rules, sound could be explored freely. Each note, texture, or sequence was encountered as a fresh event rather than a known category.
The Body as Instrument
The body responded before the mind.
When a sound aligned with an internal state, a physical response appeared: vibration, warmth, expansion, or rhythmic resonance. This response was unmistakable. It required no interpretation.
When alignment was absent, the body remained still.
This distinction became the core method. Sound was not judged by correctness or complexity, but by whether the body recognized it as coherent.
Vibration as Information
Vibration carried meaning beyond intellect.
Rather than being symbolic or emotional alone, vibration functioned as direct information. It indicated alignment, continuity, and truth at a somatic level.
This process bypassed analysis. Sound was either integrated or rejected by the body itself.
Through repetition, sensitivity increased. The body learned to distinguish subtle differences in frequency, texture, and flow. This refined listening allowed sound to take form organically.
Translating What Cannot Be Fully Captured
What was received internally always exceeded what could be expressed externally.
Music, when it emerged, represented only a partial translation of a much broader field of sensation. Entire layers remained unexpressed—not due to lack of effort, but due to the limits of form.
Rather than attempting to capture everything, the focus remained on preserving the core frequency. Precision was secondary to integrity.
Sound Before Identity
At this stage, identity played no role.
There was no concept of audience, recognition, or significance. The process unfolded privately, driven by necessity rather than ambition.
Sound existed for itself. Its value lay in resonance, not reception.
This absence of self-consciousness allowed sound to remain unfiltered. The body responded honestly, without interference from expectation or judgment.
Foundations of Later Recognition
When certain pieces later reached wide audiences, their reception was not rooted in technical analysis. Listeners responded physically and emotionally, often without knowing why.
This mirrored the original process.
The same vibrational alignment that guided creation also guided reception. Recognition occurred through resonance rather than explanation.
Relation to Later Works
This embodied approach to sound became a defining characteristic of later projects.
It explains:
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the emphasis on atmosphere over complexity
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the capacity for music to evoke physical response
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the persistence of resonance across different phases and styles
This principle remains active across:
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Shinnobu
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The Enigma Series
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later collaborative works, even as form and context evolve
Extensions and Projects
Notes
This entry does not propose vibration as metaphor. It documents a lived method in which the body functioned as a reliable instrument of discernment, guiding sound through direct physical response rather than conceptual evaluation.