It is this generation which will sow new seeds and forego the debate over whether 'program' music has a leg to stand on. A departure towards an imagistic sonic art requires a decisive parting from musical abstraction. The distance required from composed music is nowhere within earshot of the territory demarcated by the avant garde practitioner, who with each passing fashion, trades in one set of timbres and orchestrational tools for another. Such efforts towards change only manage to alter the garments worn by musical abstraction. On the contrary, the goal of this departure is to walk in a lateral direction beyond serious music boundaries and directly to the interior of the imagistic museum situated inside the ear.
Abstraction closes doors on the worlds located within the experiential world.
Many creative possibilities continue to remain latent, because the electroacoustic abstractionist moves out into the soundscape only to peel away the desired specimens spotted on a weekend sojourn to a forest or multi-cultural market. Perhaps the acousmaticians' dedication to rendering matter as it comes to them could take a wild, revolutionary twist and send them into a sphere where their eyes and ears learn to interrelate much differently than they do at this time. Maybe the perceptual boundaries between the groups could be obliterated altogether. Perhaps there could even come a time when people employ sight only when it is absolutely necessary or particularly appropriate to do so. Perhaps it will necessitate a scenario where sonic artists choose not to deal with the more common devices and concerns of working in a time-based medium.