totes, yes very much so ... but when first navigating the world of say re-sequencing vinyl scratching, it helps
just been thinking about and working with some samples ...
a bird call when truncated might start to sound like a quick sine wave blip, same goes for vinyl scratching .. a vocoder snippet, just a note, on its own, seems to somehow sound awkward, but when paired with a few other vocoder snippets from the same 20 seconds of a vocoder recording, seems to somehow find context and a sense of naturalness
in particular, with a vinyl scratch ... say there are 15 audio events in the scratch ... each of those is related, and in particular, the one in front and behind a scratch in the sequence is absolutely indelibly related to that ... how the physicality of it works, the to and forth, forward backward motion of the scratch provides a series of question/answer responses - conceptually referencing the cotton picking field songs of the 1930's, and how that translated into the 12 bar blues format song and beyond.
as regards nature field recordings, there is an ambient sound going on in the background usually, and by its own in one audio sample will maybe sound like hash or white noise or something ... but say if there are 5 audio sample snippets from a minute's audio file recording of birds at sunset in the forest with a slight zephyr moving the tree branches ... those five samples create a mini-net of references to evoke the time and place, to some degree this helps integrate the sequence into an electronic context, as it really is quite an unexpected or generally unusual sounding choice.