(yes, this is long, it is background and background repeated w/ different filtering, probably my most interesting playing on the terz, also still trying to keep my head above water (including what's left of my/our body)) - Red and Blue variations https://youtu.be/sdED9ARujDk video ~~ the piece repeats, lower filtering, higher filtering, I prefer the lower to be sure, both may be played of course with a kind of continuity, or with continuity, mostly sparse, but working with silence, intervals, intensities, thinking through Wittgenstein's On Certainty, for if speech harbors philosophy as it surely does, so does this soundwork, this music, this improvisation, this thinking over generationsand memories, not necessarily of music itself, but of environments, envelopes, landscapes with great distances and either dawn or dusk and either rain or thunderstorm, tornado or hurrican, one or another, melding, in other sounds. This is for long listening, careful hearing or none at all, if you prefer the higher frequencies then the second blue would be fore you; the lower, which is mine, the first red, or the two together as background or foreground, an hour, the exact piece with different filters, oh, so subtle, different halls to be played within, for me, and what does that matter, not at all, this is a formative piece, something I've thought about for a great long time, wondering if it would be possible, then it more or less appeared as a possibilitiey, in melded sections, the spaces opening for me the possibility of no-sound as primary, thinking of Dogen and the moon, typing yet again with eyes shut, the hhum of the computer cooler as it processes the sound and image, and then with Wittgenstein, considering the interval, and what might occur at the begining or ending if there are such, how the world divides if it does, atmospheric resonances of sound, light, air, chemistries, patterns of thinking, offering sentences, refining or withdrawing them, displacing the phrases, always what is exact when the words are placed in the page, the sounds are placed in the air, not placed really, as if they were, they were, always there, always almost columnar supporting themslevss, that is not columnar at all, support from no directionm, support from every direction, frm the manifold of directions, itnerrieorities and exteriorities indistiinct, the fingers now faltering on the keyboard, working through the middle of the night careful delineationsm,, waves, as if there were meanings and linkages of meanings: all words are sound, all notes are words: all intervals are barriers and always already open; all doors are intervalsd, always and already intervals; one never tells one from the other, the other from the one - circulations of imaginary numbers - one is always breathing one might presume, the breathing of the water, inflow and outflow, sentences ruptured by the presence of verbs and nouns, adjectives and adverbs, always forgotten paving the way, some water, slow insistence on through ~~~ ~~~ 1917 Martin Terz guitar ~~~ _______________________________________________ NetBehaviour mailing list [email protected] https://lists.netbehaviour.org/mailman/listinfo/netbehaviour
[NetBehaviour] Red and Blue variations
Alan Sondheim via NetBehaviour Mon, 13 Nov 2023 19:51:41 -0800
