(another sonic tendency towards cuffing, edging towards pocketing and folding (around) --- in tangent with earlier posts).

 no more writing on or about -- all that rambles already said in the saying of previous jelly-fish related tangents.


…..I'm interested in the capacity of what each melody/note/instrument can do, curves (more) sharply felt with/into/outside another--- "more-than", with each additive instrument. it's not a mere layering. its not a questions of a stack giving more options.  it feels more like a stack by 3 minutes in. but before that, in the begining, it feels as curves with elasticity and elastically felt potential//

elastic elastic elastic…..weee and the curve cuff fold and fold. pleet pleet.


maybe (thinking with double-articulations --- and the eddying around of what cuffs seem to capacitate….

here is the more-than lint to think with.

[…]

….a movement of intervals, rather then the a displacement of signs and musical/instrumental blocks.

..Shutters shut and open so do queens. Shutters shut and shutters and so

shutters shut and shutters and so and so shutters and so shutters shut and

so shutters shut and shutters and so. And so shutters shut and so and also.

And also and so and so and also.

Exact resemblance. To exact resemblance the exact resemblance as exact

as a resemblance, exactly as resembling, exactly resembling, exactly in

resemblance exactly a resemblance, exactly and resemblance. For this is so.

Because.

Now actively repeat at all, now actively repeat at all, now actively repeat

at all.

Have hold and hear, actively repeat at all... (Stein "If I told him: A Completed Portrait of Picasso" 1924)

…...Rhythm allows us to feel the relational movement of the interval. For example, to sense a rhythm is to already hear the next beat ; "to hear the rhythm is to be in the middle of it, hearing its history at each moment, hearing at once the beats that came before and the beats that are still to come" (Evans "Sound Ideas" 37.8). Consequently the sensing bodies 'become' the rhythm of poems like *IITH through their experience of present phrasings implicated by immediate past experiences, which are implicating future prehended experiences. For example when "shutters shut and shutters and so shutters..." in IITH, we sense the intensity of an opening, an opportunity to territorialize the language within a meaning native to our subjective plane. However as we are poised to move forward, recomposing ourselves with the configuring forces of the poem, the interval is shifted once more and the relation in language is changed. For a moment we are held in a state of infinite potentiality as our movement with this changing relation has not yet come, and the past movement of language-relation passes (Manning "Elasticity" 4). And then, "when the movement begins to fold into another movement, the elasticity takes form, opening the movement to its inevitable deformation" (7).

tendencies towards cuffing, and/or cuff capacitated movements, seem to be more palpable… their edging into and edge making a difference felt more palpably (maybe?) through that double articulation and the surplus of eddy that ?discharges? its movement towards another (another fold? another capacity? another 'outside' and outside-inside).

I don't know.

now to sleep now. and to sleep. and to sleep, and



*IITH: Stein, If I told him: A Completed Portrait of Picasso" 1924


…

but also:

again. like the Fahey example I posted earlier and with proper explanation and context…. I'm reposting with this andrew bird piece for counter-point::: 

it's not so much the notes/melody, but the 'how' of the plucking. the strum and sharp pull up. something in that feels like a (tendency towards) cuffing. the Fahey piece had a wiggle as the note was held. this piece is how the finger pull up and off. 




but with this bird piece it then edges (at the end) towards the reverb, the pocketing around, like the "I am sitting in a room piece" that cuffs into the technological edge of its recording medium.

too many tangents.