Message-ID: <Pine.NEB.4.53.0303260151550.1906@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.aol.com>,
"WRYTING-L : Writing and Theory across Disciplines" <WRYTING-L@LISTSERV.UTORONTO.CA>
Subject: Experimental Hypermultiplicity
Date: Wed, 26 Mar 2003 01:52:07 -0500 (EST)
Experimental Hypermultiplicity Anecdotal: "Surging inchoate/incoherent sound." I play Ensoniq Mirage key- board with positive organ sample as quickly as possible. The rhythm is fast and furious; the melody is absurdly simple, repeated with embellishments in C, E, C#, Bb major. Diminished chords, parallel fourths, fifths, octaves, are employed. The augmented fifth is run up and down the scale of major seconds. Speed is repeatedly doubled until it falls back, exhausted. Length of recording: 19 minutes. Commentary: While playing, each key is clarified; the melody comes through clearly, as do the numerous errors associated with the speed. I hear the individual notes; the echo is kept to a minimum. I correct errors as best as possible by absorbing them in the diminished chords. I am exhilarated. "Muscular aurality." I play at this speed by adapting potencies within the muscles themselves; the playing takes on autonomic characteristics, broken by the focus on errors. The diminished chords are correctives, bringing the muscles back into focus. "Internal time consciousness." Time slows, undeniably. I am aware of the intervals and distances between runs, the melodic timing. Result: Later, listening to the cd made from the performance. I can no longer hear the melody, the transformations. Everything surges, ruptures. The rapidity transforms into gloss, the note sequences into envelopes, the diminished chords into furious and inchoate sonorities. I am now outside of the production; from without, the originary turn or moment is lost, invisible. I have withdrawn from the sound, the music; I hear it, entirely enveloped in something else, something otherwise. The same has permanently divided. Result: Internal time consciousness is not only layered, mobile, flexed; it is tied into tacit knowledge and attending-to. A production supersedes its production; it is always that accursed share, that surplus, that both expands and withdraws the auratic. This is the sound-music of the thinking body, organ/organelle mind/minding. This is the sequence of the word in its mythopoeic primordial moment. ===