Message-ID: <alpine.NEB.2.00.1106131223140.17299@panix3.panix.com>
From: Alan Sondheim <sondheim@panix.com>
To: Cyb <cybermind@listserv.wvu.edu>, Wryting-L <WRYTING-L@listserv.wvu.edu>
Subject: Two Long-Form Solo Pipa Studies
Date: Mon, 13 Jun 2011 12:24:38 -0400 (EDT)
Two Long-Form Solo Pipa Studies http://espdisk.com/alansondheim/thirty.mp3 thirty point five minutes http://espdisk.com/alansondheim/five.mp3 five point five minutes GINBY BY SUPARAGPRESSING THE INITIAL PART OF THE WORD, CEEDPRO TO AN PETRETITION OF REINGMAIN OUNDSSEM AD D/ITION SITIONBITION - writing on two book-marks found in A General Rhetoric by Group Mu - J. Dubois, F. Edeline, J.-M.Klinkenberg, P. Minguet, F. Pire, H. Trinon Translated by Paul B. Burrell and Edgar M. Slotkin, Johns Hopkins, 1981 NEW RHETORICAL TECHNIQUES are used in both solos, including playing between frets and tuning-pegs, overhand fretting and barring, pulling and snapping strings, running nails along the frets, and so forth. The instrument opens the creation and shattering of worlds, technique collapses and withdraws, another replaces it, memory returns sequences to broken repetition, part-objects appear in place of the fecundity and fullness of physical idealities, sounds are always already under erasure, the _thing_ continues until physical exhaustion takes over, nothing's fulfilled, the recording's one of any number of instances: if I say it's closer, you would believe me, would you believe me -