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place confinement is a form of deafness

a piece addressing a residualisation of meaning as the words take on multiple forms of degradation, dismantling the symbol and observing certain irregularities, underlying nuances, and the resulting sound-image, reallocating our gaze from meaning to contour, while nevertheless morphologically evoking the words.

somewhere between sound poetry, endurance performance and quasi-aleatoric structures, this work relocates the word into the domain of a process where meaning is ‘auto-composed’ via cut-ups and playback destruction. the resultant proto-conversation materializes one of the countless other types of code accessible to us, as more visceral, and primitively shared methods of signification.

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absolved of the emotional responsibility, conventions, rules

automatically present in any rendition of

the softness of suffering.


discharged from the loose trails, animate and inanimate, motionless and soundless,

which make up this idealized respiratory column.


became finally isolated for its own sake,

responds to the original voice in each case

with attempts to effect a radical break with all continuities.

all can ring in different ways at once.


to have pushed the limits centripetally

and to have entered into the micro particulars of its range of 

convincing proof of the continuous presence of a

prosthetic sentiment.


this is often highly subtle in the shaping. 

it marks one of the earliest, successful attempts to structure a code for

being split open by another,


redistributing energy from a neutral surface holding neutral signs, into a dynamic field of found material

rescued by estrangement,

 still anchored in a theological contamination of meaning


despite the inherent harshness of the open sacrifice of meaning as a constituent.

refrain, which foregrounds us as a doomed activity from the very outset;

word persists even in the state of its own excommunication

in any case you will find that it says something and something quite definite,

but all relate to the reflex response of its unmediated vector.


they notice the shape of the room,

faintness of light, the objects.

I only notice the lacking

the frequently antithetical interconnectedness of concerns

- attempts to recover lost breath as carrier of information.

there is both a compulsion to answer and impart


the method is very simple

there is no 'movement' per se, but rather complex, often appositive

membranes, which are so weakened,

pushed back beyond the threshold of the word and letter to utterance

are only slightly less desolate,

than being aware of your physical presence.

do not abide by your decision

run the test regardless


hook the other side over an insulated nail,

assume logically that an object twice as heavy as another, would fall twice as fast.

observe the distinctiveness of that object emerging under these conditions.

If your strategy is at some point determined by repurposed infatuation

that occurs at each and every redundancy to cease,

you will decide to read or not read this instruction.

having made your decision, the happening is over.


position yourself at some distance from the piano from which you should not move.

look hard at the surrounding darkness

volunteer to have your spine removed.

the stage represents a room

each sound is produced only once.

a source of dripping water and an empty vessel are arranged so that the water falls into the vessel.

a vessel without interior relationships of form and shape or liquid is not empty.


The value of a sign is exclusively determined by its difference from other signs.

Energy splatter can be reduced by slowing down the rate of change,

Meaning is produced

by distracting everybody else from your physical presence


the audience must pass through a vestibule with a floor covered with mirrors.

which jars despite, or perhaps because of,

 how the effect is sustained over eight lines

as applying a "window" to the sound

which does not reflect or represent reality, but lies parallel to it.


the pedal is fixed in a depressed position

by applying rigorous methods of interpretation

on the act of bruising

calculating levels in terms of pressure,


this notion is now turned on its head and rotated to the left

determining the subject their prolongation,

augmented by

things which are not.


simply because assuming the primacy of the material world

from a magnetic tape with anything on it

is inescapable;

but for a system to be linear, certain relationships between the input and output must hold true.


an undefined particle content, as dictated by

the unperturbed dynamics

of an anechoic scream’s counterparts

permitted every thinned down remainder

to probe at the essence.


 yet in such a way as to leave audible

the intentional unity of symmetry breaking

 abstaining from acceptance of its being,

those who have crooked fingers

rendered a subjective deformation in response to


if I temporarily suspend my involvement

three components underlie the impossibility of a complete reduction

firstly, the traces of these dynamical marks

and the defects that have undergone melting

crumbled down to their ordered structures,

these bodies can’t be isolated

thirdly inseparable from emphatically compromising suppositions

not to distort or to blur

but to give an impression of an unavoidable passage


lf this is so

I would argue, it is not the object but the medium

that affords this restoration and breakdown

of apprehension of a being

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