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.
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
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,
things which are not.
simply because assuming the primacy of the material world
from a magnetic tape with anything on it
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