[NetBehaviour] tabla, madal, adjacency

Alan Sondheim sondheim at panix.com
Tue Aug 30 16:04:40 CEST 2022

tabla, madal, adjacency


old tabla purchased in North Carolina, possibly brought back
from Afghanistan. madal from a flea market in Rhode Island.
When I listen to a well-composed solo, there are resonant long
sections redolent with quotations and long dynamic structures.
my music is more nervous, constantly changing - switching* -
constantly the same. it goes nowhere and everywhere at once.
sections are adjacent to sections for no apparent reason, no
coherency; everything is imminent, not immanent. for many,
the immediacy is awful, scrap-heap; for me, it's what I do.
it's more like fissures than inscriptions - not connected
skeins, but rather breaking, as if the sound were controlled
by a deficit of attention. things aren't continuous, but the
haptic dominates, skittering. nothing is built, nothing taken
away, taken down, destroyed, constructed. it's blood-flow, it
could be of any length, it just stops. it;;;;;. senseless
caesura, the world is senseless, we're all on pause.



Alan Dojoji: caesura

your golden voice, the pause in the middle of a word, eyes
wide open a long day tomorrow and after a long pause after
carrying on so someone find planet there long day tomorrow
pause carrying so the car where is it - lurid objects pause
then something dark remarks purposes. The pose is the ridge or
hinge of movement, the pause designated - distribution. The
pause ensures the viewer that the body is not the locus. Every
pause is a pose, every pose a pause, both

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dsgdgdgdjjjjjjjkkklll;;;;;''ATE1Q0V1X4? sounds that seem
sense;;;;; dsgdgdgdjjjjjjjkkklll;;;;;''ATE1Q0V1X4 ries is ,
030], dsgdgdgdjjjjjjjkkklll;;;;;''ATE1Q0V1X4? (b*c)^(k*d*e) a
dsgdgdgdjjjjjjjkkklll;;;;;''ATE1Q0V1X4 cries is , 030],
dsgdgdgdjjjjjjjkkklll;;;;;''ATE1Q0V1X4 cries is , 030],
dsgdgdgdjjjjjjjkkklll;;;;;''ATE1Q0V1X4? (b*c)^(k*d*e) a


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