[NetBehaviour] Red and Blue variations

Alan Sondheim sondheim at panix.com
Tue Nov 14 04:51:25 CET 2023

(yes, this is long, it is background and background repeated w/
different filtering, probably my most interesting playing on the
terz, also still trying to keep my head above water (including
what's left of my/our body)) -

Red and Blue variations

https://youtu.be/sdED9ARujDk video

~~ the piece repeats, lower filtering, higher filtering, I
prefer the lower to be sure, both may be played of course with a
kind of continuity, or with continuity, mostly sparse, but
working with silence, intervals, intensities, thinking through
Wittgenstein's On Certainty, for if speech harbors philosophy as
it surely does, so does this soundwork, this music, this
improvisation, this thinking over generationsand memories, not
necessarily of music itself, but of environments, envelopes,
landscapes with great distances and either dawn or dusk and
either rain or thunderstorm, tornado or hurrican, one or
another, melding, in other sounds. This is for long listening,
careful hearing or none at all, if you prefer the higher
frequencies then the second blue would be fore you; the lower,
which is mine, the first red, or the two together as background
or foreground, an hour, the exact piece with different filters,
oh, so subtle, different halls to be played within, for me, and
what does that matter, not at all, this is a formative piece,
something I've thought about for a great long time, wondering if
it would be possible, then it more or less appeared as a
possibilitiey, in melded sections, the spaces opening for me the
possibility of no-sound as primary, thinking of Dogen and the
moon, typing yet again with eyes shut, the hhum of the computer
cooler as it processes the sound and image, and then with
Wittgenstein, considering the interval, and what might occur at
the begining or ending if there are such, how the world divides
if it does, atmospheric resonances of sound, light, air,
chemistries, patterns of thinking, offering sentences, refining
or withdrawing them, displacing the phrases, always what is
exact when the words are placed in the page, the sounds are
placed in the air, not placed really, as if they were, they
were, always there, always almost columnar supporting
themslevss, that is not columnar at all, support from no
directionm, support from every direction, frm the manifold of
directions, itnerrieorities and exteriorities indistiinct, the
fingers now faltering on the keyboard, working through the
middle of the night careful delineationsm,, waves, as if there
were meanings and linkages of meanings: all words are sound, all
notes are words: all intervals are barriers and always already
open; all doors are intervalsd, always and already intervals;
one never tells one from the other, the other from the one -
circulations of imaginary numbers - one is always breathing one
might presume, the breathing of the water, inflow and outflow,
sentences ruptured by the presence of verbs and nouns,
adjectives and adverbs, always forgotten paving the way, some
water, slow insistence on through ~~~

~~~ 1917 Martin Terz guitar ~~~

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