opens out into Gavin Osborn
(some mapless territories in memoriam Robin Blaser)
touch: tangibility, physicality:
- Cecilia Vicuña’s ‘listening with the fingertips’: the physical tangibility of playing: touch, breath
- the imagined sensory nature of sound: textural, spatial, timbral
- the actual physical nature of sound: Whalen's ‘just compressed air flapping my eardrums’
also: the poems & poetics of Robin Blaser: the ‘serial’ poem:
‘a carmen perpetuum, a continuous song in which the fragmented subject matter is only apparently disconnected...’
‘a narrative which refuses to adopt an imposed story line, and completes itself only in the sequence of poems, if, in fact, a reader insists upon a definition of completion which is separate from the activity of the poems themselves'
'it's as if you go into a dark room, the light is turned on for a minute, then it's turned off again, and then you go into a different room where a light is turned on and off....'
the idea of ‘a sequence of energies’, which
‘may involve all kinds of things….a sound […] may completely reshape the present moment…’
a 'real meeting with real elements':
‘The body hears the world, and the power of the earth over the body […] is in terms of rhythms, meters, phrasing […] the body’s own rhythms compose those […] The music of the spheres is quite real, but the sound of the earth must meet it.’
(all quotes from The Fire, in The Fire: Collected Essays of Robin Blaser,
© 2006 University of California Press, used with permission)