Wednesday, January 18, 2006

"Song exists as color. That songs exist in history not to compete with other songs but to make audible the [a]symmetrical of thought, meaning sensation."

I become a tonalist on my lunch hour today. Thank you for having me.

I want to take Laura's lines in a literal direction, since I think any first attribute of a tonalism in my poetics -- any appositive principle -- would stem from a poem I wrote in 1999-2000 entitled "Color Music" [made into a chapbook by Kyle Schlesinger in Buffalo ... those were the days]. I rather like the song / music distinction because it is an appositive one. I also make songs when I'm not making "pieces" or poems.

But, dear Martian, what I do is to make things, and this making is not about new things made but about the process and its desires in achieving appositives, whose plurality entails alienating devices as much as synthesis. In other words, the music is the desire for song which is somewhat unresolved or at least infinitely mutable -- i.e., any sound I can produce and present as a thing made can be and recycled. So, synthesis doesn't merely suggest an ongoing process based in intermittent instances of unity.

Viz. apposite positions, you, said Martian, may wish to ask why this seemingly redundant process should occur at all. You may, in fact, employ a battlefield metaphor to invoke my neglect of efficacy or practicality in considering myself a maker. [Why do we assume that interstellar contexts will brook warfare at all? And we do.] Why? To participate categorically is the desire that has nothing to do with ambition. And, isn't A Tonalism emphatically post-ambition? Or, are there only a tonalists?


Blogger Phanero Noemikon said...

Arcimboldo designed a system
where colors had a specific tone..

10:29 AM  

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