Theory and Play of the Duende
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this is my satie answer track using this version i saw posted by ubuweb this morning. (Pièces pour Guitare
Played by Pierre Laniau)
First (of Four) Gnossiennes (this this version)
used a little tiny sennheiser lapel mic because i couldn't find my/the powercord for my/the phantom box for my/the 414. yo. too much reverb ? too soon ?
for the straight way
was lost
ah how hard to say
how hard to say
what a harsh
thing it was
that wood savage (&) rough & hard
that to think about it renews the fear !
In the middle of the journey of our life
I found myself in a dark wood,
for the straight way was lost.
In the middle of the journey of our life
I found myself astray in a dark wood
where the straight road had been lost sight of.
...so full was I of slumber at that point where I abandoned the true way.
Dark, profound it was, and cloudy, so that though I fixed my sight on the bottom I did not discern anything there.
Translation: Consider well the seed that gave you birth: you were not made to live your lives as brutes, but to be followers of virtue and knowledge.
In the middle of the road of my life I awoke in a dark wood where the true way was wholly lost.
I awoke in a dark wood where the true way was wholly lost.
merton:
In Louisville, at the corner of Fourth and Walnut, in the center of the shopping district, I was suddenly overwhelmed with the realization that I loved all these people, that they were mine and I theirs, that we could not be alien to one another even though we were total strangers. It was like waking from a dream of separateness, of spurious self-isolation in a special world, the world of renunciation and supposed holiness. The whole illusion of a separate holy existence is a dream. Not that I question the reality of my vocation, or of my monastic life: but the conception of “separation from the world” that we have in the monastery too easily presents itself as a complete illusion …We are in the same world as everybody else, the world of the bomb, the world of race hatred, the world of technology, the world of mass media, big business, revolution, and all the rest …This sense of liberation from an illusory difference was such a relief and such a joy to me that I almost laughed out loud …To think that for sixteen or seventeen years I have been taking seriously this pure illusion that is implicit in so much of our monastic thinking … I have the immense joy of being man, a member of a race in which God Himself became incarnate. As if the sorrows and stupidities of the human condition could overwhelm me, now I realize what we all are. And if only everybody could realize this! But it cannot be explained. There is no way of telling people that they are all walking around shining like the sun…”
Eliot had found that, with Dante and "with several other poets in languages in which [he] was unskilled," this sense of having got something from a poem before really understanding it was not fanciful. When he verified such experiences on fuller knowledge, he found that "They were not due . . . to misunderstanding the passage, or to reading into it something not there, or to accidental sentimental evocations out of my own past. The impression was new, and of, I believe, the objective 'poetic emotion'."
This perhaps fanciful idea was immensely influential, and beneficial. It encouraged the writer to give Dante a go in the original, and to look to him as a model. When we come upon a superb Dantescan passage in a subsequent poet, pre-eminently of course in Seamus Heaney, what we are very likely to be witnessing is the influence of Eliot.
Nobody talks back to Pound in his 'Hell' cantos, any more than a symptom talks back to a diagnostician; nobody but Pound talks at all."
Lay down all hope, you who go in by me." As the It
"Through me the way is to the city dolent;/ through me the way is to the eternal dole;/ through me the way is to the people lost.")
Sayers "does the best in at least partially preserving the hendecasyllables and the rhyme."[10]
Hotel Dante at Nice 2 stars, Téléphone, télévision, Ascenseur, Service en chambre, organisations d'excursions,
hotel dante nice 2 stars
telephone
television
ascenseur
in the middle of my life
i woke up
and found myself on the stairs
looking through the window
at the stars
what gets added
verything has been said but it hasn’t been said by you (whoever you are). And if you can find a way to speak that is inimitably yours, then you have a chance to add to the legacy of utterance about common issues. That’s where invention comes in. And imagination. And formal innovation.
rhyme) for terza rima. And I’m thinking about memoir. I’m reading memoirs
A: A forest. And four mountains.
i got nothing to say
loud
this boiled lance
these eggs
these magic 8 balls
spicy dipping sauce
this trip
tick tick tick
(I don't know when reading slid over into wanting to be a writer. There was the love river)
about Roland Barthes's ideas of punctum and studium. It took me years.
"I have had to learn the simplest things/last. Which made for difficulties." That's enough said.
o: chuck sees a place where he might snorkel
ometimes out of the great silence into which those things were sent, there m
come back a small yes.
y nature very persiste
o I think for me the quest
ould keep growing as a w
isk of getting stuc
k with what b
art of the pleas
re I take in makin
lures will push me toward somet
ours in the da
now how so
lmost magicall
ductive.
ccomplishe
many things. V
many things. V
many things. V
many things. V
many things. V
ont
mendous amo
me so w
mmer, or un
teal a few minu
erwise ful
me. And most oft
hich is a chan
longhand whil
tting on a chair and then go to the c
vision stage, pick up a pen or a p
feel lucky if I've found tim
hind a barely-open door.
eone is using language in an inter
ore than jus
ould read a daily new
empt you fro
en quite muddl
tiple interr
lace - tic
timately engag
ow do you see yoursel
vet backdrop?
always music b
ays someone in char
ppose there also has to be a dramat
lay that rol
ly on the wal
ally. (Presu
watch a pla
nfold in fro
roles, I stay very
fines of the poem. Rega
ding alchemy, I
elf as an alch
mist beca
se my fram
ely goes back pas
ver lon
ore then.
ou talk a little abo
hat went o
aking la
ou see as its main con
ept shifting its focus as I wro
ard and fas
reak with the bleak landscap
ll and the backdrop rarel
stage set (one that was new re
hich the speake
forming). And for the new poem, I cast C
vested in persona. I put her in
ticulars of the oyst
which doctor's off
I only remember the ar
reet
key chain.
That's how
bet seemed to provide that sort of lat
pproaching and retreati
vexing ques
te mirror-pla
ception and ti
ye. Do you view time
cern with time is often present
inged to many other conce
ow the brain wor
ow one cons
elf, how one cont
tial alon
ness. Aesthetically, I fe
'm always trying to lessen the terrible weight of these questions--through hum
rrative disjun
llusion.
our books in revers
olf, a voice app
mmenting wo
ear the wol
). Would you comme
cross boo
ason is simple: There is one cont
rating the text. At some point it beg
tend that
tten by someone who hadn't writt
ppose it breaks the illu
delicate imagine
tition that divid
I don't mind that. Man
hers before me have broke
selor in my poems. Like real
here's danger.
ine per boo
tinuously falls off the pages; it's only when t
gether to creat
ff the page and onto the edge. That desig
our expectati
here text belon
ow we re
ink there would b
ould be excit
lish and weavin
initial imp
hink in larg
terrogate the ide
ext sound like today's
ary ear so
levated and arch
tin, one could make a stron
ting the tone low
o longer use signal fir
ssages across distanc
press the notion of "fa
rrow"--at the very least, if we want
ponry, we might say "faste
llet"--a phrase we've inherited from po
res became Klieg search
read it as if the past seven hundred years had never happe
I was brought back to the I
ving firs
vall called "Via (4
irst terce
isms or synta
rrangements that gestur
ast. I thought
ad and enj
airly elabora
ergy. I've writt
ing forward to writing more. And to seein
tten might talk back and fort
o one another. In the o
ff moments, I think about
best way to say
about that. I'm always askin
007 Preface by Michael Nyman.
009 Part 1: American Minimal Music.
019 La Monte Young.
035 Terry Riley.
047 Steve Reich.
067 Philip Glass.
087 Basic Concepts of Minimal Music.
093 Part 2: The Historical Development of Basic Concepts.
096 Arnold Schoenberg.
099 Webern and Post-serialism.
101 Stockhausen.
104 John Cage.
111 Part 3: Ideology.
114 T W Adorno.
118 Libidinal Philosophy.
126 Bibliography.
128 Acknowledgments.
Total Pages 128.
this seems to be out of print as far as i can tell . . .
