a text, July 2020.
Some parts stay. Mostly gone. Mostly scattered. Over all - some parts go. Always one, separated, not in room, widely torn. Made of wood and light.
Dim light. Ever returning dim light. Not because. Without because, without reason. No reason. Because no reason for reason to be reason.
No sleep. Yes writing. Yes for words.
yes for your existence. Always one, separated. In a room. All is in room. Metal and dim light. All is room. All in a room. Humidity in room no sleep yes write.
Write to sing sing to play play to give. Learn to recieve. Remember to happily pray. Remember hope. Remember the dim light room. Remember wood and bright light. Remember to call tree tree not wood.
Remover of hope to be removed. One is divided so all is at one inside one together separated by dim light. By the shore dim light remember to go.
All stay sometimes - ever? No. Always return. Check all in a room hope for forgetting. Let losing.
Throw. Leave becoming. Become still. Never enough is exactly how much. No sleep yes write more. Sentences pumped out of skin. Skin moving hair. Mere moving. Take open chestly. More words. Streets worse still. Way for letting way for abnormalities.
In a way. Our way is better, better still our room. In our room our room is better.
For you are helping me forget about anxiety.
Know what's big know what's small and delete the difference. Better yet let all break your heart. No plates for trees remember bows always. Bow people not strings only better yet bow yourself better still. Only still.
Aim for stillness forget how to aim. No for sleeping yes for writing words. Yes for coca cola yes for yourself. All stay better yet together depart. Yes for insanity right now to stay.
Yes for others to remain cynical. No more blood in one leg. Yes for beckett. Praise the syndicate. For autumatic writing no sleep. For uncreative writing.
Better still writing yet with love.
Express love pumped out of skin by air into room. Change humidity worse still break heart fall on water. No sleep yes for water. write water oftenly. Yes for flying by non sleeping. Yes for mik quantis flying. sleepwalking impossible. Overwhelmed better still.
All better. All in a room. All divided stay one can't go. Going worse still hurting by going way for hurting. Better still a mere way for smiling. Better still. Smiling.
Still better, getting better.
Still getting more than mere staying.
All in a room love pumped out of skin way for even better yet all in room now better. No worse no such thing for good and bad. No agreed upon way for worse still, yet, better, all the time better. All in room all the time. All is a room.
Bowing a blur to make still going up. Way for clarity. Still love pours out of body into room. Closed hearts receive a better. Extending better still to better yet.
He said: take heart. Take open chest heart will be taken better yet. Self hypnosis by no sleep yes for words again. Returning as always to stay until all must go. All can be room by all means within a room. Then all leave all high all without behind.
All behind dissolve.
Manage to learn to forget. Never forget about forgetting and stay. Mere memories better still. Don't ever make memories.
No reason still very good. Explanation never needed no action in explanation but mere worse still. No explanation much better still and forever. bowed down.
better yet bow yourself again.
Yes for strings as your body is strings. Now learn life until all is life. Room better yet life is a room and all stay never leave. It is ok to die still better. Better yet still free. mere freedom. No choice but freedom better to take heart.
Find an open chest to jump into stay in life no other option.
never remember go into forgetting intentionally better yet meaningfully still.
No sleep again but words let out all that is in room better yet: with you: better still.
On the Electric Guitar
Music That Stays, 2019
Music that stays.
Bach’s work is a type of music which does not go towards anywhere.
In a good way, that is.
An absolute pioneer of the equal temperament twelve-tone tonal system.
A body of work so precise, so specific, it is a musical and western equivalent to buddhahood.
The work is so dense, full until no space is left, and the things it is full with are all the same things!
It only takes a patient listening to a piano partita, or a few, for one to ‘see’; this is music that stays - simply exists.
That is to say - it does not exist for anything but it-self.
It does not have a propose, it is not aiming at change.
It contains change, in flat theoretical analysis, sure, but it exists outside of change; outside of the perceived reality in which change, that is - different bits of information communicated in a linear time frame - resides.
‘It’-all of Bach’s work- exists not as one, not as dual, but - as described by zen buddhism - Non-Dual. Not One, no “complete oneness” B.S., but Non-Dual. In fact - words cannot describe where or how Bach’s music exists, just like enlightenment, love, pure joy and so on, cannot be described in words - on tiny concept at a time words. It can be felt, non the less.
Bach’s music Exists.
The first out of two immense failures in which humanity sinned against Bach’s work, and by that - against itself - is the academic, flat minded, technocratic, white, supercilious, insensitive Dismemberment of the work into theoretical, linear blocks of easy-to-grasp symbols; harmony, counterpoint, themes, structures, voice leading … an attempt at understanding, at grasping why this music exists so much. why is it so much it-self, and how. an approach of “Where is the magic - let’s take it apart and find out”.
The thing is that: the white men (MEN) has yet to internalise the simple fact, by which: trying to grasp, to understand, to know, by means of analytical, superficial, surface-level tools, will only push one further and further away from the thing it-self.
The thing itself is indescribable in one-at-a-time words, in short-minded, singular concepts of understanding.
And this is because we do not experience the “thing itself” of Bach’s work through out ears or eyes, non the less by describing it.
You see, the notes - the pitches - the audible side of Bach’s work is only a footprint. we can analyze the footprint all we wan, but it will not lead us to where we can grasp the ‘it-self’ of the work - the opposite is true: the longer we analyse the footprint the more we forget the vivid feeling/sense - the true knowledge - of the thing it-self, and of that the footprint is a footprint! no more! we have been analysing Bach’s work’s footprint in these flat ways for centuries! so it is not surprising out minds get wired in such ways by the process of analysing the superficial footprint that the potentiality for the development of a mind, spirit & heart that might be able to organically ‘grasp’, or rather just- be with - the thing it-self, is moving further & further away. The more we deal with the footprint in the ways most people deal with Bach - we lose touch with the work, the thing itself, which left the footprint. we cannot grasp, using out analytical ‘mind’, the maker of the footprint. but we can, by the shedding of technocratic ways - feel the thing, be with it, receive it and from it.
The second sin, and the greater one of the two - for this sin has contributed immensely to the existence of the first - is people like Mozart (and nearly every musician to walk the earth since Bach) feeling they can still ‘get’ something out of the equal temperament twelve tone tonal system which Bach displayed in it’s purest form. The equal temperament twelve tone tonal system is not “an important part of Bach’s work”. The equal temperament twelve tone tonal system IS the footprint of Bach’s work which we perceive with our ears, it is the result, the consequence, NOT the thing.
When people like - Mozart, Beethoven, Scriabin, Debussy, Chopin, Rachmaninoff, Ives etc etc Dare to use the mis-understood material of the footprint, they take away, note by note, piece by piece, other people’s potential to “get” Bach’s music.
I was lucky no one of these characters’ music was playing at my house as a child.
It is vividly audible from each of these musician’s works that the music was created with goals. it does not expresses itself. it is a man made footprint of a creature which does not exist.
Bach’s music on the other hand, is pure representation. A thing representing itself. a shadow, a silhouette.
Yes, tonal music from these characters right down to the most commercial pop has brought joy and offered a helping hand to an enormous amount of people all over the world, but; it is clear that if western humanity would have left it’s old western ways for new ones, ones by which things are left to be themselves - all these people would not have had the need for a “helping hand” of this kind, and we would not have had people like Mozart raping a footprint.
To quote Morton Feldman - amatures/professional
Bach’s work is all connected to itself, is all the same thing over & over & over, it feels as if, when considered a body of work, it is not different from drone music.
A long, long line, somehow circling itself, too, containing al these notes & rhythms, which “end up” being just a dot. pure self. no earthly, human poiseness included.
Bach’s music stays.
It stays. It exists. It does not do anything more, and nothing less.
every attempt by a performer to “express him/herself” through dynamic and/or rhythmical ‘subtleties’ only interferes. and these are not at all subtleties, these are incredible sins.