i heard the first cicadas tonight. and quickly ordered my skin so soft expedition super duper ultimate mosquito & tick repellent spray.

i love north carolina. i hate the HUGE ASS BUGS.

if those weren't cicadas... then the house across the street has a live wire.

Sound mass

From Wikipedia, the free encyclopedia

In contrast to more traditional musical textures, sound mass composition "minimizes the importance of individual pitches in preference for texture, timbre, and dynamics as primary shapers of gesture and impact." Developed from the modernist tone clusters and spread to orchestral writing by the late 1950s and 1960s, sound-mass "obscures the boundary between sound and noise." (Edwards 2001, p.326-327)
Techniques which may create or be used with sound mass include extended techniques such as muted brass or strings, flutter tonguing, wide vibrato, extreme ranges, and glissandos. Composers and works include Barbara Kolb, Pauline Oliveros' Sound Patterns for chorus (1961), Norma Beecroft's From Dreams of Brass for chorus (1963–1964), and Nancy Van de Vate. Beecroft "blurs individual pitches in favor of a collective timbre through the use of vocal and instrumental clusters, choral speech, narrator, and a wash of sounds from an electronic tape." (ibid)
An earlier example is the third movement of Ruth Crawford Seeger's String Quartet 1931 (Nonesuch H-71280) while more recently Phill Niblock's multiple drone based music serves as an example. The use of "chords approaching timbres" begins with Debussy and Edgard Varèse often carefully scored individual instrumental parts so that they would fuse into one ensemble timbre or sound mass (Erickson 1975, p.18 and 21).
Other examples include European "textural" compositions of the sixties such as Krzysztof Penderecki's Threnody to the Victims of Hiroshima (1959) and György Ligeti's works featuring micropolyphony in works like Atmosphères (1961) and his Requiem (1963-65). Also mentionable are Iannis Xenakis' orchestral works such as Metastasis or Pithoprakta. Other works include composers such as Witold Lutosławski, Karel Husa, Kazimierz Serocki, Tadeusz Baird, Henryk Górecki, Martin Bresnick, Steven Stucky. Sound mass techniques also appear in the music of George Crumb. ([1])
[edit]Sources

damn it.

chris is tearing my theory apart again.

i'm very excited because i was right. i'm right.

SOUND does have mass.


see... the equal sign does not only mean it moves across... it means it IS.

E=mc2

Energy = mass * celerity^2

energy is a different sort of mass.

sound is energy.

sound is diffuse mass.

AHA!

that's right.

so there.

TIRED OF BEING LAST ON THE SMOKY, NOISY FREIGHT TRAIN, KATY CABOOSE WISHES FOR SOME WAY TO ESCAPE FROM THE ENDLESS TRACK.

RIGHT NEW BIOLOGY on AMAZON

i have a bit o' heatstroke.

i really don't like it. it is uncomfortable.

i fell in love with Sofia Gubaidulina's String Quartet 1 today.

i'm trying to find a copy of a book by Fred Lerdahl, but, it isn't at any public library in town. maybe have to beg my Duke friends to check it out for me.

but, really. i don't feel good. too much running. too much cycling. too much sun yesterday.

"I feel the heat of rebellion rising in even the slightest souls, and i suspect that even those who have believed in me until now will not want to accept the necessity of this development." Schoenberg re: the Second Quartet

you know

it isn't so strange to think of words as having mass...

"the weight of words"

"weighing my words"

but, sound, too, is different



i'm very close to my latest theory regarding the US and sound and mass and psychotherapy and pathology

very close

writing some

but, mostly... tired

today will be my 6th day of cardio [intense] in a row after three weeks off from injury

running, cycling, running, cycling, lifting, basketball, volunteering, balloons, nap... 

reading

mostly, i'm in training again and looking for the balance between body and brain.

so, i got to run today. and i read tonight. and i drank some.

but, the coolest part is...

so, if sound actually did have mass... 

i know, i know, i know

but, if it DID have mass

think of what you'd build.

what have you built?

with yr sounds?

and pronunciation matters. enunciation, articulation, utterance... it MATTERS

it is matter

what if it had mass?

i wish i had the patience to write science fiction...

i'm cleared to RUN.

and, my doctor thinks i can still run the race next weekend... so...

training time.

i spent most of the day, at work, but, while working, thinking about mass and celerity. 

and, yes, dark city and romanticism.

i'm reading the rest is noise... a great book.

i'm thinking::

sound can break glass.

sound has mass.

i'm a poet, not a scientist.

but, sound must have mass.

yes?

north carolina poetry readings....

the new Triangulations site gives you the lo-down on where to see poetries

three lucis in one zine : evie shockley, jon leon, and [yes] me : http://www.lapetitezine.org/

the reading was so great.

gosh, i mean... just lyrically intense and beautiful and... so... happiness inducing.

we are really lucky to live in this triangle of arts and have people visit us that are so awesome.

laynie is just, so good. she really has an amazing command of vocabulary... and the way she experiences the world, or--- the way the poems she writes experience the world...  

what is the word?

so perceptive. so smart. so... word-based... but, sound really...

ah, i mean...

all her senses seem to be attuned to poetry.

and joe, i mean. joe's work is filled with these moments and turns that are so unexpected but comfortable because his reading is so seductive... 

and dianne's debut was stellar. especially when she read her longer piece, history of fire. she's such a good reader and her language is so compelling -- part modern story-teller, part parable...

and then on the page... all... removals//erasures// turns

happy happy happy days

now, poetry at home & Duke basketball!

TOMORROW AT 8pm --e-mail for location!

hosted by kathryn l. pringle & Chris Vitiello guest hosts while Maggie is on tour!

MINOR AMERICAN presents.....

Laynie Browne is the author of seven collections of poetry and one novel. Her most recent publications include The Scented Fox, (Wave Books 2007), Daily Sonnets (Counterpath Books, 2007) and Drawing of a Swan Before Memory, (University of Georgia Press, 2005). Of Daily Sonnets Ron Silliman writes: “It’s a stunner and a delight. A pure dose of heady oxygen” and “. . . an icon for the generation of poets who are about to show up.” Heir eighth collection, Roseate, Points of Gold, is forthcoming from Dusie Books in 2009. Her honors include: winner of the National Poetry Series, of the Contemporary Poetry Series, two Gertrude Stein Awards for Innovative American Poetry, and a recent Pushcart Nomination. Her work has been anthologized recently in Not For Mothers Only (Fence Books), Wreckage of Reason, An anthology of Contemporary Xxperimental Prose by Women Writers, (Spuytenduyvil), and in The Reality Street Book of Sonnets (Reality Street Edititions, U.K.). With others she helped to co-curate various reading series including the Ear Inn reading series in New York, the Subtext Series in Seattle, and now as part of the POG reading series Tucson Arizona. She has taught creative writing at The University of Washington, Bothell, at Mills College in Oakland and at the Poetry Center at the University of Arizona, where she is currently developing a new a poetry-in-the-schools program for K-5 schools.

Joseph Donahue's most recent publication is Terra Lucida, from Talisman House.
Previous books include Incidental Eclipse, World Well Broken, and Before
Creation. He lives in Durham, North Carolina.

Dianne Timblin was once a secret Cub Scout. She has also fallen into an orchestra pit, landing on the oboist just before the close of the first act of The Pirates of Penzance. She has captured a snake in her house, has been dumped on her birthday, and has enjoyed a long addiction to the misuse of sticky notes. She agrees with Mina Loy that one's whole life is one's poem. She rather enjoys the third person except when watching sports interviews. She went to poetry college at George Mason University and her poems have appeared in or are forthcoming from Phoebe, So to Speak, Rivendell,minor/american, Foursquare, Fanzine, and others.
--

and rain, all weekend...

Today

77° | 43°

Thursday

49° | 34°

Friday

38° | 36°

Saturday

45° | 36°

Sunday

50° | 38°

aha

the podiatrist said

i'm not injured... REALLY... i'm sore.

my left foot has misaligned metatarsals.... from BIRTH.

i have a birth defect.

just have to get a special insert and i'll be back to running...

and, hopefully, this solves all the injury crap [which is always in my left leg....]

hmn...

i'm reading Kate Schapira, Kaia Sand and Hopkins tonight

writing the novel
and the poetry ms

and drinking coffee

i got a beat up faded glider for my small front porch...

so comfortable [it was free on freecycle!]

and i can read outside with bear on the porch and jack in my lap.

good, southern, times!

ps--

i'm not a bird. not large. not small. not a bird at all.

i have been in perpetual prosody for two weeks.

i am writing two books and reading 5 books.

i woke up thinking about echolocation and psychotherapy. how some of us need to sound off in order to place ourSELVES.

i also had a dream that i was a bird. a very large bird with the power to heal others by absorbing their diseases.

so, i totally missed the whole spring ahead. don't have clocks in my house. just my cell and some watches i wear for running, or work... so... when Bear Dog woke me up this morning and it was 7:30, my first thought was, "he let me sleep in an hour." and my next thought was, "huh, it is dark for 7:30..."

and then went all day, not realizing i lost an hour.

until i put my watch on to go to see the show and i was like, "huh... my watch says 5. huh."

Tanya had to explain.

i thought we sprung ahead tonight after midnight.

o well. guess i can't complain.
and,

this is ridiculous:

i have free tickets for tonight's performance of Jesus Christ Superstar w/ Ted Neely.

and you know what?


I'M DAMN HAPPY ABOUT THAT.

i love the movie.

my foot is killing me.

i'm reading Hopkins, the Poems of [all of them] and many other things...

sleeping a lot, too.

by Gerard Manley Hopkins [as a part of learning of echoes]

THE LEADEN ECHO

How to kéep—is there ány any, is there none such, nowhere known some, bow or brooch or braid or brace, láce, latch or catch or key to keep
Back beauty, keep it, beauty, beauty, beauty, ... from vanishing away?
Ó is there no frowning of these wrinkles, rankéd wrinkles deep,
Dówn? no waving off of these most mournful messengers, still messengers, sad and stealing messengers of grey?
No there ’s none, there ’s none, O no there ’s none,
Nor can you long be, what you now are, called fair,
Do what you may do, what, do what you may,
And wisdom is early to despair:
Be beginning; since, no, nothing can be done
To keep at bay
Age and age’s evils, hoar hair,
Ruck and wrinkle, drooping, dying, death’s worst, winding sheets, tombs and worms and tumbling to decay;
So be beginning, be beginning to despair.
O there ’s none; no no no there ’s none:
Be beginning to despair, to despair,
Despair, despair, despair, despair.


THE GOLDEN ECHO

Spare!
There ís one, yes I have one (Hush there!);
Only not within seeing of the sun,
Not within the singeing of the strong sun,
Tall sun’s tingeing, or treacherous the tainting of the earth’s air,
Somewhere elsewhere there is ah well where! one,
Oné. Yes I can tell such a key, I do know such a place,
Where whatever’s prized and passes of us, everything that ’s fresh and fast flying of us, seems to us sweet of us and swiftly away with, done away with, undone,
Undone, done with, soon done with, and yet dearly and dangerously sweet
Of us, the wimpled-water-dimpled, not-by-morning-matchèd face,
The flower of beauty, fleece of beauty, too too apt to, ah! to fleet,
Never fleets móre, fastened with the tenderest truth
To its own best being and its loveliness of youth: it is an everlastingness of, O it is an all youth!
Come then, your ways and airs and looks, locks, maiden gear, gallantry and gaiety and grace,
Winning ways, airs innocent, maiden manners, sweet looks, loose locks, long locks, lovelocks, gaygear, going gallant, girlgrace—
Resign them, sign them, seal them, send them, motion them with breath,
And with sighs soaring, soaring síghs deliver
Them; beauty-in-the-ghost, deliver it, early now, long before death
Give beauty back, beauty, beauty, beauty, back to God, beauty’s self and beauty’s giver.
See; not a hair is, not an eyelash, not the least lash lost; every hair
Is, hair of the head, numbered.
Nay, what we had lighthanded left in surly the mere mould
Will have waked and have waxed and have walked with the wind what while we slept,
This side, that side hurling a heavyheaded hundredfold
What while we, while we slumbered.
O then, weary then why should we tread? O why are we so haggard at the heart, so care-coiled, care-killed, so fagged, so fashed, so cogged, so cumbered,
When the thing we freely fórfeit is kept with fonder a care,
Fonder a care kept than we could have kept it, kept
Far with fonder a care (and we, we should have lost it) finer, fonder
A care kept.—Where kept? Do but tell us where kept, where.—
Yonder.—What high as that! We follow, now we follow.—
Yonder, yes yonder, yonder,
Yonder.

"Poetry is in fact speech only employed to carry the inscape of speech for the inscape's sake--and therefore the inscape must be dwelt on."

Gerard Manley Hopkins

i am thinking about phonemes and worlds on my other blog.

i am looking for a sound file of Tracie Morris's

the Mrs. gets her ass kicked

any ideas?

i am writing to Einstein.

i am writing a love letter to Einstein.

i am writing a love letter for someone else to Einstein.

Einstein is my music.

Einstein is my music.

Einstein is my taxonomic tuning.

***

enough with that.

my foot is STILL, yep, SCREWED and that means, YEP, fracture! and effING ASPHALT's-faults.

sigh.

o,

time will BEND, my friends.

two things:

Cadbury Eggs are irresistible

Tater tots, too.

my foot is still messed up
and it is messing up my back some.

i'm reading
something special

and also....

waiting for maggie and conrad to drop by with my doggies before they head out on their road trip!

although, i am quite excited to spend time with my pups... having a hurt foot makes walking them difficult... as does the recent snow.

"Font-voices summon a reader into visible earshot."

Susan Howe, Souls of the Labadie Tract


i wish i had read this book BEFORE my discussions with Susan Howe these past few days. i'm still in the process of reading this, but, right away, in her introduction i understand more about why she said

"it's in the structure of the spelled words of that period."

she also said:

"I usually have some introduction which may be some form of cowardice"

and

"on the page your ear is your eye"

i want to put some of what i think on this blog, but mostly for these discussions, i will post on the private version.

i feel so many years passed my education that i don't recall the basic tenets of most critical thought. maybe i should correct that and say... i don't know that i can recall them in a way that makes me feel comfortable [ie, CORRECTLY! lol]

again i find myself meditating on space and articulation. how utterance -- the acoustics of utterance -- can impact // impress // form matter.

i may have to research religion on this...


i mean more the sound carving out, building space than space building / sounding out....

suggestions?

to be quite frank...

i have so many books that i'm excited about reading, i feel paralyzed.

dear :: END PUNKTURE :: readers--

i have decided to have a public and a private blog.
WOOT

there is some exploring in poetics i'd like to do privately...

this blog has been listed too often as a means of contacting me [in the papers and etc] and i am, at heart, a fairly private person who would like to have some poetics discussions and fumblings and mistakes made... in relative safety.

if you would like to be invited to read:

::END PUNKTURE::
TRAUMENSTELLUNG


shoot me an e-mail:
kathrynlpringle@yahoo.com

thanks!

here's my first installment, quickly, as i need sustenance!

i have been thinking a lot about architecture and archiTEXTure [this includes acoustics] and exploring that in my work, so i was especially excited that Renee Gladman opened the conference by introducing this idea of writing the city and walking through that space and its effects.

when i read in SF a student came up to me after she bought my book and was surprised to see all the capitalization in the work. she said that she always read capitals as yelling.

but, for me, words are structures. they are physical buildings. the caps mean SKYSCRAPER and INSTITUTION.

Renee also spoke a lot about the inability of narrative prose to make way for UTTERANCE in the Cecil Taylor sense... which i have thought a lot about and asked her about, too, last night, trying to figure out if a/ she really believed that narrative prose cannot do and b/ if that was what drove her to continue working in that mode

i didn't get a clear sense of how she felt, but, i continue to strive towards an articulation of utterance that can make way on the page, as well as in the ear and vocal cords....

i asked a lot of questions of cecilia and myung about echo and their articulations of architecture [on the page as well as in utterance] and how that connected to the body and identity.... i have this obsession with sound being able to alter /// adjust /// create /// manifest /// [upon//to] MATTER.... and was interested in both their answers [which i will get into in my second installment].

i also brought up echo and einstein and how he thought of time as being an echo, a continual presencing.

i didn't get to my questions about containment, but i think perhaps they were addressed anyway.


then, for eileen and susan, who were both so quotable.... we again got into matter and sound... because susan said "it's in the structure of the spelled words of that period" regard Lake George, i believe, and the violence that occurred in that area over history. i asked her to elaborate on that, and she spoke at length....which i, again, need to process, [and please do not take these as she exactly said this, etc, because i'm mostly conveying my singular experience and interests... i made sure to HOG as much of their time as i could and ask as many questions as i could get away with for my own practice of poetry!].... and eileen, too, spoke of sounds [poems] manifesting in people and then, imprinting the landscape, and [i get the feeling, had it before, and was delighted to have come back to me out of the mouths of my heros, vice versa!]


i am still processing this morning and last night, but,

david, dianne, tanya, maggie, patrick, joe, eden, and more all floated out our best reads for the wonderful audience that did stick around

o, ps

my obsession with utterance and matter was born when i studied British Romanticism as an undergrad and the film, Dark City, as a part of that class. in Dark City, aliens [and this is what i immediately thought about when Christian Bök spoke of his extremophile poem] structure a city in the a world that is only a city AS WELL AS control identity.

this, coupled with Romanticism [Shelley and Byron, but also, and of course Blake!] has really been a major influence on my lifelong project of writing about identity as formed by the USA ['s landscape, structures, infrastructures].