Heart Play

"Words don't go there: this implies a difference between words and sounds; it suggests that words are somehow constrained by their implicit reduction to the meanings they carry-meanings inadequate to or detached from the objects or states of affairs they would envelop. What's also implied is an absence of inflection; a loss of mobility, slippage, bend; a missing accent or affect; the impossibility of a slur or crack and the excess-rather than loss-of meaning they imply."

"but an improvisation (anarchic) of those principles that sees through infinite divisibilities and irreducible singularities, sites of communications never to be received, rites of affliction, tragedies, bodily divisions, spatial/social arrangements that constitute a kind of philosophical writing enacted and reenacted in the annular rememberment and dismemberment of community, nation and race, the imposition and maintenance of hierarchical relations within these units, the vexed and impossible task of a reconciliation of one and many via representation: Here it is if I could work through expressive singularity, the im/possibility of direct communication, the ideas of writing as visible speech and writing as independent of speech. Here it is if idiom becomes the site where an improvisation of/through these might occur: not in the name of an originary creativity or a grounded and telic liberty, but of a free, which is to say anarchic and atelic, generativity; a reconceptualization or out-from-outside reinstrumentalization of idiom that allows an improvisation through rather than a deconstructive oscillation within the aporia of philosophy."(UbuWeb |Sound in Florescence: Cecil Taylor's Floating Garden | Fred Moten |From Sound States, edited by Adalaide Morris, University of North Carolina Press, 1997)

:: note :: . . . yes UbuWeb is dead . . . some Papers live . . .