There are a couple basic strains of sound workings that have come together over the past several years. In one strain, I’ve recorded and amplified the pen scratch noises made while composing drawings that, by and large push towards what I’d describe as a feel for writing, that stops short of development into a formation or communication of thoughts through written media. When cut together with sounds that would classify, according to convention, as music, there is an aim for generative interruption between them. What I could maybe call a Baroque Intra-Interruption. Another strain of the sound workings bases itself on a congruent principle, where speech and music are set upon one another, in such manner that, in some cases (as with the (((William Blake Ode))), they mutate one another.

Or in others, one might say infect one another – as exampled in this selection by the passages involving some William Gibson audio book recordings, played at high volume with a music track, such that, with straightforward manipulations of the EQ, they together saturate and overwhelm the guitar amplifier I was playing them through. What I was after were moments where they begin to hesitate, wobble, toggle between and oscillate atop one another – overtaking, by turns, what maybe we could describe as the amplifier’s “attention.” If I were to storify this process in terms of an idea, it is as if sound were to be vaccinated against musical meaning, or language cured of itself with an inoculation of music. Or both be mutated into a communication that has begun to spin its own narrative – above and beyond the human perspective engendered by the human music and language inputs, from which there has been an attempt to recover from human fiction sound as an independent agent.

The audio is composed of speech/music workings and the recording from a poetry reading by Roger van Voorhees at Tonus in Paris on May 11, 2024 from the publication “If with Insistence on the Tension Gravity as Intercessor a Future Interject” published by Bauer Verlag in May 2024 in conjunction with Program – 23.