8.29.2011

when one reads a book/movie there are almost always poems, stories, passages, that fall flat / don't move one (this leads one to think this portion is "less fine" or even "bad"). One starts skimming or skipping to the sympathetic works or areas.

Usually the thing under perusal is ordered such that the good stuff is first and last OR that once one wades in (after introductory material / set up), one adjusts to the water temperature, i.e., the world sets up and starts to progress.

An exception was a very bad movie I saw that demonstrated a pattern of bad movies wherein the experience began in medias res, but then the flashback that followed was merely repetitive.

Can you tell I've been reading James?

In any case, continuing: Neal Skowbo pointed out the same characteristic in my first book to be published, DaDaDa. In that work, he noted the first piece was like a wall/barrier. That was every first and last word of the Norton Anthology -- it ended up to key into some autobiographical touchstones as well as to serve as an homage to James Joyce's ULYSSES, a book Neal Skowbo gave to me --

These are thoughts from Brian Massumi, quoted through notes on translation of Deleuze & Guittari and a book about music and obviously Walter Benjamin. The reaminder of the documentary text or apparatus -- the intro -- is questionable. We have and do query recorded performance vs. live play (and recorded live play is another case).

We ourselves do this questioning more strongly and popularly -- firstly? -- than other composition/performance acts, and this habit is embedded in process vs. craft & inspiration in composition, and form/content/facility in perFORMance.