Hi Fiona, thanks for a thought provoking post,

>AND in performance there's silence.  On the page of course there's blank
>space but even in Albiach or Eigner this space is limited.

and constructed as integral to their poetics. Larry eigner's death was sad,
but downright disturbing was the lack of comment on his passing, and the
lack of interest in his work in Britain. I think that, as appears to be
sometimes the case with Raworth, readers think it's so familiar and
therefore there is no 'difficulty'  -  that term Keston raised last week
and which seems to cover a welter of retention. Why no selected Eigner in
this country, no Eigner really since the Fulcrum of too long ago?

Silence also
>often fills with the other senses in a way that you'd have to be much more
>contextualising or intentional to do with page blanks.

Time does tend to become space on the page  -  because of the dominance of
interpretation through the gaze in late capitalism? ALthough i often wonder
who else reads the blank spaces, particularly those spaces to either sides
of the 'line'. Who reads those margins? as time?

>lacuna.  Silence when you know that resumption is at least possible is a
>particular kind of silence, layers the constructed non-heard onto itself,
>not a shut up, falling silent not postedenic.  Slovene has verbs for these
>different silences.

love it. Do tell more. This is where we are so constructed by language.
Things we might wish to discuss we do not yet have a shared vocabulary to
do so with. (so if that's my idea of dialogue, what price silence) These
are the pithy syrups of linkage  -  the brownian particles of Fat Time?

Biblical silences  hmm, the silence of revelation; Apocalyptic Silence;
Preter-Millenial Silence; Ghost Silence; Virtual Silence; Attenuated
Silence; arrested silence; silence postponed; silence before the fact;
Silent Running (s) [good movie if i remember rightly]; a silence that takes
on weight past all expectation; that silence which empties itself out and
flees; the silence which kisses what follows

>Tom Cora once mentioned how he liked Ikue Mori's "sentence" in her
>percussion.  This has always made sense to me.

That's exactly the kind of translational perception i was trying to get at.
I guess Ikue's not so well known here. I've got her on record with several
groupings (like, have you heard her trio with Cinnie Cole and David Garland
'The Worlds of Love', she sings on that too?) but isn't there a solo CD?
She's got a very intimately engaged live presence, as i remember. But it's
seven years ago that i saw her play. A great person to collaborate with for
a writer I'd imagine. Have you duetted with her ever?

>Elements of Performance Art, written in 1976 by myself and Anthony Howell,
>has some verbal exercises; I don't know where you'd get it other than by
>breaking into his house, but it's probably being republished.  And also
>coming up books by each of us on approaches since then.


bring it on

love and love
cris




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