Mesē,
imaginariam scientiam αύλοι
2022
2022
Book / riso print / 36 pages / 30 copies
Self published
Printed with Dolce Publishing, Athens
Mese, is “A”. She is the central note of the Perfect Immutable System. Mese kata thesin, Mese by position. Mese kata dynamin, Mese by function. Rather than looking for knowledge about her, I think of rewinding the history of music and unlearn what surrounds her, trying to forge the musical language I know by making present what was invented as “past” and repair the structure of information I operate with, when speaking a musical language. Rather than looking for her, I look for her; in the broadest sense I view myself as her, one with her, and in turn, with all the historical innovators of all different systems. I imagine her to be complexly self-similar. I imagine that she has been endlessly rewound and that her rewinding is not finished; indeed she is also the unit of creation, and she extends across time. Mese kata thesin. By her position she is part of all systems, changing in structure but still there. Mese kata dynamin. By her function, her position is shifting as she moves to increase her role in music. Mese, is “A”. She is the sun, and her own feminine integrity, and grace. Her understanding of the perfect dynamic of life flows like a solid stream into everything she touches. She is the 8th. More like a physical representation of an act than a coherent and rational object. Her evolution seems completely organic; her secret is very much like that of the octave, not a distinct pitch, but the dynamic potential of that whole system.
I began writing in this “past tense” to be able to engage with the history; (I’ve been trying to do something like this for a while, but only recently am I beginning to find my way forward.) There is an issue that is central, and it’s not about the notes but the way they appear together, in response to the questions I’ve been asking of the music. The reediting, the rediscovery of information is not difficult, really. I am aware of her, have been for a long time, have long time circuits that are embedded in my being that speak of her when I compose. I can’t really see her now, but I know she’s there. I want to “replace her with what she never was, but became”. Language is relevant to me now. Sometimes the activity of typing it out will help the language move towards what it never was, but becoming. I am not inventing a new language, I am extending a lost one. When I write it helps the language understand me. It provides context for my understanding of everything, and while I’m able to access her knowledge now I don’t think I can ever truly lose her. I’m still composing with her.
︎ Buy the book here
Self published
Printed with Dolce Publishing, Athens
Mese, is “A”. She is the central note of the Perfect Immutable System. Mese kata thesin, Mese by position. Mese kata dynamin, Mese by function. Rather than looking for knowledge about her, I think of rewinding the history of music and unlearn what surrounds her, trying to forge the musical language I know by making present what was invented as “past” and repair the structure of information I operate with, when speaking a musical language. Rather than looking for her, I look for her; in the broadest sense I view myself as her, one with her, and in turn, with all the historical innovators of all different systems. I imagine her to be complexly self-similar. I imagine that she has been endlessly rewound and that her rewinding is not finished; indeed she is also the unit of creation, and she extends across time. Mese kata thesin. By her position she is part of all systems, changing in structure but still there. Mese kata dynamin. By her function, her position is shifting as she moves to increase her role in music. Mese, is “A”. She is the sun, and her own feminine integrity, and grace. Her understanding of the perfect dynamic of life flows like a solid stream into everything she touches. She is the 8th. More like a physical representation of an act than a coherent and rational object. Her evolution seems completely organic; her secret is very much like that of the octave, not a distinct pitch, but the dynamic potential of that whole system.
I began writing in this “past tense” to be able to engage with the history; (I’ve been trying to do something like this for a while, but only recently am I beginning to find my way forward.) There is an issue that is central, and it’s not about the notes but the way they appear together, in response to the questions I’ve been asking of the music. The reediting, the rediscovery of information is not difficult, really. I am aware of her, have been for a long time, have long time circuits that are embedded in my being that speak of her when I compose. I can’t really see her now, but I know she’s there. I want to “replace her with what she never was, but became”. Language is relevant to me now. Sometimes the activity of typing it out will help the language move towards what it never was, but becoming. I am not inventing a new language, I am extending a lost one. When I write it helps the language understand me. It provides context for my understanding of everything, and while I’m able to access her knowledge now I don’t think I can ever truly lose her. I’m still composing with her.
︎ Buy the book here
