noise and music and sound affect spliced fruit. its low hanging. you are using an instruction set that was specifically designed to be intuitive and safe, it has a lot of protections built into it. the soundbody could have many parameters, but in particular it could specify the size and scale of the heart’s chambers. the heart's chambers affect the soundbody when a string (vocal or otherwise) is vibrating. the vibrating string itself is considered a part of the soundbody, as is the vibration, and the movement that caused it to vibrate. there might be practical problems when trying to track down the origin of a sound to attach it to the rest of the soundbody, but even sound, and the body of sound are matter. a physical body, puts a movement into motion. a movement is finished by a sentence, and the sentences are finished by the sound, or by the music.

noise and music are too distracting for me to think, and to keep control of a tank full of incredibly strong teeth and a very sharp knife. the best part of my whole day is when i am bathing him and i see him at the end of the tub. i turn off the water, slowly walk over to him, and i pull back the towel and see him so clean, in the most beautiful orange colour. i do a dance and sing and say goodnight, kiss his bald head and tell him to “hurry back” on his way to sleep. my job is to tune the radio to a station for the sound, and stick a knife down the drain and watch the sludge come out. (he doesn't do that, if you were wondering). when he can get some rest, i re-stabilize him before i leave him alone. so, it’s partially about the sleep thing.

noise and music cant grow here, it's way too… constant… i am now wondering if this town is gonna grow or shrink, like my entire community of friends… i have.
noisy, busy, needy.
so, when i take a trip to come back, i always know it will be a chance to reflect… to get refreshed, repositioned and listen to the sound of the waves and the sea, because the sound of the sea always gives me a feeling. that kind of music is most often without words, the sea. when i listen, more than when i hear, i feel like i am connected with a place, and that i am part of a rhythm, a bodily vibration, a voice. if i imagine taking the time to listen… to the sound of a waterfall, a bird lonely, then i am in touch with my mind and body. when i sing a tune, i can hear an echo, (my voice), a rhyme.
“hey… little bird…
hey… little bird…
im standing in the woods, just so you know…
im standing in the woods…
im standing in the woods…
im standing in


there are a number of different kinds of sensations associated with sound. one of the most common is the feeling of being touched, and the more you are exposed to sounds, the more you become sensitive to the physical sensations associated with sound. there are other sensations that can be associated with sound, but the ones that are most commonly associated with sound are the ones that are associated with vibration. when you listen to music, the frequency of the music is what you hear. when you vibrate your body, the frequency of the vibration is what you hear. when you are exposed to sound, the frequency of the sound is what you hear. when you hear a vibrating object, you are hearing vibrations. when you are exposed to sound, the intensity of the sound is what you hear. when you hear a sound that is too quiet, you can't feel it. when you hear a sound that is too loud, it becomes you, and lives inside you for its duration. and then you live inside yourself again, but only when it’s finished. as the paradigm shifts, we are faced with a multitude of important questions related to how to conceptualize what it means to be . in a sense, this question becomes more urgent as the line between noise and life, sound and life, sharpens. the following, while not abstract, seeks to expand the domain of a subjectively experienced soundscape into a fully conceptual domain, in order to expand the range of available situations for listening, in order to maximize one's capacity to hear what is actually there, as well as everything that is not.


when i turn my eye-lights off
i can’t even remember what you look like
there’s something reaching towards my fingertips
a light
that (wants to) touch(es)
me
fleeting
and i can’t grasp it
but
of course i can’t grab a-hold, in a physical way,
and i won’t need to
it will come to me when its ready
lay in my lap
i’ll sing to it sweetly

“i sit in the farthest reach
without ice
beneath my house
it will stay warm
and warm we’ll keep each other
shades turn new shades
some static runs in
indistinct lines
and what we don’t have control of
won’t matter
because my soft slipper
fits you like a glove”

sharp shooter marrowtap
hits me like a
leadlove.
morning on this leather lippon,
the sun shines right to me
off the iceglass from the surface
waking violently
blaming some snow-hindered violets
that can’t run down the hill
and can’t quarter-horse-play

but nonetheless i wake politely
waiting ah-cross-ah-legged
waiting for the mellow light
in my lap to lie

a body dressed for movement,
dressed to reflect light.
standing outside, there's a shiver that prickles
the outsides of your body
in the dark
there is a moment where the edges of sound that
are escaping the maw of some building
are prickling at your skin as well.
you move forward
the maw of the building swallows you.
the blanket that was keeping the sound
at bay is removed,
the remaining light exists on the outside.
or undress.
everyone being made up to reflect light and sound,
as you are.

the ◼️ extracts some breath from you
as a sigh or gasp
and when your pupils widen
to hold the ◼️inside them
then the whole dancefloor can writhe inside your eyes
and in the palm of your hands
and off the tip of your nose
drips some sweat from the heat,
from the love.

in your head, a meditation:

“take several long, slow, deep breaths.
breathing in fully and exhaling slowly.
breathe in through your nose and out
through your nose or mouth.
feel your stomach expand on the inhale and relax
and let go as you exhale.
…
notice how no sensation is permanent.
just observe and allow the sensations to be in the moment,
just as they are.
breathe into and out from the bottoms of your feet.
the bottoms of your feet, with each step, kiss the ground.
…
let go of any judgments that may arise.
on the next outbreath, shift the focus to your hands and fingertips.
see if you can channel your breathing into and out of this area
as if you are breathing into and out from your hands.
if your mind wanders, gently bring it back to the sensations in your hands.”


and
the breath in, the sweat and the love
become visible
and
every exhale is a ray of light,
you’re breathing in and out from your hands
and
every ray of light, reflects off the dancers in the crowd
their lights reflect off you
and
they’re breathing in and out from your hands

the edges of sound are no longer edges.
the other dancers are no longer other dancers
the floor is no longer the floor
the room is no longer a space with walls,
the chandelier of speakers is no longer a chandelier
you don’t need to breathe, and you don’t have hands

it all becomes a catapult
or maybe a love letter on a paper napkin, addressed to you
or maybe its a rabbit in a meadow
or maybe its a bomb, counting down from 5
and if this 5 seconds is your last,
i hope you lick all the sweat from the room
from the dancers,
spit out the room that lives in your pupils,
inside them instead grow a ladder,
made of argon aflame,
and see all the souls rise,
from the mouths of the feet that kiss the floor,
to some masterpiece of a body.