Mills College, California.
I. "Lecture on Nothing"
If silence is simply the space divided by sound, the one called himself in the act of being nothing in spite of himself, in return for hearing the form of what happens (position) whether in Kansas or New York.
Or the half-way point of view beyond which limitations can also be said to divide, passing from Virginia (part) over Kansas as the tone one is making quite by accident.
Which isn't material, the exercise of something autobiographical as a discipline or means of structure, the answer between the third and sixth interval making what he chooses to call attention to itself.
As if to hear the sound of something anonymous, music like a question working on the ear of the one whose structure expresses itself, tonality the mind could be heard by every now and then.
That hearing could possibly let one see how permanent one is, standing as the talk of sleep continues getting nowhere (more) or the feeling one has suddenly lost a friend.
Here the feeling (slowly) of pleasure, somewhere in the middle or after the fourth part (pleasure) getting to continue the original feeling, beginning as talk now of being somewhere else.
The structure of a bridge, finished as the length of a Chinese mirror "read" between the quarter-tone as a piece of the Full Moon one thinks (music), the bronze that leads to nothing but corn or wheat.
This idea composed therefore of repetition, not that it matters which one said: I live in Kansas, I have no idea where, the present I am calling myself is refreshing.
Measures likewise so divided, as if to have a discussion of silence requires that I go on saying I am thinking (who) at any present moment, whenever one wishes in spite of himself to return.
That which I am calling music is proof, that traveling is like a thought whose climax may be present (home) and therefore might not reappear involved when the telephone rings.
Nothing in return experienced if Kansas is like music, how different one's willingness to hear the glass of milk measured by what happens when it's poured.
All of this quite clear, the third part (length) expressing itself if possible by passing through the structure of minutes divided into act (way) and scene.
Hearing what he knows as something seen, New York for instance what we make of it on the telephone simpler than the memory of Kansas which enables us to think.
Blackbirds heard as the structure of this talk, the cardinal quite by accident in a tree at the halfway point between nothing and what she said is the way they flew.
To say more as you see about structure, and why shouldn't she rise, understand what you say about the limits of material space (here) "limited" by something she herself felt.
That I am talking and will go on at intervals, passionately, like the sound of the character I realize in a second question (child), being clear about the materials of music itself.
Or the pleasure perhaps in her mind, the exercise of sound on the third or fourth or fifth lesson (talk) which made her want to call it love, attention to where it went with other things.
However low the sound of abstraction, the tone on the side of the ear being I had thought the letter that brings us back to where we were, fascinated and contemporary, as the cadence of this.
Not that they didn't have to be actually present, meaning a "ghost" is difficult to think of directly, separation like the sound of something happening in the same letter (later) amplified to be pleased by.
Avoiding what is difficult more than the feeling of talk or a pleasure she said I want, the man beginning slowly to sleep who happened to be young, whereas from that distance there are no answers.
What then it seems we are getting at, the feeling of elevation that continues after the fourth part somewhere else (more slowly) being suddenly the pleasure of sleep, only more so.
Originally somewhere else, more and more the talk which will continue to be a pleasure one would like, when suddenly I am at the beginning of the feeling of pleasure (slowly) getting nowhere.
That thought is a single method, anyone with whom I could sit for any length of time (think) or listen to the sound of Moon "read" in the two- or twelve-tone structure of music whose time you imagine you will miss.
Someone recording what I know about nothing, because I live in Kansas and when I leave it is gone, a repetition at any moment (since) bound to be breathtakingly simpler than what is.
Simpler that is than what enables us to act, how uncertain it is especially from a window, traveling as a present form (one) that music is measured by as a memory of this.
Or the form of what happens figured out, that one may return to Kansas (home) which is like the second or third part in a rhythmic structure whose units we are resigned to, divided, approximate.
II. "Composition as Process"
In the section beginning with sound (idea) parts determined to be used again precisely, this method affected by the present action of the body opposed by what appears to be possible.
What happens either to sound (intention) divided in the original series or events established in the listener's ear as a means of separating this phenomenon, as punctuation for instance measures differences between sounds, also more or less approximate.
One who increases the interval simply by walking toward what he felt, sound in other cases multiplied by the addition first of Piano and Orchestra, then of players analogous to shells on a beach.
Something described horizontally (apparent) as a means of arranging original events, this play of materials determined as an Imaginary Landscape whose absence will be read as an attempt at speech.
This situation characteristic of sound which means to depart from what is practical, the smallest parts (elements) necessary as Variations, exactitude of measurement occurring at discrete points on a line parallel to one's position with respect to another.
It being said that action is less a matter of beginnings and endings than the object, evident as notes in space suggest, conceived as the effect of sound on the radio or the experience of weather in precisely that place.
The experience of the man whose reply is immediate: "I remember talking in a line about a plane passing overhead, something in the distance like a question standing up, meaning that because you are the subject you have lost a friend."
Which one is thinking in Music, Numbers in pencil eliminating "the end" written as the first step (improvised) in listening to what the other one is actually thinking, changes in the original answer composed in ink.
By which I mean the sound of logic chosen as a form of walking on a beach, this "method" (spontaneous) exactly measured in one, two, three or four parts, one of which could as well be based on "material" namely of the heart.
In terms of this action the body known, Interlude opposed to a duration of potentially continuous moments written as a series of numbers which became in the final example indeterminate, as the line between one hand and the other disappeared.
This view for instance of extraordinary architecture characterized by its silence, Construction therefore subsequent to the material of sound itself, the listener who has entered into this act in relationship to the player walking into the opposite room.
One who knows that one is repeating actual sounds in Metal, Sixteen for instance the number of sounds used to compose the background, a situation one counted on discovered in analysis to be comparable to differences in frequency, timbre and taste.
Whether one is satisfied by a given line (character) consciously or not, this play of Changes balanced by the subject described in comparable notation, the absence of the vertical line affirmed by examining its structure inside of that event.
Placing these five lines in order of their sounds, Concert meaning that what is left at intervals perpendicular to that movement holds for the following example, the remainder of the physical square (half) equal to the person left in the room.
Some duration of sound suggesting space, circumstance or the action of players in a history play, one voice (indicated) as it approaches the object on a page therefore read from the left, attention turned from the ear alone to what the person no longer present interrupts.
"That is not the story," standing either to ignore its desire or walk the other way, the second question "explainable" in one of three ways as a function of distance, the man "elevated" on a hill meaning he could come as close to never having raised his voice.
The other man writing notes in pencil: the other end of Music made in exactly the same way by listening to what it is, the instrument one almost becomes in thinking difference changes in the course of playing it, what he is doing (means) composed of notes.
The continuity of being given parts for example, bringing the character who is also determined to express in performance the possibility of material form, which is to say a method of notes with respect to X.
Or someone feeling at the point of "sleep" given the color of an outward reference (pertinent) at that point to a table of numbers following that event, the subject in either case comparable to his perception of interest in that.
X that is to say provided other elements in the work bring about its function, which by doing something arbitrarily may be controlled by structure (analysis) as the perception of numbers organized in the following way.
The object possessed by the character (material) who wishes to act conventional, where the presence of a beginning, middle and end affect the performer who dictates his feelings (method) which is to say where the beat will be led to its climax.
The form of the body single in this case, enabling it to be attached to the situation of music on paper, x as it might have been printed at several points in the work performed in an unforeseen sense, stretched or unusually flat.
The situation of a building no matter when or what, being of course part of the sound of its content, the architect identified with respect to a procedure that repeats the object Music (thought) Changes specifically at the center of its act.
Intersection characteristic of the composer's range of control equally indeterminate, given that the performer in the play may be viewed as driving "boxes" of sound in a green light designated by the piano whose amplitude limits its use.
How the photographer may be his own subject, arbitrarily constructing the picture to follow his perception of an object the camera feels (analysis) going to "sleep," conscious of the probability that he may not be doing that.
One who is sound asleep identifying the father, his answer interpreted in a statement comparable to action no matter what, his knowledge of each performer composed as a mental event whose fluency is sometimes conscious, sometimes thought.
The relation of the instrument to its player for example on the table, the work itself moving from the architect's blueprint to the building (material) whose structure will be identified from that point of view.
This performance limited by being written, the performer himself expressive of certain practices in the tradition whose elements prohibit continuity, something he himself may bring to its material content.
The man described by the example of his feelings, sound that is to say (bias) like elements on the table equal to the person who suggests these sounds according to the presence of certain random theories of order.
The vertical position of the players involved in relation to the continuity of the silence between them, rectangles in a two-dimensional performance (system) removed for that reason in order to add its length to its width.
What is being seen from the side (consciously) no matter what the obstruction, the composer on the other hand knowing that each event penetrates the inversion of a different event seen from an opposite point of view.
Systems extending the performer's original function into parts whose continuity is indeterminate, a drawing of the head supplied to indicate the frequency of something (degree) characteristic of that morphology, division, or number of lines.
The subject himself acknowledged, his feeling opposite to an adjacent system arbitrarily viewed from the side (architecture) following the length of its inversion organized in terms related to its absence.
What that event becomes fixed in relation to its parts, a cubist painting of an object perhaps or picture analogous to the flicker it makes (purposeless) moving as an absence no matter what the score.
Likewise the object itself following its source, the amplitude of the shift in a relationship (inversion) more than what is present in each element for example, as the outcome of action in contrast to itself.
One action irrelevant with respect to the other, interior in that his response (frequency) includes material silence, a gamut of limitations (vision) of particular length, the performance of an available ending.
"Thought" itself calling the performer subject, a comparable change in direction announced as an interruption (meanwhile) of things approximate to events he prepares to notice by attaching himself to what he leaves.
Being like a performance of an object, where the outcome of action is not repeated as something other than seen, the knowledge that it happened recorded in a second postcard, grasped like land or air.
This sound spoken in the situation of a room in which the other person is essential to physical space itself, its architecture therefore an object which includes the separation of an audience into its parts.
All of this possible as music, the players (two) who recognize the sound of the second hand rising as if to depart, a suggestion on the radio that the performance of action will be different, variable, astonishing.
What if the question happens in time, two sounds in four-part harmony meaning one counts on something that is passing, the body going forward in order to ask what it is you want to say.
Intersection for instance at this moment, monotonous in the sense that each sound plays itself sometime (thinking) in a separate room, one of us changing direction sooner than the other.
Simply to say one is going back, purposeless as the telephone ringing or the effect of light in a glass of water (opposed) penetrated by seeing it as an actual thing, thinking one is causing that.
Analysis as I say when it "should" be letting go of components (variable) related by their failure to agree, like fingers one says fumbling in the dark at the frequency of the signal near the end.
What is actually meant by thinking one is at the center, what you say "again" letting go of the difference between each thought (independent) and a physical act, why the idea of the first performance wasn't right.
How memory could be itself something to hear when he wasn't looking, another body situated on the side of the theater unable to listen to measurable phenomena, the sound of a plane in the middle of the mouth.
Then asking "music" who has nothing to say, someone nearer to the sound of an interval (word) in the nervous system of the first one related to a second sound on the radio, appropriate enough to be performed.
O whether it's active or not, applied as a method (music) opposite to an acoustic action which opens the ear "taking a nap," silence experienced as the difference between this circle and a continuum of points.
Parts of this drama analogous to the physical presence of the audience, intermediate nevertheless, diminished in notation as a representative of itself (author) imagined as points on the graph performed in light.
Which "voices" may begin to touch, the nostalgia of a character continuous with his motion at a particular distance X, the margin for example indicating that he has come from somewhere (pitch) circular.
Monotony more subjective than this, finished forms of motion said to be static, "global" in the sense that a sequence of parts may be expressed by doing nothing simultaneously, emphasis on itself.
Neglect in doing that of hearing and sight, the influence of a method continued to its position at the root of "things," harmony transformed to imitate a collision of elements passing like birds in the night.
"What" then of leaving, the subject turning in an opposite direction (range) beginning to walk away, that impulse at night for example neutralized by the position of the body on the ground, doing nothing.
People in a truck passing outside, the sound of the one you know but can't hear in quotation (audience) looking at something else, what has happened somewhere if the sound is not in words but people going.
How if we are going forward we know how to stop, count backwards, ask about the rhythm of water with respect to how it drops about my head, hearing instead of physics the question I would ask.
Something about the "tongue" (thinking) temporarily changing in another room, people one doesn't know slowing down to talk about getting sleepy, her experience "real" in that nothing happens, period.
Thought frequently produced in the same way, talking on the telephone (contemporary) instead of asking something else in writing that is to say, this "last" story separate from what is actually happening.
The temperature in the room adding to this difference, disorder in effect emphasized by "something" in another direction (variable) second to that, thinking that one walks away without having something to say.
Twelve tones in a series, the sound of writing itself situated in the body (going) say when you go to sleep, what happens after he opens his mouth measurable as the sound passing in a softer ear.
Why in the middle of physical activity the performance starts, which one of us says is going to sleep automatically, the other potential namely an impulse (less) to say something more than two pianos.
What "music" is appropriate whether it's performed in agreement with the second one, serious enough to ask if someone is nearer to the first one, vibrations related by an interval in the middle of that.
Sound then thinking in his own mind, a question of light waves seen before he asked to have it performed in his imagination (broadcast) I repeat, music representative of a circle known as zero.
The graph at another point distance notes equivalent to itself, admittedly present in performance as an acoustic experience one is told, intermediate as syntax or "taking a nap" speaking of that experience.
The same part touched (possible) in a continuous succession of lines, simultaneous in that nothing is performed in the collision between sound in the margin and the mind "voices" speak in an opposite direction.
III. "Lecture on Something"
Something about everything changing, the man on the bus who has nothing to say opposed to someone on paper, the atmosphere on one side of the Intersection changed by what seemed to be going on it "it."
It being separate, "contemplative" when he says what will happen when he comes to the object of that passage, the sound of the body precisely at rest, etc. rather than the shape of its desire.
Someone whose "form will appear," like the sound of an echo after it has happened or light on the mountain suddenly gone, the consequence of its shadows different than the object that makes it.
Otherwise continuity, as Hamlet means to accept the consequence of what happens no matter what, the one being killed (spirit) suggesting the musical terms for harmony, counterpoint, rhythm.
What the character in this situation chooses to say, meaning he isn't acting diminished, something about the duration of what happens at night answered by its relation to a permissible note.
The moment he is coming to rest, separate as an object turned on itself or elevated at the beginning of an opposite idea, this interruption (music) artificial in the sense that he is speaking it.
"That" said (talking) to be the difference between the first sound and its performance by someone else, who isn't actually pregnant but rather listening to the condition of the impulse to hear it.
Going rather to happen, this action in reference to something the foot continues to turn when the telephone rings, "silence" a consequence of the idea of memory familiar as the way a table works.
How something doesn't stop, the window one forgot at the beginning of a structure whose middle is occupied by other shoulders, speaking of a number it isn't possible to accept.
Out of that thinking the man is separate (clearly) from what happens, the effect of other action he doesn't observe regardless of his feeling, the nervousness of continuity in another movie.
Before that the picture of movement in space, the one pointing to the obstacle (disappearing) read as a condition of something equal to "it," the fact of its difference not to be only confused.
"See" for instance the way an event happens to the performer, the telephone he is going to answer (nothing) shifting to the sound of talk in the section on counterpoint, meaning continual.
This situation following in place of the right foot (something) "going down," the way she puts it as far as possible not to think "too much," emphatic as the painter who invades the place he paints.
On the other side of the first section, its limits changing the one who signs "it" above the work, nothing (equal) to the consequence he speaks as music seems to become the composer who is making it.
"Tranquil" suggesting the mountain at that point, the form it takes in contemplation of itself written as a footnote, disordered, which diminishes the area of silence associated with that event.
Haiku like that, less than the effect of light or sound on someone who makes it, saying it is also an illusion perhaps, how its form may be pleasing the moment he wakes regardless of the book.
No sound paradoxically at the opposite window, the other man who means (exception) what he says a possible idea, the one murdered at the door who vanishes at the end of the penultimate sentence.
These actions essentially out of character, as someone noted, beginning with what is acceptable to the one who chooses to explain it, being able to separate what simply happens from what it seems to resemble.
Falling light in an irrelevant view, thought itself interrupted in the middle of walking to the object (again) conclusively, the idea called section without continuity meaning it exists.
Someone possible at home "extraneous," the sound of that condition direct as something stopping silence, listening to the noise a word makes or "music" played on a piano extinguished by that.
"What" about action, as someone said, the piece before it difficult to conceive of, being as it turns out impossible to continue, imagine, say that it doesn't happen when it almost does.
How many windows and doors, speaking of the rhythm of music itself, which is to say a number one doesn't read, how it comes for example in writing to mean the beginning or possibility of talk.
No action observed as an effect of what happens then, two people at the piano eating an orange or feeling each other's activity as a separate thing, confident except that the man is thinking that.
"That is" (against) something, the idea of a work attached to saying it in a book read by others, philosophy or history or something about the nature of music equal to its movement (upwards) into air.
Mostly that something is abstract thought, how sculpture for instance can be referred to by the performer (incident) shifting in the last section to musical "time," generating nothing after that.
Out of this "escape" (that is) conclusion, how the tonic follows the dominant whether she keeps it going or not, something he said about the principle of a letter coming back to the same (made) place
above copied from: http://www.cornermag.org/corner03/page07.htm