R a s c h 2 0 : I n t e r f e r e n z e n
R a s c h 1 7 : r a s c h c l a s h
R a s c h 2 2 : t r a n s p l o s i o n s
there are two musics
(or so I’ve always thought):
one you listen to,
one you play.
they are two entirely different arts,
each with its own history, sociology, aesthetics, erotics:
the same composer can be minor
when listened to,
enormous when played —
take Schumann.
R a s c h 1 1 + 1 [ 3 ] : S c h u m a n n r e - n o t a t e d
R a s c h 1 6 : Ä u s s e r s t b e w e g t
Such are the figures of the body
(the “somathemes”),
whose texture forms
musical signifying,
(hence, no more grammar,
no more musical semiology:
issuing from professional analysis—
identification and arrangement of
“themes”, “cells”, “phrases”—
it risks bypassing the body (…)
These figures of the body,
which are musical figures,
I do not always manage to name.
For this operation requires a metaphorical power
(how would I utter my body except in images?),
and this power can occasionally fail me:
“it” stirs me, but I do not find the right metaphor.
R a s c h 1 5 - 2 2
c o n c e p t & p i a n o p e r f o r m a n c e | p a u l o d e a s s i s
c o n c e p t , v i d e o , l i v e e l e c t r o n i c s & p e r f o r m a n c e | l u c i a d ' e r r i c o
P L A Y A L L
R a s c h 2 1 : s h i m m e r i n g s
je suis à la fois maître et esclave :
je ne me contente pas de répéter ce qui a été dit,
de me loger confortablement dans
la servitude des signes :
je dis, j'affirme, j'assène
ce que je répète.
R a s c h 1 8 : m a î t r e e t e s c l a v e
R a s c h 1 9 : q u a s i p a r l a n d o
R a s c h 1 5 : d a n s l a n u i t . . .
