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  • Fantasias in Counting by Sophie Seita Book Preview

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    Geoffrey Gatza
    837 просмотров15 страниц
    Sophie Seita's Fantasias in Counting furthers an evolving, intense and remarkable body of work with performative textuality, spatiality and ethics of presence. Her poetry and poetics test the very limits of prosody; her theatrics work the defamiliarised into the known: a fantasia of the writer's making defaulting into non-ownership. Rhythm and its predications and failures are central to 'speech'. Seita writes: ' [Begins to play a rhythm on or with scattered sounding-material—whatever is available. Ideally, this is a polyrhythm or cross-rhythm, either 4:3 or 5:3, or even better 4/4 : 4/3 or 2/5 : 2/3 or something of that kind; over the repeatedly spoken phrases: no I cannot; no you cannot (ad lib with pleasure)].' The rhythm becomes word becomes the 'theatre' itself. At first experience a viewer, a reader, a fly on the wall, might undergo the epiphany of the 'new'. But in Seita's melding of ancient and modern performative techniques, her investing the moment of articulation with an awareness of the social and political constraints it operates within, we actually start to question what is 'new'. Rather, we might apply to her work something akin to Stravinsky's observation that Beethoven's Große Fuge was 'absolutely contemporary' and would remain 'contemporary forever'. Sophie Seita is one of a handful of brilliant 'new' poets and performance-enhancers who are changing and will continue to change how we receive and resist the 'limits' of poetic form and performative spatiality. She creates texts that are investigative and synaesthetic. When we read 'my theory is better than my praxis', the irony ripples through the manuscript, because rarely do the metronome, the drum beat, the tones of voice resonate so strongly. The page becomes the acoustically desirable space, with all attendant ironies and wit. Character and writer are of no fixed address. Sophie Seita is a writer of genius who will never stay still, who will constantly work the boards in ways as yet unimagined. Watch, listen, and be changed. —John Kinsella Appearing in the drag of scale exercises, wrought and precise conceptual variations, and playful improvisation, the performance scores in Sophie Seita’s Fantasias in Counting might cause their readers/audiences to wonder whether they're clothed or nude. Yet the pleasure of these works is their refusal—tartly apropos our digital times—of such binary codings: countable v. mass nouns, wholes v. parts, the one v. multiples, original v. proxy, integer v. fraction, feigned v. felt, and, perhaps most importantly, repetition v. difference. For while Seita’s jargonate arias may instrumentalize the count of the metronome, they also “ambivalize” to reach an “acchord” or “communichord”; remaining unaccountable to a beat, they transmogrify uniform temporal divisions into the bumpy, opaque spacing of socio-linguistic relations. In Steinly tradition (“a craving so little as that like as if it (then) would be then it would be simple. simple and countable. more simply countable. a slice please. much cream.”), Fantasias in Counting effects, against the preterit, new performative grammatical modes: “cannot be counted, only done,” “practised, not counted.” Likewise, the book forges forced ways of being among languages: Seita does not just notice how “lots of words sound like other words” but stages language in states of “hyperarousal,” finding, for instance, an opera within an opera by unfolding a narrative spelled by its paratextual musical directives cum characters: “Po may be generally slow or fast at wasp-speed.” “The subversive subject has lost. Now only irrational measures,” Seita writes, but perhaps that subject is not so much lost as distributed both within and without itself, just as protagonistic or quantifiable models of action have here fissured into mischievous, disturbing agencies, even the agency of aporia. Here’s more than “A little ‘hey’ for true mathematics”: “Please take some time with this line.

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    Sophie Seita's Fantasias in Counting furthers an evolving, intense and remarkable body of work with performative textuality, spatiality and ethics of presence. Her poetry and poetics test the very limits of prosody; her theatrics work the defamiliarised into the known: a fantasia of the writer's making defaulting into non-ownership. Rhythm and its predications and failures are central to 'speech'. Seita writes: ' [Begins to play a rhythm on or with scattered sounding-material—whatever is available. Ideally, this is a polyrhythm or cross-rhythm, either 4:3 or 5:3, or even better 4/4 : 4/3 or 2/5 : 2/3 or something of that kind; over the repeatedly spoken phrases: no I cannot; no you cannot (ad lib with pleasure)].' The rhythm becomes word becomes the 'theatre' itself. At first experience a viewer, a reader, a fly on the wall, might undergo the epiphany of the 'new'. But in Seita's melding of ancient and modern performative techniques, her investing the moment of articulation with an awareness of the social and political constraints it operates within, we actually start to question what is 'new'. Rather, we might apply to her work something akin to Stravinsky's observation that Beethoven's Große Fuge was 'absolutely contemporary' and would remain 'contemporary forever'. Sophie Seita is one of a handful of brilliant 'new' poets and performance-enhancers who are changing and will continue to change how we receive and resist the 'limits' of poetic form and performative spatiality. She creates texts that are investigative and synaesthetic. When we read 'my theory is better than my praxis', the irony ripples through the manuscript, because rarely do the metronome, the drum beat, the tones of voice resonate so strongly. The page becomes the acoustically desirable space, with all attendant ironies and wit. Character and writer are of no fixed address. Sophie Seita is a writer of genius who will never stay still, who will constantly work the boards in ways as yet unimagined. Watch, listen, and be changed. —John Kinsella Appearing in the drag of scale exercises, wrought and precise conceptual variations, and playful improvisation, the performance scores in Sophie Seita’s Fantasias in Counting might cause their readers/audiences to wonder whether they're clothed or nude. Yet the pleasure of these works is their refusal—tartly apropos our digital times—of such binary codings: countable v. mass nouns, wholes v. parts, the one v. multiples, original v. proxy, integer v. fraction, feigned v. felt, and, perhaps most importantly, repetition v. difference. For while Seita’s jargonate arias may instrumentalize the count of the metronome, they also “ambivalize” to reach an “acchord” or “communichord”; remaining unaccountable to a beat, they transmogrify uniform temporal divisions into the bumpy, opaque spacing of socio-linguistic relations. In Steinly tradition (“a craving so little as that like as if it (then) would be then it would be simple. simple and countable. more simply countable. a slice please. much cream.”), Fantasias in Counting effects, against the preterit, new performative grammatical modes: “cannot be counted, only done,” “practised, not counted.” Likewise, the book forges forced ways of being among languages: Seita does not just notice how “lots of words sound like other words” but stages language in states of “hyperarousal,” finding, for instance, an opera within an opera by unfolding a narrative spelled by its paratextual musical directives cum characters: “Po may be generally slow or fast at wasp-speed.” “The subversive subject has lost. Now only irrational measures,” Seita writes, but perhaps that subject is not so much lost as distributed both within and without itself, just as protagonistic or quantifiable models of action have here fissured into mischievous, disturbing agencies, even the agency of aporia. Here’s more than “A little ‘hey’ for true mathematics”: “Please take some time with this line.

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF, TXT или читайте онлайн в Scribd
    Отметить как неприемлемый контент
    837 просмотров15 страниц

    Fantasias in Counting by Sophie Seita Book Preview

    Загружено:

    Geoffrey Gatza
    Sophie Seita's Fantasias in Counting furthers an evolving, intense and remarkable body of work with performative textuality, spatiality and ethics of presence. Her poetry and poetics test the very limits of prosody; her theatrics work the defamiliarised into the known: a fantasia of the writer's making defaulting into non-ownership. Rhythm and its predications and failures are central to 'speech'. Seita writes: ' [Begins to play a rhythm on or with scattered sounding-material—whatever is available. Ideally, this is a polyrhythm or cross-rhythm, either 4:3 or 5:3, or even better 4/4 : 4/3 or 2/5 : 2/3 or something of that kind; over the repeatedly spoken phrases: no I cannot; no you cannot (ad lib with pleasure)].' The rhythm becomes word becomes the 'theatre' itself. At first experience a viewer, a reader, a fly on the wall, might undergo the epiphany of the 'new'. But in Seita's melding of ancient and modern performative techniques, her investing the moment of articulation with an awareness of the social and political constraints it operates within, we actually start to question what is 'new'. Rather, we might apply to her work something akin to Stravinsky's observation that Beethoven's Große Fuge was 'absolutely contemporary' and would remain 'contemporary forever'. Sophie Seita is one of a handful of brilliant 'new' poets and performance-enhancers who are changing and will continue to change how we receive and resist the 'limits' of poetic form and performative spatiality. She creates texts that are investigative and synaesthetic. When we read 'my theory is better than my praxis', the irony ripples through the manuscript, because rarely do the metronome, the drum beat, the tones of voice resonate so strongly. The page becomes the acoustically desirable space, with all attendant ironies and wit. Character and writer are of no fixed address. Sophie Seita is a writer of genius who will never stay still, who will constantly work the boards in ways as yet unimagined. Watch, listen, and be changed. —John Kinsella Appearing in the drag of scale exercises, wrought and precise conceptual variations, and playful improvisation, the performance scores in Sophie Seita’s Fantasias in Counting might cause their readers/audiences to wonder whether they're clothed or nude. Yet the pleasure of these works is their refusal—tartly apropos our digital times—of such binary codings: countable v. mass nouns, wholes v. parts, the one v. multiples, original v. proxy, integer v. fraction, feigned v. felt, and, perhaps most importantly, repetition v. difference. For while Seita’s jargonate arias may instrumentalize the count of the metronome, they also “ambivalize” to reach an “acchord” or “communichord”; remaining unaccountable to a beat, they transmogrify uniform temporal divisions into the bumpy, opaque spacing of socio-linguistic relations. In Steinly tradition (“a craving so little as that like as if it (then) would be then it would be simple. simple and countable. more simply countable. a slice please. much cream.”), Fantasias in Counting effects, against the preterit, new performative grammatical modes: “cannot be counted, only done,” “practised, not counted.” Likewise, the book forges forced ways of being among languages: Seita does not just notice how “lots of words sound like other words” but stages language in states of “hyperarousal,” finding, for instance, an opera within an opera by unfolding a narrative spelled by its paratextual musical directives cum characters: “Po may be generally slow or fast at wasp-speed.” “The subversive subject has lost. Now only irrational measures,” Seita writes, but perhaps that subject is not so much lost as distributed both within and without itself, just as protagonistic or quantifiable models of action have here fissured into mischievous, disturbing agencies, even the agency of aporia. Here’s more than “A little ‘hey’ for true mathematics”: “Please take some time with this line.

    Авторское право:

    Attribution Non-Commercial (BY-NC)
    Скачайте в формате PDF, TXT или читайте онлайн в Scribd
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    из 15

    FANTASIAS IN COUNTING

    SOPHIE SEITA

    BLAZEVOX[BOOKS] Buffalo, New York

    Fantasias in Counting by Sophie Seita Copyright 2014 Published by BlazeVOX [books] All rights reserved. No part of this book may be reproduced without the publishers written permission, except for brief quotations in reviews. Printed in the United States of America Interior design and typesetting by Geoffrey Gatza Cover Art by Anna Moser First Edition ISBN: 978-1-60964-172-6 Library of Congress Control Number: 2014930379 BlazeVOX [books] 131 Euclid Ave Kenmore, NY 14217 Editor@blazevox.org

    publisher of weird little books

    BlazeVOX [ books ]
    blazevox.org
    21 20 19 18 17 16 15 14 13 12 01 02 03 04 05 06 07 08 09 10

    3,4

    3,4

    1.1. Dictator-Playm obil. [Speaker(s), without irony] Jede Frau mit einer Erektion spielt einen Despoten. Dictaphone. Ticktickjahkshsgffnsaaaa. [typewritersound] Everything fake because nobody no longer typewriter. More like: Yes here. Das Keyboard ficken. Bear it. Is not funny, is anxious. [Plays a melody on the piano. Swing or something. Or something that makes the toes tap.] [heckling: Distraction! Self-flagellation!] Disputable out, ultimate off, interfering play with timid bias. Always just births. Everything top-secret. Gaze: searchingly benign very well very well yes most probably gracious. [Sigh] [Ommm]

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    1.2. W hat its Use: A Conversation / A Pastim e. [Enter a French philosopher F as referee and another French philosopher D dressed as Pirate Jenny from Brechts Three-Penny Opera.] F: Self-realisation. D: Mmh. F: William Burroughs after hypnosis. D: William Burroughs after hes read Johannes Mario Simmels Love is Just a Word. F: Hasnt read it. [Street organ plays the first bars of The Ballad of Mack the Knife.] D: Wrong song / dummy song. F: You promised me a rabbit. D: Never being finished / never halting Did I switch off the cooker? F: Come, Ill hold you a little. [lifts a porcelain ballerina figurine off the floor, holds her.] D: Enclosed. Everywhere. Permanently. [feigned panic] F: Like a boxing glove. D: ? F: Forgotten on the parquet. When are you giving me the fur? D: Forgotten. F: OK.

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    1.3. The Theatricality and Functionality of Categories: The Reform ulation of Gesture. The subversive subject has lost. Now only irrational measures. [Begins to play a rhythm on or with scattered sounding-materialwhatever is available. Ideally, this is a polyrhythm or cross-rhythm, either 4:3 or 5:3, or even better 4/4 : 4/3 or 2/5 : 2/3 or something of that kind; over the repeatedly spoken phrases: no I cannot; no you cannot (ad lib with pleasure)]

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    1.4. OK. And Now. [Reads text from paper] Listen up to discontinue/halting You will think slow works too itself like feels [Last look at audience] [From now on no longer speak for the audience but also not to the audience] Not for the little anecdote. Bye angst. / Adieu angst.

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    1.5. Eines. [Possibly speaker from 1.1.] a craving a hankering just one even if countable is not a door neither open nor closed. analogies being uncountable. and yet what is one as if it was only one as if it was recountable. stand up and speak with me. do you see me? a craving and a film and an account are capable they can. could me. dear dear so simple/modest // oh-so-so plainly. do something. if not then something must. on on on. why, yes, one can, yes. if one wants. if one cracks it open, sallies out / if one cracks open the, if one starts for Honey Patty Pudding Pie. a craving so little as that like as if it (then) would be then it would be simple. simple and countable. more simply countable. a slice please. much cream. here on the belly button. like this it works so-so / it works like this too / same here it goes that way, too. cannot be counted, only done. to gainsay / object tothe perfect splodge of creamthe perfect caveatis more pithy/meaty/densely and borrows itself and probably can be practised, not counted, but clever and like a tea-set pretty to look at. porcelain. multiple parts/portions. firm for the dishwasher. well then.

    17

    and still. / continuing still. / still continues. better. more tender(ly) / gentler. white and many many more. and many many many they are not one if it was one that would be better. and whiter. but it pitches/raises/institutes and yanks itself/wrests itself up to a landing/touchdown yes almost unwatched/quite unobserved/under the radar just just without any truly without any. in observance one can regard this provisional(ly). floating. thinks yes expedient / conveniently usable and mixes/mingles (itself) quite queerly/peculiar. modest/simple and mixed you hold it in parts/portions because as you name it it is parts/portions even if you think Unity it isnt youre holding the hip arent you there you go a part. entangled and thorny/shaky and hunterly such a coincidence yes one just one just is enough. one pudding. makes full. not every forage/flurry/fossicking makes hungry. an exceedingly odd holding. / a most peculiar holding.

    18

    1.6. Just / Only. [Speaker, and D and F from 1.2.] What are these womens voices And moose Monsieur F did you hear that She was mistaken there / She was off base Monsieur D says she was misplaced / She laid herself off (base) Ah Irksome/bothersome Shoulder or hip Monsieur D whispers in my ear bygone / elapsed / departed Monsieur F equally uncurbed / unchecked / off the bat D: The best decisions. F: The best preambles. D: Predominantly delivered / recited. I ask: Back? F: Ah yes this is silver. D: No-no its porcelain. F: Why do you always D: Yes-yes good old times. Somewhere you write you once bit on a tiny cherry pit. F: Yes in the pudding. D: Well, I never! just fancy! I ask: What exactly? F: You said/thought youd heard something I think you want to slip me the fake rabbit again / palm it off on me. D: Its not (a) rabbit, its (a) moose. Real and very gentle/tame for putting/laying round ones shoulder.

    19

    F: Or the hip. D: Or the hip. F: What did you say I: I said something F: Many things that were said to me I didnt understand. They didnt seem to me to be quite French. / I didnt deem them to be quite French. / I didnt seem to be quite French. D: They were masked. F: When they raided the village. And always they take the women with them. And honey. D: She sings so beautifully. Why dont you listen come on listen cant you hear F: This name I know! This title D: Do they have enough dots spots enough colour for your taste? / Are they dotted enough are they coloured enough? The parts do they

    Yes they can listen/hear and concuss/shake because one can really and the adequate/the sufficing/the enough can be heard very tame in every centre is the most normal of the normal believe me. But I did stand up. Im rubbing the one little shoe sole. Lets suppose it was a could. Once hurrumph briefly yes helps doesnt it mmh it is is it probable or probable that it

    20

    1.7. Counting. [Fs ballerina appears again. Also Ds Pirate Jenny apron. Also the person who drummed the rhythm in 1.3. The scene completely without anything loud to be heard.] [The same sits on a chair / table / floor / cupboardimmaterialwaits, counts inwardly the same rhythms from before but unhearable. Then wraps the apron gently around the ballerina. And holds her.]

    21

    [Part II. Positions are held from the last scene, still, no movement, no speaking. A prerecorded German version of the piece starts playing through loudspeakers.]

    1.1. Diktator-Playm obil. [Sprecher, ohne Ironie] Every woman with an erection plays a despot. Diktiergert. Ticktickjahkshsgffnsaaaa. [Schreibmaschinengerusch] [Kleiner Orgasmus, aber leise] Alles fake da niemand mehr Schreibmaschine. Mehr so: Ah genau. Mmmh. Genau so. Genau hier. Fucking the keyboard. [Spielt eine Note auf dem E-Piano, 80er Synthesizer Stil, den Halte-Bogen haltendwenn zu affektiert, dann weglassen oder erst recht machen.] Aushalten. Is nicht witzig, is ngstlich.

    22

    [Spielt eine kleine Melodie. Swing oder so. Oder irgendwas, das die Fe zum Wippen bringt] [Zwischenrufe: Ablenkung! Selbst-Geielung!] anfechtbares Auen, ultimatives fair play, besorgtes befangenes, gab noch nie Zeit // Immer Geburten. Meine Mutter heit Hannah. Arendt. Alles top-secret. Blick: prfend mild wohl ja wohl huldvoll. [seufz] Jetzt: Gedanken zgeln und prfen. Prfen und zgeln. [Ommm]

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