SECTION I - First Act: Long term memory – Tracing                                                                                                                                                                                                                                                                home

CHARACTERS




Breath & Voice The Ill auditor The Ear

The Mother The Child

The father (Franz) Actors

Vases Echoes

The Auditor

The Voice of the Dead



(Every unit receives information only by a hierarchical, higher unit. What constitutes a higher unit is left to the reader to decide)


FIRST ACT




First Scene – Substantialism



Child



Something wrong?



Mother



Yes.

C.




What is it?


M.




Sick.


C.




I see. M.

Just take what is freely offered.



Ear



Do we have a choice?


Second Scene – golden age: Pneuma shock, compression – membrane



Ear



So much to take.



The Ill Auditor



So much to take.




E.




Does it take an intermediary to understand the outside?


T. I. A




A membrane.



Child



But. It is so much to take. Mother

…And nobody stops giving. There might not be an outside. But merely an object. An infinite object. - And no cause.



Franz



Infinite. Is

not.

Distinguish between objects contents. There is a difference between the things we are aware and the contents of our awareness. - There might be no world. But there are rules. There might be no future; there might not be. But there is memory, there is past. There is family, there is civilization.

There is hierarchy.


T. I. A.




What it gives me I take.


E.




If I can filter the object. The object must be present. Franz.

If it is or not. - It is of no

importance. M.

Nobody asked me.


Third Scene: Desire – listening



Mother

No. Nobody asked me...



Franz



Intentionality.

Constituted neither by brute sensation nor byconceptual content, but by bodily skills and dispo - sitions.

The content of experience.





Voice



Before, do you find me?



Child



Before What? V.

Yes! You!

I mean before your intuitions.

Do you find me?



Franz








before us. M.

What?



Franz




you


He finds









Before thoughts and conversations.


There is always intention. Perhaps more in animals and children.



-     Before consciousness.



M.


Always taking



Franz



Before making sense and transforming

Mutating.


Expanding

Concepts.


V.




Desire.



Franz



Desire-listening2. Signification. Experience. Contamination. – And so on and so forth.


M.




So, is art in desire then? - Letting it all in cowardly, without membrane. With no intention.

What kind of monster is then a man that just takes?




Franz



- a response. T.I.A.




Intentionality is just


Inhabiting the inside. The family, society, civilization. Pre-linguistic. Representation.




Franz



it is a mode of existence. Not a skill. You must be aware of your own existence.




T.I.A.




I am sick.





Franz.




Yet,




Yes.                                                                                                                                          I

know that.

Yes. And since you are indeed sick you cannot be opened.



You can only take. Miserably. Yet, you do not know where you are, or even if you are. The only condition for intention. The heart of this awareness.










2 Desire – listening is a concept developed by Francois J. Bonnet in his book the Order of Sound (2016). It derives from Deleuze’s desire. The most basic understanding is that humans listen to what they desire in contingent scenarios. According to this theory there are different types ofdesire listening, the most striking example might be listening under the effect of hallucination.

M.




What I know is that this experience does not exist. It is an actuality. A moment, an event. And nothing more than that.



Not subjective -.



Franz



Yet, hearing is just -

-                       perceptual.



Breath



An event of something and that specific something

are



two different things. (On the opposite side of theroom - Franz – he is a subjectivity). E.

And yet… Franz What?

E.




There is auto -generation.


T.I.A




An un-synthesizable multiplicity.



How is there more than one voice? Or no voice at all?

E




An extra audible experience – you mean? Franz

There is no such thing. Just -

-if you desire it.

T.I.A




What I hear is all divided. Nothing is sense. Or makes sense. I am not making this up.


E.




The given to be heard is addressed to you It is your desire. You did make it up.

T.I.A.




No. I did not. You have no consciousness. I have no consciousness, no determination.





Franz



You do, for me, if I say so.

Because I can hear you. You are unbearable.

Sound is always present. Yet, I choose not to experience the totality of it. And its unbearable continuum. Otherwise, I would be sick. Just as you are.


M.




Then art, in this case, is an exercise of consciousness. It exists just if I decide so as a conscious subject. It starts historically, it is constructed by my desire. And, if I believe so, it lives in my temporality and because of mytemporality. My present if you may - since there is no future. – Just a wonder of the brain.









Franz



When the child is asleep. Nothing changes.

When I sleep. Something does happen.

Temporalities elongate sometimes they shrink.



But then… when I fall asleep listening to a podcast it usually elongates, yes. And the day after everything is slow. When I look up to the sky. The clouds are like spectres. Rhythmic.

Patterns. And they are, again unbearably slow.



It is curious to see how this patterns and angles progress. Just, if they would go a bit faster! I could bear that a bit better.



Are you recording me when I say these things?


It is all about traces after all.


M.




But what if is the event, the happening that promotes a reaction of sorts. If it is not, you who desires it.

What if, it controls you instead of you choosing it.



Franz



My objection to this, is that if and just if that is the case. Then I do not consider it art. If it is based upon prejudice.




I listen?


Why should



I just -


choose not to.


M.




Yet, I am subjected to construction. Aren’t you also?

Aren’t we all subjected to something? Ultimately. We must listen.

- It is a luxury not to.



For example. I am, indeed, subjected to a white, middle-class hierarchy. How anybody escape this? Filter it? If the nature of the art is, again white and middle class.



I must listen.

I must assume it.

I must objectify it and pass it on. V.

These days, being happy is an act of defiance.



Fourth Scene: the sacred sound, the magical sound. sacred sound: sacred function; magical sound: it applies a principle to obtain a certain effect.






V.




'noise' does not judge.




B.




Yet, it enables judgement when uses and an adjective.




V.




And what do you know?

B.




Well, that is a good point. – Perhaps, in a more intuitive way… I feel I could cancel it. And, after all it is all an assemblage. A way of opening doors.