Shades of Cogs - an essay at a hyperessay


Composition is a framework a mapping a skeleton a bodily frame in historical time in real time in virtual time. Compositions come and go - they exist at the moment of their composition, then they are lost - they have to be made and made over and over again.

Compositions may be simple - compositions may be intricate - compositions may be linear - compositions may be complex - compositions may be monolithic - compositions may be plastic - compositions may be counterpointed - compositions may be polyrhythmic and polyphonic.

[quote]...everything is the same except composition and time, composition and the time of the composition and the time in the composition ...(24)

The time of the composition is the time of the composition. It has been at times a present thing it has been at times a past thing it has been at times a future thing it has been at times an endeavour at part or all of these things. In my beginning it was a continuous present a beginning again and again and again and again, it was a series it was a list it was a similarity and everything different it was a distribution and an equilibration. That is all of the time some of the time of composition… (29) [/quote]

Gertrude Stein in “Composition as Explanation.”

Shades of Cogs shows an array a mapping a new media reading of texts published in the 'old' media print. The readings speaks about the indeterminacy and ex-stasis of signs, of mappings and structural frameworks. And music. {pv_video_youtube}

By happy coincidence, and despite his ambivalent relation to music, the string instrument kora resounds in Plato’s concept the chora, which he sees as a receptacle for the soul.

By happy coincidence, the string instrument kora resounds in Julia Kristeva’s rereading of the chora as the semiotic chora, a receptacle for the unconscious that embodies our being in the world. And this chora, this otherness, can be heard in the rhythms of our language, in the body’s movement…, and in the compositions we create.