I find myself in the strange position of being a stranger to my own work, or at least, to the cycles of which I was accustomed when most of the work was designed. In reurning, I am in new ground, yet trying to repeat that which came before as though it were something necessary and vital. IN fact, my belief is that which is willing me to repeat, and further, I am still in a sense immersed in a social system that demands I repeat that which I started the process of repeating. When we commence a repetition we enter into the loop, and in being in the loop, we make a place for repetition. By expanding the loop to include other people, they similarly expand their loop to integrate our ideas and outputs into their own systems of repetition, be they feedback, circulation, oscillation, cycles and revolutionary aspirations. They may even buy into our spin. But what has this to do with the soudnscape, and with the aim of our conference, which is a discussion of acoustic ecology within the framework of east meeting the west.
It's a complex story to be sure. I have become, as I said, mildly estranged from the academic way and so hope you'll forgive me for committing such sins and inadequate cross-referencing to a dozen theorists whom I most probably have only half read and less understood. After all, I am nobody, and I am nowhere. My academic supervisor tells me that this is a tad bleak, and no doubt reeks of an apparent nihilism. Unitl you break it down, at which point it becomes a play on words, and you relaise I am in fact some place, and some being, brionging to you some idea, even if from the incorporeality of my alleged writership.
Is this pseduointellectual wankery?
What is my point. I realsied a long time ago that there are no points - just more and more repetitions - loops which my refine throught the effects of practice to appeear as points. The more our loops appear to integrate with the line of the everyday, the more they seem to the point. or in other words, the grain of our thinking is a complex of repetitions of varying loop sizes, and when another makes a point they simply integrate their loop into our system with a similar granular scale. Some of us have very broad grained thinking, and thus we are the easiest to convince. Others of us oscillate at such fine and deeply resonating strucures that it is of incedible difficulty.
Where do we find these loops these repetitions cycles and oscillations and son on. They are of course, all around us, and all through us. I will content that the loop is neither container nor form, but the place of repetition. I will content also that the soundscape is but a network of interacting loops, and that in a systematic sense, the loop network can at any point be considered from one or more of differeing modes of engagement - of differing kinds of sturctural coupling with the netwrok. Not only listeniong, but all forms of practice can be found withi this loop network that envlops us in the web of sound. Thus, intercultural dialog is similar a matter of negotiating the repetitions - of finding in each respective sussystem in the moment of coupling the social loopholes that exchange to occur without threatening structural integrity. What does all this mean. I have been trying to find oput.
In lames terms what is ebeing done and and what can be done further to achieve , well to acheive what exactly. What is this teleology?
