this has already had a history (0)
Patrick Farmeris notes on Gertrude Stein now and then notes on This has already had a history (0) which might go on for notes on Gertrude Stein etc. to notes in accord to losing one’s wristwatch is a first reading of Gertrude Stein, coming down with a case of the drums then, The Good Anna is a very different time and that irregular syntax cutting tall words in half and in quarters again horizontally, tumble’s stutter provokes an image of a wide open full mouth of all words ever spoken in a life up to that point of internal-red-language-tensions and into resemble lateral scattering, tuning every drum to the Gertrude Stein pitch, before the score sits a nonsense model, like most of the scores // filters lenses prisms // fill pockets whilst reading the book, empty pockets out onto the book in a manner befitting the soun of the sentence, a score drawing, concrete paper in air and withdrawing, a score full of blue-plumbs out of scores ready to do something else, push a face against a window and then, after all that, push a window against a face, each, subject, stiffens, in, position, waiting for the scratch habit of big Rabelasian ears, tensions of other kinds of waiting for what may be the relationship of opinions in a roomless field where weather will change what is noticed under foot, flick ears hoofed it and now, we decide whether we even wish to decide what we need to wear because we have bags of shoes we need to empty at some point or otherwise trade for laurel or for how far we wish to wander into opinions and where they and we may end up and it we are ready to take part from them if they have had enough experience to make it on their own, to gauge how any number may end, to become all verbal in dress no matter what other opinions are wearing, anyone is as their air and land is, what it is we say to both nuts to our opinions and ourselves, flip the ground into magnetic fields, the horizon is everywhere and will on occasion assume the similarity and the difference but we must remember the weather and dress accordingly, as best we can knowing well weather changes history and is itself history, if we have opinions that are all the more stubborn for opinions of the opinions of others and we keep the opinions because we have become attached to the stubborn tickling that back with in-projecting vociferations an importance of presence as opinions as opposed to the possible opinions of others made in common, as that is what we would seek to achieve as opinions merge again to ideas and opinions about ideas and attitudes of opinions and object fissure absurdum, building stackward the foggy premise of an unfair collision and one side never stood a chance inevitably because we went into this speaking of sides and dividing lines and value then what then if we hoard our opinions that must be important because we have nurtured them to bring us small joys as what happens when self and opinion prematurely split through preference of a stick-up-man gives up the prismatic vantage point for some plural consequences established on a plate of fish eaten quickly, a dish of melons served early, a copy of useful knowledge, then-to-stick-to-it as if we would ever grace the hold to sway for long, yet we try and see what is a vowel, to what is its sound, what does it denote, how do these accord, of leaping over the consonants, hit into mirrors, do the distances matter, know words agree with other words, grunting against each other, we ask this
now anyway, if not then this
In 2015, Wolf Notes invited composers and musicians to write a short text about one of their own pieces. A word count of no more than 500-words was the only guidance given.
Patrick Farmer is a writer, composer and sound researcher. He is co-editor of Wolf Notes.