Open Collections

Abstract

this is the second draft of the first part of a four part composition . why FO(U)R ONE ? because four is one is that : summer autumn winter spring are one year, one cycle is that : a man born-begetting-aging-dying lives one life,moves through-in one instant. and the oneness holds for the i and the you who speak speak because the i has a you ; in another way the i is the you—the i reaching for its psychic counterpart, for its self ; in still another way the you is the organic counterpart of the i . further, there is the you:you god, man, dog, or so . and there is also the you which the i seeks , and seeks to know, understand within the i—reaching, sometime touching, but never arriving . what is this point ? the point which moves in a line into a circle which turns into a sphere is a point/line/circle/sphere of confrontations—flashed,faded in and out,sketched,gestured , in a stroke, a sometime utterance—confrontations only--for what follows in FO(U)R ONE is only the point which moves in cycles, but moves for ONE (you) as you move : move between your in and out sides—for the i speaking its being speaks a language (though a language of words that can not tell the is of being) a language opening/closing (as mouth to anus) closing/opening through-in the point the space of a window—confrontations in (Y)our window (the door is still,as ever, shut) . what moves within,what turns outside : all that and whatever more there is between , is to come in the three parts which will follow a rewritten FO(U)R ONE. otherwise structurally : this arrangement is a double concerto in four movements : the i and the you are the two solo instruments in counterpoint ; the confrontations in shifts are the orchestral-background ones and more . . . and so