This morning, mild curiosity prompted me to read the New York Times (NYT)’ obituary for Éliane Radigue, who died on Monday in Paris. That mild curiosity grew from a casual scan of online introductory headline “briefs” about news the NYT editors must have determined to be of general interest. The summary snapshot introducing the article stated that “Her Tibetan Buddhist spiritual practice and her experiments with synthesizers came together in vast, slow-moving works that drew wide acclaim.” Buddhist spirituality and music synthesizers apparently are topics that spark my interest; they enticed me to read the obituary; I do not recall ever having seen or heard her name before. Among her works, she composed Time, Silence and Space, which I began listening to after reading about Radigue’s career. The piece is more than 52 minutes long and my attention span is considerably shorter, so I listened for only a few minutes. Despite that brief introduction, though, I could “feel” what she meant when she said, during an interview, “Time, silence and space are the main factors constituting my music. Shivering space, like a soft breath, induces the vibrations of the silence slightly, becoming sound.” Sound versus music.
Though the sounds tended to grate on me, at first, the more I listened, the more I could hear the layering and the sonic palettes mentioned in the obituarist’s writing. Listening as intently as I could, I heard clues that explained to me, emotionally, why the sounds gripped me—while at the same time, pushed me to seek the solitude of silence. I cannot imagine listening to Radigue’s compositions for an extended period. On the other hand, I cannot fathom leaving her work forgotten, unheard, unfinished. I think it is the sort of music that is so intense that it must be experienced in short bursts; with an open mind.
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Blurry shapes and indistinct shadows are veils behind which clarity hides—unless clarity is a misrepresentation of realism. Perhaps clarity is just as vague without the veil, though, like knowledge and facts and truth hidden beneath opaque or translucent misunderstandings and intentional lies. We do not see with perfect acuity, nor do we perceive with precise comprehension. Knowledge is perception covered in barnacles and sight is blindness, with just enough film wiped away to allow penetration by the light. Experience is rarely pure; it is simply a gradation of ignorance…or wisdom blurred by fog.
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Words are inadequate to describe or characterize emotions. For that reason, we rely on similes and metaphors. Admittedly, similes and metaphors are composed of words, but they comprise words that cannot accomplish on their own the aim of expressing emotions. There is a caveat: I know this is true of English, but words in other languages may be more capable. Yet another reason to learn multiple languages or to adapt foreign phrases into our own English vocabulary.
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There’s more to be said, but I do not know just what it is.
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