Sky and sun are our brutish limits. But training your gaze toward the ground may be more rewarding, if only for the lack of some pay(off). Imagine a city—any city—with both the apotheosis of civilization and its requisite nadir simultaneously on display for all to see. In its “cracks” and “in the seams of the world,” there are “secret scenes” or stagings that produce no “doubt.” Orient yourself toward “practicalities,” which are “possibilities” for those that live close to the earth. Commit to imagining perfectibility and “wait,” resisting the labor of literal realization. Set your “I” to “idle,” and will yourself to live downward. Transformative orientation.
Via Cantor’s logic, a finite set is never equivalent to its own subset(s), while all infinite sets are. Equality, then, only appears amid infinite particularities without exhaustion. Given this, a continuum properly thought must have no limit point, no possible incarnation or subjectivity to mark either terminus. Repetition of root braces the four-note ascending figure in multiple registers (whose only differences are in timbre and vibrato). Improv section approaches relation via timing (phrases eventually beginning in the last quarter of the bar, for example). Track ends with root and harmonic ringing out simultaneously, with the latter endless—proving that the note, physically, is a node which initiates relation by remaining still (and in the middle). Presence, presently, registers positionality and not (proximal) possibility.