Fine-tune

FINE-TUNE



Absolute pitch like any navigational chosen spot is edged towards out of an infinite series of variables that precede or succeed it, or play out simultaneously as background harmonics or low level buzz.

Any positional leaning, any tone, any tincture of a colour gradient is situated in this held myriad of complex differentiations. Some of these make it to the table. Others do not. Awareness flickers on and off glinting through specific frequencies that become the quality of an on-going gesture, expression, posture, song or story; or simply the countenance of all that is there. Yet each fragment that glints onto consciousness is so set in this myriad of possible tendencies. These are literally the pulls and pushes- the compressions and release of the physical body as it tilts and pivots around a tendency to turn that is forever offset by a counter tendency so that it becomes executed movements or lingering stillness- a pause-gap that can last seconds, minutes hours and is only known as something other than that which got stuck at the point of perception or filmic unravelling, because the plant at the side of the speaker/mover is still arching and curling in the wind of a nearby but unseen open window that gives light to the scene on that particular sunny afternoon.


The natural curvature of all life forms creates in an act of effortless change all one needs to go on with. These tilting tendencies present themselves to us as opportunities to rely on for short instances of optimum worth. It's our special niche to be able to time these attachments and detachments so as to take a ride on these larger currents and than to drop off again at just the right moment. All language is carried up into longer and more intricate trails and tales according to this adeptness of jumping on an off. We follow the current of the wind that is a larger pattern - a pattern of becoming that we do not exactly know or anticipate but that we simply give into and gain a particular composure around- as a bird is carried by the wind without ever becoming the wind. There is differentiation and affinity at every moment. How we hold and release muscle sets, viscosity, breath, and affinity with other life forms whether human or non-human is about this proximity and release; an involvement together with a non-involvement.


The voice too is a construct of this interior negative forming that is about the elasticity of the throat lining, the air circulating in and out – in this squeeze-release that gives it shape and push and the minute adjustments of constrictive, expansive tendencies that play into sound loops that cascade over one another, interrupt, cancel out and reinvigorate in turns and swoops. This air caligraphy carves out a space that is indeterminate; always caught into a moment yet reliant on a deeper sense of grounding through the shifting accommodating centre of the body, the earth, and the environ that is our surround and our release. Tilting is how we get to the ever changing yet constantly followed point of alignment through many different scales and tempos that calls and re-calls differently at each moment our being present. This deep set orientation is the method of coming into action, into speech, into address in the most effortless manner without having to recount the details one by one of how we got there. It is a broader shaping – a broader sweep of the brush. Something felt in the on-off balance between falling and catching in again, primed in the tiny thresholds of compression and expansion that we generate between brief associative leanings and between the intervals we articulate in these measured timings.