More W.:

543. Can I not say: a cry, a laugh, are full of meaning?

And that means, roughly: much can be gathered from them.

W. from Philosophical Investigations:

527. Understanding a sentence is much more akin to understanding a theme in music than one may think. What I mean is that understanding a sentence lies nearer than one thinks to what is normally called understanding a musical theme. Why is just this the pattern of variation in loudness and tempo? One would like to say "Because I know what it's all about." But what is it all about? I should not be able to say. In order to 'explain' I could only compare it with something else which has the same rhythm (I mean the same pattern). (One says, "Don't you see, this is as if a conclusion were being drawn" or "This is as it were a parenthesis", etc. How does one justify such comparisons? -- There are very different kinds of justification here.)

Dammit I do not want a Verizon slogan on my Jay-Z.

One of the minorly disappointing things about listening to music on the bus is that I can almost never take full advantage of the fact that the bus is in motion. It rarely gets going at a good clip for long enough (because of all the stops) to most effectively accompany the music - to match the on-and-on motion of the rhythms.

When it works it's distinctive, too, because sitting-still-yet-moving feels different from moving-by-walking.

Best song I heard in a coffeeshop today while grading: Nelly Furtado, "I'm Like a Bird". The girl next to me sang along at the beginning (before I knew what it was, which made me feel a little left out). The whole place seemed happier.

Most unsettling thing I heard in a coffeeshop today while grading: large chunks of both Kid A and Amnesiac. People's interactions became noticeably more subdued, or dropped away entirely. My conviction that this music is fundamentally internal was reinforced tenfold.

Three notes on joy:

1. My kitchen floor is slippery, especially in the swank socks my parents bought me. This is especially good for dancing to Charles Mingus. Slip-slide dancing.

2. You know the scene in Rush Hour where the guy's daughter is in the backseat of the car singing to the song on the radio? Yeah, that one. It is the most joyous thing ever in the entire world. Cherish it. (There is something to be said about the fact that the girl may be unknowingly reproducing oppressive norms of heterosexuality and the patriarchy. But at the moment that something is: fuck off.) If this were a contest, the "War" scene would be a finalist receiving a lovely parting ("party") gift.

3. "Or even moonwalk, far as I care, sold Michael Jackson 43 million records, shit everyone had a zipper jacket and half these thugs had the glove to match, ya feel me?" (Missy on dancing in your videos and having fun.)

The last three posts (I, II, and III) are from p. 311 of A Thousand Plateaus, the beginning of the eleventh plateau, "1837: Of the Refrain". I put them there just so that I can write about them and think about them later. I don't understand them. I haven't read the entire plateau, but I've read part of it and I didn't really understand it. I know Sterl is sick of hearing about the refrain, but I suppose that prompted me to think more carefully about it, especially since at the moment I feel I have slightly better footing than the last time I took a look at this stuff.

For now, all you need to know is: "These are not three successive movements in an evolution. They are three aspects of a single thing, the Refrain (ritournelle)." I'll write more as I can.

I. A child in the dark, gripped with fear, comforts himself by singing under his breath. He walks and halts to his song. Lost, he takes shelter, or orients himself with his little song as best he can. The song is like a rough sketch of a calming and stabilizing, calm and stable, center in the heart of chaos. Perhaps the child skips as he sings, hastens or slows his pace. But the song itself is already a skip: it jumps from chaos to the beginnings of order in chaos and is in danger of breaking apart at any moment. There is always sonority in Ariadne's thread. Or the song of Orpheus.

II. Now we are at home. But home does not preexist: it was necessary to draw a circle around that uncertain and fragile center, to organize a limited space. Many, very diverse, components have a part in this, landmarks and marks of all kinds. This was already true of the previous case. But now the components are used for organizing a space, not for the momentary determination of a center. The forces of chaos are kept outside as much as possible, and the interior space protects the germinal forces of a task to fulfill or a deed to do. This involves an activity of selection, elimination and abstraction, in order to prevent the interior forces of the earth from being submerged, to enable them to resist, or even to take something from chaos across the filter or sieve of the space that has been drawn. Sonorous or vocal components are very important: a wall of sound, or at least a wall with some sonic bricks in it. A child hums to summon the strength for the schoolwork she has to hand in. A housewife sings to herself, or listens to the radio, as she marshals the antichaos forces of her work. Radios and television sets are like sound walls around every household and mark territories (the neighbor complains when it gets too loud). For sublime deeds like the foundation of a city or the fabrication of a golem, one draws a circle, or better yet walks in a circle as in a children's dance, combining rhythmic vowels and consonants that correspond to the interior forces of creation as to the differentiated parts of an organism. A mistake in speed, rhythm, or harmony would be catastrophic because it would bring back the forces of chaos, destroying both creator and creation.