The Chamber of Silence



Untitled © Denise Startin

“I can only find myself as far as I regard myself as a diapason-subject, as a living tuning fork that must be held right in front of a loud speaker in order to detect a possible resonance. The world as soul opens itself according to a place: a movement is needed to find the position that renews me. The soul and the world are always one, and always new. (If indeed they are there).

For often there are dead spots

Every sound body has them […] those places on the neck of a guitar that will not resonate to the vibrations of the strings – places where, locally, resonance will be forever extinguished. Similarly there are zones in my body that are irresponsive to the music out there – occasionally this concerns my whole body. Outside of resonance my body is a mere object, a mass, a cadaver. It is world-less, place-less, and merely an object in homogenous space. A thing among things, it is then like a heart that has stopped bleeding, a resonance that has been extinguished, an interval that has imploded, or a syncope that has left it’s orbit…”

Cont’d: An absent presence the body (anaesthetized) and the subject (evacuated) are trave[ai]lling on a continuum from the ecstatic to the forensic subject, a euphoric memory fettered, crippled, occasioned by the touch of death.

Quoted text reproduced from Lyrical Bodies: Music and the Extension of the Soul by Sander van Maas, quoted in Chrono-Topologies: Hybrid Spatialities and Multiple Temporalities, Ed. Leslie Kavanaugh, 2010, p.160.