By reason of weird translation, many such sets of instructions read like poems anyhow.
With respect to the respective French and German traditions you are no doubt correct, although I am reluctant to see individual achievement reduced to archetypes.
The idea of 'machine assemblage' is, especially, very alien to my sensibility, since it suggests a relative indifference of the strata to one another during the process of construction.
In any case, the fewer boundaries that exist hindering free movement between all forms of articulate human cognition, the better.
This was possible only by dint of extended periods of frequently quite painful reflection and digestion.
Naturally enough, I couldn't have foreseen the vast sea change which has come upon that scene as a result of German reunification and associated events.
When I speak of 'cycles,' I am referring to lengthy intervals of relative homogeneity, if not in the resolving of problems, than at least with respect to the consistency of their capacity to productively irritate.
So: we're all tired. Now what? Manuscripts written in Club Med?
The Western musical canon came about not merely by accumulation, but by opposition and subversion, both to the ruling powers on whom composers depended for their livelihoods and to other musics.
What makes a specific quality or quantity of innovation retain its intense newness over the years?
I don't see 'lines of force' as being destructive, except to the extent that they are exclusively traceable through observance of the path of distorted material left in their wake.
Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.
I'm perplexed, though, by your application of the term 'negative' to my figural imagery.
