Poet: I take an idea and unravel it
into its component parts
so that they lie in front of me—
a set of word tools
used to both assemble
and constitute a prose structure
based upon the potentials inherent in the idea
but in an abstracted musical form.
Composer: I take an idea and develop it
using its component parts
so that stretch out ahead of (and behind) me—
a set of sound tools
used to both assemble
and constitute a sound structure
based upon the potentials inherent in the idea
but in an abstracted “narrative” form.
Poet: So that’s our hello?
Composer: I guess.
•
Poet: Where does feeling reside for you?
Composer: In the number and quality of potentials I can extract from an idea.
Where do your ideas come from?
Poet: From my feeling that an idea is worth pursuing.
Why do you work with sound?
Composer: Because the sense of words is too specific.
Why do you work with words?
Poet: Because the sense of sounds is too vague.
What is your instrument?
Composer: Close listening and receptiveness to accidental congruities.
What is yours?
Poet: Imagining relationships and creating tensegrity through deliberate design.
What problem are you trying to solve?
Composer: Scattered attention and vague thinking. You?
Poet: I want to re-enchant language.
Composer: Focus and enchantment are our shared interests, then.
Poet: Yes, and the pleasure that lies somewhere in between.
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