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In publishing
Glossolalia
five
years after it was
written, I must provide
a few words of clarification. It would be
absolutely incorrect to see in Glossolalia a
theory intended to prove something to
someone.
Glossolalia is an
improvisation on several sound
themes; just as these
themes develop phantasies of sound-images inside of
me, so do I lay them out; but I know that behind
the figurative
subjectivity of my improvisations is concealed
their beyond-the-figurative,
non-subjective root.
Indeed, when we observe a speaker, seeing his
gestures but not hearing the content of his speech
from a distance, we can nonetheless determine this
content by his gestures, such as "fear,"
"enchantment," "dissatisfaction"; we conclude that
the speech, which we have not heard, is "something
enchanting," or "frightful"; later we learn, that
the speaker had been warning us about something,
trying to arouse a sense of fear in the crowd
toward something; and we comprehend that our
perception of the gesture corresponds perfectly to
the content that we did not hear.
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In just the same way here I take
a sound, as a gesture, on the surface of the life
of consciousness, -- it is a gesture of lost
content; and when I assert, that "Ss" is --
something luminous, I know that the gesture in
general is -- a faithful one, and my figurative
improvisations are models for the expression of a
mimicry of sounds that we have lost. I firmly
believe that this mimicry will ignite inside of us
and be illuminated by our consciousness. And it is
to this future that I raise my subjective images,
not as a theory, but as a poem: a poem about
sound.
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