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Scott,
For musical examples / analogies, you might look at / listen to:
-- early Steve Reich (I hear the more recent stuff as symmetrical/stabilizing/structuring, 'classicizing,' etc., but 'Violin Phase' and 'It's Gonna Rain,' say, get at a sense of repetition as processual, diachronic, etc., etc.
-- Anthony Braxton's newer Ghost Trance Musics, and any published accounts of his compositional method within his former quartet -- which would often play one composition in the drums and bass, another in the piano, and yet a third on sax -- deploying the repeatability of these compositions as 'unit structures' (think Cecil Taylor, when you say that, you dirty structuralist) to effect a complex interlayering which ultimately compromises and reconfigures their unit status. Anthony Rabano has a good, but technical and rather difficult book, on Braxton, which deals mostly with the quartet years.
-- dub, esp. Lee Perry, King Tubby, and more recent stuff produced by Adrian Sherwood (Revolutionary Dub Warriors, Dub Syndicate, et al) -- repetition at the level of the 'version'
-- raga -- good, relatively non-technical chapter on this in Derek Bailey's book Improvisation -- I'm at a loss for accounts of the music by practicing and / or historical musicians of the subcontinent (someone help?)
-- (related to repetition): persistence, sustain -- as in long-duration minimalism -- Tony Conrad, Phill Niblock, early LaMonte Young -- 'keeping on' as opposed to 'doing again,' with the proviso that such an 'opposition' might be called into question by these musical practices
-- anything on West African 'additive rhythm' (sorry, no sources at the moment)
-- Jacques Attali's Noise treats repetition not only as a micro-component of the musical object / event, but uses it to name an historical stage in the macro-social organization of music:
'[With the advent of recording] More than ever, music becomes a monologue. It becomes a material object of exchange and profit, without having to go through the long and complex detour of the score and performance anymore. Capitalism has a frank and abstract interest in it. . . . Once again, music shows the way: undoubtedly the first system of sign production, it ceases to be a mirror, an enactment, a direct link, the memory of past sacrifical violence, becoming a solitary listening, the stockpiling of sociality.
The mode of power implied by repetition, unlike that of representation, eludes precise localization; it becomes diluted, masked, anonymous, while at the same time exacerbating the fiction of the spectacle as a mode of government' (88).
This might be a less savory sense of the repetition-as-process you're looking at: repetition is that which 'eludes precise localization' -- i.e., that which is destabilizing in any particular event-series -- only insofar as it reproduces at the largest scale the contours of a spectacular ideology. In many ways, this reads like a rehearsal of Jameson's by-now-infamous critique of Perelman's 'China.'
-- (related to repetition): This, from Iannis Xenakis' 'Formalized Music': 'But the profound lesson of such a table of coherences is that any theory or solution given on one level can be assigned to the solution of problems on another level. Thus the solutions in macrocomposition . . . can engender simpler and more powerful new perspectives in the shaping of microsounds than the usual . . . functions can' (vii). Thus, a kind of repetition across levels of scale in either or several directions -- repetition here is not the incremental addition of units to form a whole, but the process by which one whole might be said to model another. (In another realm entirely, see Samuel Delany's various texts and paratexts on the 'modular calculus' [Trouble on Triton and its second appendix, the appendix to Tales of Neveryon, all of Neveryona, and 'The Tale of Plagues and Carnivals' in Flight from Neveryon] for an indication of some of the difficulties of generating such a modeling procedure which does not lapse into easy analogizing). Xenakis, of course, has also worked as an architect, so I wouldn't be surprised to find other works by him which deal with this problematic in terms of architecture.
. . . and one example from architecture / visual art:
-- Arakawa and Gins, any of the various catalogues or publications stemming from their 1997 Guggenheim show -- when you build a structure out of , say, a regular dodecahedron with one missing face repeated in a linear series in which each iteration is rotated a certain number of degrees off the horizontal and the vertical, you've established a very different relation between unit and macro-form than that of a Corbusier, all the evident similarities (i.e., reduction of the large to a series of repeated smalls) notwithstanding.
Hope this helps. See you in Buffalo soon.
Taylor Brady
editor, Cartograffiti
http://writing.upenn.edu/spc/cartograffiti
(a publication of the Small Press Collective)
http://writing.upenn.edu/spc
Scott Pound wrote:
I am working on a critical study of the use of repetition in 20th C writingand performance and would appreciate citations people might be able to
provide for works (creative and critical) that deal with NON-LITERARY forms
of repetition: i.e. in music, computer programming, painting, oral
performance, physics, chaos theory, mathematics, mechanics and other areas. If anyone has come across interesting attempts to account for the peculiar
exigency of repetition without recourse to literary schemes and tropes
please backchannel me the info.
I'm trying to make a case for a certain use of repetition that defies the
inherently symmetrical/stabilizing/structuring forms of repetition that
anchor western systematics. Repetition as process rather than structure.
Key figures/areas are (of course) Stein, as well as Pound, Hejinian,
Scalapino, bpNichol, visual/sound/oral poetries.
With thanks in advance!
Scott Pound
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