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A side track of the not visible
A side track of the not visible
A constant shifting form to emptiness?
A constant shifting form to emptiness?
....
The music carried us through the shifting terrain. That was all. Simple, with a flavor of romance and beauty created by the harmonies woven on the piano playing. It left space for the mind to wander, to drift into deeper inner landscapes.
I noticed the power of sound, how these described performances used it as a way of holding space. It became part of the aesthetic itself. I remembered a promise I once made to myself, after attending a piano concert: that I would never again attend visual or theatrical art, and would instead only listen to music. I never lived up to that promise, but the feeling returned. That draw towards something as ephemeral and powerful as sound. These vibrating waves travelling through air, opening entire worlds inside the mind. I remembered how much I loved that dimension — maybe even more than the material one.
These works didn’t name Zen, but they carried its breath. They made room. They embraced restraint. They offered space, not to be filled, but to be felt. That’s why they belong here, in this research. They echoed many of the principles I’ve been tracing: attention, silence, impermanence, and the art of allowing something to unfold without forcing it.
...
This text is a cut-out from An Inquiry into the Principles of Zen (p. 36). The references to performances function as anecdotes, opening a sidetrack into sound. The earlier parts of the original section, which speak more extensively about these performances, are consciously left out.
I wonder about sound as a medium that transcends everything:
a mere vibration carrying all that we think we know, and beyond.
How is it possible that this non-visible phenomenon moves so much, both within and outside of us? Frequencies travel. They are not only intentionally created, as in music, but also generated by objects, creatures, and space itself.
I approach sound as an ultimate first and final presence, together with darkness. I relate it to cosmic pollution, to an unknown matter(?), or vibration(?), perhaps a remnant of zero, a possible source of creation, just as darkness is. Sound, or rather vibration and frequency, begins to appear as a possible form of emptiness.
These thoughts formed a sidetrack in my research, yet one that remains close to its centre. In Holding Space through Empty Form, I return to similar questions: how something can be present without insisting on form, how space can be held without being filled, and how meaning can arise through what is allowed to resonate rather than what is fixed.
This archive entry functions as a point of reference, a suspended inquiry that remains available for future activation.
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