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.
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.
What makes a specific quality or quantity of innovation retain its intense newness over the years?
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.
So: we're all tired. Now what? Manuscripts written in Club Med?
