Sound Advice

What kind of sound do you need to make a horseradish? To make a lecture please an audience? To make a nexus with eight arms and a dental filling? To make a piccolo make a pass at a violin? To make ink? To make a pen write with the ink created to make things to say? I have this to say about inimitable: it cannot be imitated. But it can be revolved and examined by a board of dilettantes. And the sound they make will be pregnant as a shield with deep definition and an unworldly iconography embossed in bronze. Give that shield a good kick down the stairs and you can hear it bang down the steps all the way to Reykjavik. And this will be mesmerizing and iconoclastic. The oscillations will be pigments of sound. Audible pinks. Audible oranges and blues. Audible black. Audible brown. Vibrations so garish they slice through the walls of the empirical realm and create holes for us to walk through. This is the effect of music, which makes sound shaggy and warm. Insignias are the sound of myth when it shines like explanations on a tough smooth fabric. Perception has its own mythology, which is based on the gods of sound and vibration, sirens of song, frequencies in the range of 15 to 100 hertz and often higher, energies with black fingers and firework strides. Oscillations that propagate over long distances. If you can hear the shape inside a stone than you should avoid the marketplace until the next dawn when the aurora borealis silences the heavens with the cry of angels exploding from the sun. But if, on the other hand, you can smell England in a Morris dance you can pick a guitar up and let it speak for itself. And when this sound hardens it will be loud as the darkness in a potato cellar.