|"Twose" for Piccolo|
Compositional skepticism, whether of the anarchic or the methodical kind, has challenged the possibility of certain knowledge.
Trauma theory introduces a psychoanalytic skepticism as well, which does not give up on sounds but suggests the existence of a traumatic kind, one that cannot be made entirely conscious, in the sense of being fully retrieved or communicated without distortion.
We have only a beginning, something like a hyper-community of musical explorers. The theory derives mainly from psychoanalytic sources, though it is strongly affected by compositional practice.
It recasts, in effect, an older question: what kind of music is art, or what kind of music does it foster?
The theory holds that the music of trauma, or the music which comes from that source, is composed of two contradictory elements. One is the traumatic event, registered rather than experienced. It seems to have bypassed perception and consciousness, and falls directly into the psyche.
The other is a kind of memory of the event, in the form of a perpetual troping of it by the bypassed or severely split (dissociated) psyche.