I wrote a lot of crucial pages about Resonance piece in the book: Voce Sola; the writing work is currently being completed. Here is a brief excerpt from the beginning of the chapter «L'in-nato e la risonanza», «The un-born and the resonance».

References to some concepts of the contemporary philosophy are not conclusive, and although they are indicated synthetically, their sense will be clear only considering the entire thorough book, to which reference is constant.

In particular, the expressions in italic correspond more to the extended and deep-rooted discussions of the book and less to the well-known concepts of the contemporary philosophy.

Both the writing and the video come from the core of the piece. [Romina Daniele]

from the book voce sola essay on the vocal discourse (romina daniele-rdm, All Rights Reserved) due to be published soon.

Resonance, composed between 2009 and 2010, belongs to the first compositional period of the Spannung  project and to the first group of compositions, mostly based on micro varied masses of synthetic sound.

The voice sings in relation with a bass sound, jumping on the three ranges pronouncing just four words from the original passage in French by Derrida writing about Antonin Artaud: LeTTRe [letter] Être [being] AuTRe [other] ÊTRETÉ [be-ness]. [J. Derrida, Forcener le subjectile, Munich, Schirmer/Mosel Publishers; tr. it. Antonin Artaud, Forsennare il soggettile, Milano, Abscondita, 2005, p. 78.]

The words, which are quoted here exactly in the same graphic form used by Derrida, are very synthetically and conceptually referred to all what we said [in the previous pages of the essay from which this paper is taken] about language, thought, being, other, and what we are going to say about the be-ness or subjectile. In particular, it implies what the piece Necessity (part I) recalls about the essentiality of the Derrida's thought.

The graphic form sets out to point the «literary atoms» around the letter R and the syllable TR, «disguised as a protest signed (signée), recorded (consignée), counter-signed (contresignée) indirectly, into the hard consonants of the signer, against the “false be-ness”» ; aiming to, working for, a more true, original, be-ness of that of the ordinary logics and state of things, of the secular machine and of the most recent contamination; in front of the nullity oh these, otherwise, the ownmost and authentic research is necessary.

Extremely conceptual and synthetic, in all what we said [in the previous pages of the essay from which this paper is taken] about language, thought, being, other, and what we are going to say about be-ness and subjectile, there is the reference to the deferment of meaning, as we said, from which Resonance takes its title.

The essential deferment, the continuous discard, the continuous difference, are about the deeper and uninterrupted structural movement of meaning standing before what and every fixed thing: the deferment of meaning to the meaning, the articulation of which is the comprehensibility, the articulable of which is the meaning as event. This is according what we said above [in the previous pages of the essay from which this paper is taken] between Heidegger and Foucault, Derrida and Deleuze, and according the Ejzenštejn's perspective; he already wrote about resonance and so about the relation between it and rhythm, and between sensation and rhythm from which the resonance it-self as deferment comes; so about it,  from the strict musical point of view we will write soon.

The resonance implies and includes the continuous deferment of meaning to the meaning, the more authentic structural object, the existentiell opening of the possibilities of comprehensibility which must be uninterrupted to be authentic; it is not as theme of the musical representation of Resonance piece, rather it is as reference and deferment to the extreme conceptuality and synthesis of the four words pronounced. Closely connected with the be-ness or subjectile, about we are going to write, it is the tension of the fact, the force of the being, the movement of the force it-self from which the complex state of forces comes, the structural and temporally original totality of means and levels that we ourselves are and we are looking for, by all means. The original temporality in its turn is possible into the resonance between sensation and deferment, fact which is not connected to the topics, habitual mechanisms for which a composition can be defined as based on narrative and logical-consequential relations or, on the contrary, on the dialectic or abstract ones. But the fact here is connected with the totality of means and levels it-self, with the structural multiseriality – as we said [in the previous pages of the essay from which this paper is taken] –  at the level of the deeper object standing before any formalization and ordinary conception of work of art; for which the object is done by a subject expressing his inside by the formal choices and genres, and so supposed to be fruited. So, the fact is not supposed to be perceived by the analysis of the forms or of the estimated processes of significance or not- significance. It is the undeceivable vibration, differently connected at many-sided levels with the topos of habits of language and perception as well.