After reading Dylan Robinson’s excellent book Hungry Listening: Resonant Theory for Indigenous Sound Studies1 earlier this year and being introduced to the work of artist Peter Morin, I was impelled to explore and interrogate how I listened to my immediate world, from which positionalities I heard my morning—from the squee of an ash-winged robin sitting on a branch outside my office window all the way to the silent stone at the tree’s base and, later, to how I listened to Lonelyspeck’s “Brine” for the 500th time on Spotify.
I’ve listened so
Settler-eyed, how would I vision otherwise?
In thinking about the image, in my continued experiments in decolonizing my own understanding of the “poetic image,” in my attempts to “listen otherwise,” recently, I’ve kept returning to S*an D. Henry-Smith’s Wild Peach. The alliterative recursiveness whirls me in such succulent oceans. In my mind, each time I reread “running around & away,” it’s as if the vibrant emotional urgency of a Twombly were rendered with the precision of a Seurat, an emotional pointillism blurring me into its renderings.
I cannot say if I’ve “extracted” a decolonial method from Wild Peach. I can say each time I pick it up, I’m immersed in and as its worlding, delighted in its light, lost in its “seamirror,” my worlding renewed.
1 For a great overview of the book, I recommend reading: https://amodern.net/article/sensate-sovereignty/