Todd Van Buskirk’s conceptual book (or “novel”) seems to indicate an exploration of intertextuality and identity, both in a literary and philosophical context. The title suggests a complex web of textual references, mirroring, and the paradoxes inherent in the concept of identical elements within a comprehensive body of text.
At its core, this conceptual creation navigates through the interplay of words, repetitions, and thematic arrangements. The book’s structural design features a recurrent sentence as its axis: “Robert Frankenthaler has been trotting out his views about the alleged fakery of Wolfgang Mozart (1756-1791) and Franz Joseph Haydn (1732-1809) for several years in a variety of periodicals.” This repetitive motif, strategically placed across the text, serves as a mechanism for narrative disruption and thematic immersion.
The title’s explicit description of specific page references and the repetition of a sentence across different pages within a vast text of 234,348 words indicates an intricate pattern or anomaly within the narrative structure. It hints at the idea of repetition, recurrence, and perhaps a sense of non-linearity or interconnectedness within the text.
The deliberate capitalization of not just “Duplicated” but also “Three” and “Context” in Van Buskirk’s book title holds intriguing significance, potentially highlighting specific elements or actions integral to the book’s narrative structure or thematic exploration.
The emphasis on “Duplicated” denotes a heightened focus on repetition or mirroring, suggesting that this act serves as a central motif or key conceptual device within the book’s framework. Additionally, the capitalization of “Three” draws attention to the significance of the three pages on where the sentence is printed, indicating that the specific count or enumeration of three holds deliberate importance within the book’s context.
This stylized capitalization potentially underscores the intentional and purposeful nature of repeating elements or actions thrice, be it textual, thematic, or structural. It might prompt us to delve deeper into the implications and nuances of triplication, emphasizing its role in shaping narrative evolution, thematic resonance, or reader engagement throughout the book.
The deliberate capitalization of “Context” in Todd Van Buskirk’s book title, especially in connection with the alleged Mozart forgery discourse printed on the pages that surround the single recurring sentence, underscores the pivotal significance of contextual elements within the broader thematic exploration of the book.
Certainly, the capitalized word “Context” takes on profound significance, especially when considering its etymological roots and its implications within language and textual interpretation.
The prefix “con” in “context,” signifying “bring together,” reflects the essence of unification or amalgamation. It implies the cohesive gathering of elements to form a comprehensive whole. When viewed in relation to the idea that “text” primarily concerns syntax rather than semantics, the significance of “context” gains depth.
In language, a sentence acts as a microcosm of this contextual concept. It comprises individual words or syntax pieces brought together to create meaning. When one asserts that the meaning of something depends on its context, it acknowledges that the semantics vary based on the surrounding structure or the environment within which the logic or expression is placed. The evaluation of a piece of logic within its structured environment yields a distinct value, emphasizing the interdependence between the syntax and the surrounding elements.
The distinction between foreground (text) and background (context) further elucidates the concept. The text represents the salient object or concept under observation or discussion, while the context encompasses various extraneous factors that influence our understanding of the text. These supplementary elements, such as location, occupation, intention, mood, and time-of-day, shape our perception and comprehension of the foregrounded text.
The very definition of “context” as ‘with the text’ emphasizes its supplemental nature. It indicates that while the text commands attention, it is interwoven with and influenced by the contextual elements that surround and imbue it with meaning. The capitalization of “Context” within Van Buskirk’s book title potentially highlights the intricate interplay between the foregrounded narrative (the recurring sentence) and the multitude of influencing factors (context) that enrich and shape the reader’s interpretation and understanding of the narrative.
The phrase “the sentence Bleeds onto p.545” adds an intriguing dimension, suggesting a spillage or overflow of content, possibly blurring the boundaries between pages, themes, or even ideas.
Indeed, the deliberate capitalization of “Bleeds” adds a layer of intensity, suggesting a potential departure from the typical literary device of textual bleed, commonly associated with printing or layout errors. The capitalized use of “Bleeds” in Van Buskirk’s book hints at a deeper, metaphorical connotation, evoking the imagery of actual bleeding—a vivid, visceral image that transcends the usual boundaries of printed text.
The term “bleeds” capitalized in this context could imply a sense of urgency or significance. The deliberate use of “Bleeds” could also symbolize a rupture in the conventional narrative structure—a rupture so profound that it manifests as a form of textual hemorrhage, bleeding beyond the confines of its prescribed space.
Distinctive Stylized Capitalization
The potential influence of spiritual leader Adi Da Samraj’s linguistic conventions on Todd Van Buskirk’s writing, despite his departure from Adi Da Samraj’s group “Adidam,” underscores the lingering impact of the former guru’s teachings on Van Buskirk’s literary expression. Adi Da Samraj’s teachings and the distinctive stylized capitalization used within his cult-like group are noteworthy for their emphasis on transforming language and conveying divine realizations.
Van Buskirk’s earlier association with this group, though he is no longer a member, raises intriguing questions about the lasting influence of such teachings on his writing style.
The deliberate capitalization observed in Van Buskirk’s book title, echoing the emphasis on certain words for their thematic or conceptual significance, could suggest a lingering imprint of the linguistic conventions practiced within the Adi Da Samraj community.
The distinctive use of capitalization by Adi Da Samraj, as described in his teachings, aimed to express the “Awakened Heart” and differentiate between expressions reflecting the divine and those representing ego or conditional limitations. The remnants of this unique approach to language, evident in the deliberate capitalization within Van Buskirk’s book title, hint at a continued influence or perhaps an enduring fascination with the stylistic elements shaped by his previous affiliation.
The stylized use of capitalization might serve as a vestige of the influence Adi Da Samraj’s teachings had on Van Buskirk’s perception of language, even after his departure from the group’s fold. However, without direct confirmation or detailed insight from Van Buskirk himself, this remains speculative.
Identity and the Nature of Sameness
In addressing the philosophical conundrum of the indiscernibility of identicals, this book delves into the core question of identity and the nature of sameness. The questions posed touch upon fundamental philosophical inquiries, including the nature of self-identity, persistence through change, and the criteria for determining the sameness of objects or entities over time.
The enumerated philosophical problems (such as an object being the same as itself, the necessity of identity between two things, and the continuity of identity through change) showcase the depth and breadth of the inquiries into the nature of identity.
The repeated sentence in Van Buskirk’s book remains consistent each time it appears: “Robert Frankenthaler has been trotting out his views about the alleged fakery of Wolfgang Mozart (1756-1791) and Franz Joseph Haydn (1732-1809) for several years in a variety of periodicals.”
This specific sentence serves as a fixed anchor within the book’s narrative or structure, reappearing multiple times throughout the text. Its repetition emphasizes the persistence of Robert Frankenthaler’s stance on the purported deception or forgery concerning the music attributed to Wolfgang Mozart and Franz Joseph Haydn.
The 234,348-word text referenced in Todd Van Buskirk’s book title is an Frankenthaler’s treatise that has been repurposed or appropriated for inclusion in Van Buskirk’s conceptual book. This treatise presents a controversial and fringe conspiracy theory aiming to discredit the existence and authorship of Wolfgang Mozart in the music attributed to his name.
It alleges a network overseen by powerful figures in the late 18th century, fabricating the illusion of Haydn and Mozart as independent composers. The treatise contends that both composers were supplied numerous works they did not actually compose, constructing the ‘1st Viennese School’ and influencing Beethoven’s musical foundation.
This conspiratorial theory attempts to undermine the conventional narrative of Mozart and Haydn as self-taught geniuses, alleging political, religious, and cultural motivations behind the creation of this false perception. It questions the authenticity of Mozart’s attributed works, implying a covert supply of compositions to both Haydn and Mozart, challenging traditional biographies and historical records.
Moreover, the treatise emphasizes the lack of copyright protection during that era, suggesting a fertile ground for deception and misattribution of musical compositions. It questions the credibility of early biographies of Mozart and implies a deliberate manipulation of tangible evidence contradicting the established myth.
The text draws attention to specific instances, such as the alleged erasure of the name “Luchese” and the substitution of “Mozart” on a manuscript, presenting these as evidence to support its claims. It highlights a photograph of the ‘Paris’ symphony, KV297, as an example of obscured history, suggesting that certain manuscripts have been disregarded or intentionally omitted from official catalogs.
By appropriating this conspiracy theory into his book, Van Buskirk might be exploring themes related to the manipulation of historical narratives, the dissemination of fringe ideas, and the broader implications of such theories on cultural perceptions and historical truths. The utilization of this contentious treatise within Van Buskirk’s work could serve as a springboard for deeper inquiries into the construction of truth, the dissemination of controversial ideas, and the influence of fringe theories on shaping collective beliefs.
Repetition and Identity
The exploration of repetition and its relationship with identity and consistency within Catherine Pickstock’s theories (author of Repetition and Identity, 2014) offers an intriguing lens through which to consider the recurring sentence in Todd Van Buskirk’s book. Pickstock’s proposition regarding repetition’s role in summoning difference while maintaining a semblance of consistency resonates deeply with the repeated sentence’s structural significance within Van Buskirk’s work.
Pickstock’s departure from post-structuralist perspectives and her assertion that signs are intrinsic to reality and truthfully express the real aligns with the repeated sentence’s presence as a fundamental component of the book’s reality.
The repeated sentence serves as a connecting sign—a constant amidst variations—a recurrent motif that summons difference within the book’s narrative fabric.
Furthermore, her proposition that non-identical repetition involves analogy rather than the post-structuralist interplay of univocity and equivocity presents an interesting parallel to the repeated sentence’s consistent but subtly nuanced reappearance. It evokes a sense of analogy or variation within the literary text, where each iteration might possess a slightly altered context or resonance.
Pickstock’s argumentation, emphasizing a performative aspect and the subjective decision poetically performed, resonates with the intentional and perhaps subjective literary performance embedded in Van Buskirk’s repetition of the sentence. It suggests a deliberate artistic choice that engages readers in an interpretative act, laying a wager on the possibility of finding consistency within a seemingly repetitive motif.
The proposition of an inter-subjective search for historical consistency of culture echoes the contextual exploration inherent in Van Buskirk’s book, where the repeated sentence acts as a thread connecting disparate sections within the text, fostering a quest for meaning and coherence.
Pickstock’s inquiries into achieving ethical consistency and harmonizing it with an aesthetic surplus invoked by the sign parallels the thematic depth inherent in Van Buskirk’s repeated sentence. This prompts contemplation on the book’s ethical and aesthetic dimensions, prompting a quest for harmony and meaning within its literary landscape.
In conclusion, Pickstock’s exploration of repetition, identity, and their connection with ethics, aesthetics, and religious gestures offers a compelling framework to interpret the recurring sentence in Van Buskirk’s book. It enriches the understanding of the repeated motif as a complex, multi-layered literary artifact, inviting readers into a performative and interpretative engagement with the book’s thematic intricacies and narrative depth.
They publish books of Conceptual Literature, whose titles describe the content in detail. 