Abstract
ABSTRACT In this article, I explore the geopoetics of Scott Walker’s lyrics and sonics, where the term geopoetics is construed as a concern with the geographical, geological, ecological and cosmological in relation to the aesthetic. I specifically utilise concepts extracted from Deleuze and Guattari’s A Thousand Plateaus to form generative alliances with Walker’s work; examining lyrics pertaining to tongues that are becoming chalk and a body that grows calcium planets, with reference to ‘becoming’ as affective exchange and the ‘body without organs’ as process of desire that corresponds to so-called nature. With regards to Walker’s sonics, I suggest that they are non-representational sonic landscapes that can also be interpreted as a mood that constitutes the polyphonic sounding of shifting relations; and discuss their rhythmic qualities that oscillate between chaos and order. Addressing both Walker’s lyrics and sonics, I situate them between the two temporal modes of ‘Chronos’ as conventionally structured, formal time; and ‘Aeon’ as the temporal mode of ‘becoming’. In this manner, I demonstrate that Walker’s (sonic) geopoetics is a poetics of immanence that complexifies crude oppositions between human and non-human, interior and exterior, emotion and affect; recognising its inhuman, world-generating capacities.
Published Version
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