Saturday, March 29, 2008

item #0912

I'd love you to use that silence to present something orchestral. What you did was great. Can I suggest some chordal themes? If I sent you information like that - ie. E9th(aug4th) to Cmaj6th, B11 to A9 - could you use it? In other words, do you work like that? I could break the chords down into notes - as my presentations are guitaristic perhaps.

item #0911

The timing is fine - offered as a slice of sound for your alterations & additions, giving you opportunity to extend over the effective silence; if you see what I mean. The eventual pieces will be 9'11 each, rigid; thus making the inference toward the event itself, but without getting didactic, documentorial. For me, the titles do the same thing... the notion of a devolving god ... against ... the symbol of US spirituality ... the dollar, with its eye in the triangle, and those connections to Freemasonary. Two cults. Two towers. Two pieces. Two collaborants ... you and I.

Saturday, March 22, 2008

apostle j recording

adore adoral form now until late v late.

asunder part of 2083.
(for sanity).

prophecies beget freewill.
ending in cul-de-wittgenKill.

species seven even thunders tell.
..........................rebel rebel rebel.

action of apostle j recording.
proceeds, detail exterminating.

finality is of no account.
seventy-seven-seven shout.

(nth concerns demise.)
u States triangle eye.

(regional) government by tendril.
a million die unfulfilled.

events unfurl.
for and against the word.

item #6302

1. On Science. Accord to biogr., or event. Subj viz Obj. Regard all as confrontation; for morale poses threats just as certainty prys upon ill-preparednesses. Still, undergo these consecuences, or don't; prepersonify, or don't.

2. On Scenery. Further is furthermoria. (Yes, he had been made aware of the cowardice of the majority.) Furtherer, there is a general lack of respect. The integer is bent of shape, for example. Individuate this corollary, or don't; challenge its popularity, or don't.

3. On the Journey. Firstly, oh pubis opini, how found? How much, oh tower deriver? Form self as self? With illimitation, this might be existentL. What was possible then is unimportant now, however. Currently, can we e.vent? Can we unmove histo? Reason states this; but only as anxiety.

These are the sequences of freedom: Kierkegaard was mocked; Dostoevsky was exiled.

Thursday, March 13, 2008

item #0662

Yes, physicalisation might be mere metaphor, an oxymoron perhaps. Unconsciousness has it representations everywhere - as we are motivated from that place in ways barely understood. But overt presentations of 'this is about the unconscious' usually fail. Better, I'd say, to accept the weirdness of consciousness per se.

item #0661

Yes, absolutely ... and when one injects, say, surrealism or humour into the equation ... things get stranger still. But, by the by - almost in a Hegelian dialectical way - surreality's intentioned antithesis itself becomes thesis. I have this notion of a moral surrealism - one that does not seek to tell kinds of lies; a surrealism which reveals truths about reality, accepting that it is part of reality, rather than pretending it is other than reality. The best humour does this - taking reality temporarily out of kilter, but returning to reality itself something stronger.

item #0660

The Ryder story is nice! (I never liked the Mondays. But the band I was in at the time ... several of those were fans. So I'm familiar with them.) Intentions/intentionality ... interesting stuff, so mysterious. Hard enough attempting to work out the intent of others, when we may not even be so sure of our own motivations. Yet, analyses of most anything turn upon the supposed usefulness and appropriateness of such things. I'm sure you're familiar with the concept of 'The Intentionalist Fallacy'. The way most inquiry into art is conducted relies upon attempting to locate intentions, put through a pop admix of Freud & Existentialism, sometimes economics/materialism - offered as a system by which to judge things. Ryder just didn't play the game the interviewer wanted him to; we might think he was playing his own game; we might think he was intentionally being iconoclastic, his own man. But it may well be simply that Ryder was too drugged-up. An essay I like is 'Art History, Art Criticism and Explanation', Michael Baldwin et al, in (ed.) Francis Frascina, Pollock and After: The Critical Debate, pp. 191-216. Baldwin et al function as the art-group, Art & Language - who, under different line-ups of personnel, has contributed to Conceptual Art from the earliest times. Charles Harrison is amongst the group. He's a lecturer at The Open University. Great writer. The essay itself deals with your 'problem' in terms of problems associated with anthropology, but which have general application, and specific application when one is given the tasks of explaining works of art. I'd say works of art are only utterances; so the same is true of any utterance, any communicative act. How it lands in our brain from the brain of another is, of course, the question. Anthropology has various techniques for inquiry; but these fall into either (a) going native or (b) remaining outside, looking in. The essay deals with the so-called 'Trobriand Island Problem'. Roughly speaking, this is the problem of an inquirer joining the group to be researched - going native. This impacts upon such things as eyewitness-accounts, first-hand experience. Massive problems with the veracity of both, as I'm sure you know. Still, such primary knowledge reigns supreme in our society. In a sense, Ryder was being asked for his primary knowledge about himself. He might, though, be the last to know! The other thing is his silence was no doubt used by those wanting to paint him as a radical. The truth, though, might be very different. The essay deals with this in a revealing way.

Tuesday, March 04, 2008

item #0079

I prefer canopies of exception. For me, there is nothing overtly mature. My few applications - invisible though they are to you - model intimacy within archives of introspection. If I thumb further, I thumb invasively. (Her hands, for instance.) I shelve no restraint. Meanwhile, you flap your tongue to no conclusion, no endowment. You believe this encourages me. It does not. I prefer providence, and its lack of interest in ideology, and I favour time, and its army of subsequences. You, in contrast, are always open to new ideas. Why? Firm understanding is not so versatile, believe me.

I am characterised by my exceptions, I think, and I fear adulteration in order to remain that way. Most things are a matter of administration.

Monday, March 03, 2008

item #6006

These few sentences... fist of rational viz mystique, 'leaps of conclusion', or so on. Today, this is all there is, just more

1. Dandruff of the Orator.

Continue please...

1.1 On on onward, triste of tag wheel, id solar id solar id solar, lights upon, what?, knowledge?
1.2 Logic repeats rationale judgements, 'judgements irrationale', judgements nonetheless.
1.3 New experience forms essentialism, but is neither essential nor quasi-essential; it is, instead, knowing.
1.4 Absolution changes thought. Such execution promises end-result, but wrongly so. Ha.
1.5 Will is process. (See how they run.) Wilfulness may only be ergo anon, however.
1.6 Tradition implies consequence; tradition implies limitation. Consequently, we traditionally limit.
1.7 That said, reluctance goes beyond some limitations, implying some direction.
1.8 Components of this concept are works of art.
1.9 Ideation is physical. In other words, baby, let's get physical.

2. Blind Networks (of some Bach Utensil 911).

Do not necessitate me, please; proceed in order to set unexpected directions. Can you? I am ideas in the mind. Are you? Can you afford your formalities? I understood my conduct was in question; yet you said little in person. It may never reach a viewing, I know, but may we induce something soon? My ideas pull upon your chain, as you said previously. I share something like the same concept; and since no formality is intrinsic or expressive, that might be enough. For instance, if maths then literature; if literature then maths.... See, I am concerned only with grey exception. The past applies all over me and how I am.... Meet me at the alter, please.

(OR/ crisisian tempt to all, exempt waiting. [strokes ..'ch ch ch change is [b'jesus man's desiring [understating.

3. aporial. sweet aporial. triste of sealight, i c u. aporial. sweet aporial. triste of gaglight, i c u.

(Proposition: I sign in order to Be; that is, I sign in order to signify Being.)

3.1 End-Spirit: Body affirms Earth; ergo, body affirms region: If so, it follows that spiritual development is corporeal development. In other words, get some exercise.
3.2 Philological-End-Spirit: I stress bodily development. Likewise, I stress the eroticisation of this development. Put the ego in pain - or pay the price. Many are offended by this, I know. They lie in gutters of their own making. They work for furniture.
3.3 Their Static Lists Reject You...What Now?: You are offended by your exclusion; yet, it is the making of you and your greatest weapon. Divide further; ruthlessly divide. Make division your means of expression.
3.4 War Eroticises Pain; Peace Eroticises Life: Not so. You are asleep, and no-one is watching over you. Recordings are made of you, but these are immediately erased, with their cases stabbed onto spikes in public places.
3.5 Society? ...At Best, We See Hubs of Personification: We create your reality and your opinions, by importing fantastic places into us. See our fountainheads. For us, you function as the people we are to love.
3.6 A Suspect Human Nature?: Indeed this is so. People tend toward corruption. In light of this, we are authoritarian, in seeing all these tendencies as disconnections from reality. Our abstractions defy testing. Attempt no contrast, please.
3.7 The Universe is Unnatural: You crave the ability to distinguish yourself from this, we know. You merely play at fighting, however.
3.8 Stereotype Your Enemy: You have basic mistrust - which is good; but this needs guidance. Corruption is a science which is itself corruptible. In celebrating this diversity, you fail to impose uniform values. Pure authority, and its attendant hostilities, brings reason to impersonality.
3.9 Impersonality Presumes Uniformity Anew: The virtue of this is direction. History values systems. We favour inquisitions and purges, and evangelise same.


Sharon & Anita xx

Sunday, March 02, 2008

Paul Raven RIP

Saturday, March 01, 2008

Killing Joke's 'Inferno', with errors

Southern countries
Come in 20 chains
When the dust picks the dust
All the things are crossed insane
And my skin, feel my skin
Getting melanoma
Scorcher scorcher
Tell me when it's over
Tell me when the nightmare's over
Drop shell bomb
Drop shell bomb
Brother brother kill brother now
Mother mother I'm alone
Mother mother my love is gone
What's happened at my home
Father father kill son
Cousin cousin why?
Father father ... my head
Father father just after my wife
Fire your home
Drop shell bomb
Fuckin' situation
You're a sociopath
With the best intention
Leaders that bleed us
Shit on your descendants
Eyes flying in the sky
Eye in the triangle
Talk good on the phone
Everything is wrong
And my mind turns black
And my mind turns black
And my mind turns black
Cause there's seizures in my Big Mac
Fire your home
Drop shell bomb
Fire your home
Drop shell bomb

William Blake