Surge no-purpose music
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http://www.alansondheim.org/SUCH.mp4
http://www.alansondheim.org/SUCH1.png
http://www.alansondheim.org/SUCH2.png
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http://www.alansondheim.org/SUCH4.png
[:] there's nothing useful
[:] there's nothing that can be used for anything
[:] you can start off here with earth
[:] then there are form and limitations and
you can write Earth and not earth
[:] you can write earth
[:] when you write earth, then there are things of forms
and limits and there are many of them
[:] when there are many of them, they have organs
[:] they have blood and they make sea and land
[:] they make flesh and bone and they make energy
[:] they use energy to make energy
[:] limitations collapse into perfect compression
[:] compression is the beginning of atom
[:] compression is the beginning of world
[:] world forgets time and space
[:] there is no purpose and no purpose is the bone of
time and space
[:] no purpose is the making of time and space
[:] there is no other making
[:] one begins and ends with origins
[:] origins are beginnings and endings
[:] listen to origins and observe beginnings and endings
[:] nothing can be performed
[:] nothing can be made to start and transform into
action
[:] action is never a performance
[:] to perform is to stand still
[:] to perform is to die
[:] act without purpose without limitations
[:] act without beginnings and ends
[:] act without formation of Earth and earth
[:] to act SUCH is to act
[:] to act is to transform into space and into time
[:] to transform into space and into time is to SURGE
[:] to SURGE is SUCH
[:] to SURGE
[:] SURGE is music
[:] SURGE is musical art and the art of music
[:] MUSIC is present only when it is absent
[:] when it is absent there is space and time
[:] when it is absent SPACE and TIME disappear
[:] without demarcation, without the MARK
[:] SPACE and TIME are non-existent
[:] one becomes space and time
[:] one becomes unmarked
[:] UNMARKED one is transformed
[:] into pure ONTOLOGY
[:] when one is transformed
[:] into PURE ONTOLOGY
[:] then music begins
[:] when there is a listener there is no MUSIC
[:] when there is a player there is no MUSIC
[:] MUSIC played is not MUSIC
[:] one one is present, there is no MUSIC
[:] when there is ONE there is NOTHING
[:] when there is NOTHING there is neither space nor time
[:] MUSIC is ABSENCE
[:] EXISTENCE is ABSENCE
[:] NON-EXISTENCE is MUSIC
[:] nothing is SORTED-OUT
[:] there is no SORTING because there is no DEMARCATION
and there is no MARKER
[:]
[:]
[:]
__________________________________________
see The Bamboo Texts of Guodian II, Thicket of Sayings I,
Cornell, trans. Scott Cook
braid brayed
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http://www.alansondheim.org/braid0.mp3
http://www.alansondheim.org/braid1.mp3
http://www.alansondheim.org/braid2.mp3
http://www.alansondheim.org/braid3.mp3
http://www.alansondheim.org/braid4.mp3
alto recorder, irish banjo, pipa
would be nice if you would listen to some of this perhaps
alto recorder's a bit difficult w/ the breathing and all
irish banjo's a bit easier but not like this
probably my two best pipa piece, but who cares
it's all braided, busy, maybe but one alto recorder, so what
or read this, it doesn't matter, who cares
i can't listen to myself at this point, self loathing, so what
disgusted with the speed and soulless effrontery who cares
screwed up, so what, stupid refrain this so what
the (introjection and projection) braid. The static limits may
(applause) she's dancing beautifully, she's combing and binding
and braiding (applause) she's dancing beautifully, she's combing
and binding and braiding
A medical model implies internal flows, striations, identities,
vulnerabilities, immunological defenses, maintenance and so
forth. Emphasis is on the cohering of parts, membranes and
molecular channels. Organism runs from within; emanent runs from
without. An emanent may be defined as an image or apparition
whose body and mind are elsewhere, an entity that exists in
relation to the jectivity braid, and has apparent, but not
genidentical, identity. Of course the organic body itself is
genidentical only to a limited extent.
All choices are braided, contingent, contiguous. The the
discrete is And of the theory of knots. The midst of the
embraiding of sheaves with Clearly the abject lies within the
primordial, the braid is braid of Disturbance of Body in
cybermind, cock jewel, shaft of braided gold.
Human skin under the microtome, sheave-skin burrowed into by
camera position. Here is the necessity of Madhyamika,
co-dependent origination, depend co-origination, braided mind,
image, imaginary, entity, real and virtual within, inhering to
the true world. Striated, variegated transformations
characterize life; the Visible Human Project transforms organism
into emanent, habitus into data-base.
Jennifer, continuing sheaf braid. Oh handshaking towards
fruition? Not always, but almost always, avatars are smaller
than one's physical body, or appear so.
One might begin by considering language as fundamentally ikonic,
that within the preconscious ('repository' of syntactics,
short-term memory - another metaphor) language is clothed,
associated with the true world. Language then is structured
like the unconscious, and the unconscious does not necessarily
splay the real. Bodies, organic and emanent (and 'organic'
references the machinic phylum as well), inhere to mind,
minding, tending, a posteriori interpretation and hermeneutics.
Reading the body is embodying, is against the background of
incarnation. Sheave-skins need not react or appear to sense as
organic skins; the feedback is often visual or aural, not
proprioceptive. Within the jectivity braid, this is an
epistemological issue, not one of fundamental locus. On the
other hand (real or virtual), one can abandon the emanent;
abandoning the organic is deadly. Proceed backwards from this,
from the irretrievable, intolerable, finality of death, and
reading bodies, and bodily risk, become wildly disparate.
Nevertheless both inhabit the true world, mind inhabits both,
albeit often in qualitatively different manners, depending on
ontology.
Ontologies occur in local domains, rub raw against each other,
problematize each other. Who decided this one or that one as
primordial? What's fundamental is the mixed mess, the braid. At
least as far as we're concerned, the braid. Sheaves/braids/self-
cancellation. What twists, knots the octahedron.
The plastic limits of the body are the limits of body-inherency,
whether 'real' or 'virtual' or other category - the limits of
the image carried by the jectivity (introjection and projection)
braid. The static limits may be considered formal-measurable
limits, whether in one or another space.
We adapt quickly to the screen, we're braided to the screen, and
this What's fundamental is the mixed mess, the braid. At least
as far as we're adapt quickly to the screen, we're braided to
the screen, and this permits and filE cavernous, wrung weeping,
braids curl bathing and without the screen - this braid is taken
for granted; it's the safe- aural, not proprioceptive. Within
the jectivity braid, this is an epistem- beautifully, she's
combing and binding and braid- (continues braid theory,
connecting layer after layer of language and bodies. Nothing
braids ous caverns that must lie beneath the asphalt. No one by
M.H.A. Newman with the help of braids. Dirac used it to
illustrate how c.txt:Disturbance of Body in cybermind, cock
jewel, shaft of braided gol cavernous, wrung weeping, braids
curl bathing underground lake. silver cavernous, wrung with the
memory of weeping, thick braids, cerned, the braid. concerned,
the braid. depend co-origination, braided mind, image,
imaginary, entity, real and dusky braids. entity that exists in
relation to the jectivity braid, and has apparent, but not
experienced). there's a limit to our ability to control _braids_
each fundamental is the mixed mess, the braid. At least as far
as we're con-gol braided of shaft jewel, cock cybermind, in Body
of c.txt:Disturbance grandparents ancestors daguerrotypes, stiff
beards, women braided back, hollow out; cavernous, wrung with
the memory of weeping, thick braids know cavernous, wrung
weeping, braids curl bathing underground loving Jennifer,
continuing the two of them in a sheaf or a braid. Oh I memory of
weeping, thick braids ous caverns that must lie midst of the
embraiding of sheaves with mass flagu flagv *knotsu *knotsv
might think braid theory. But you can cross, divide, multiply,
add; you of the theory of knots. The midst of the embraiding of
sheaves with mass on a screen); one can imagine the development
of agents to handle braid or braid is characterized by intense
poverty, local wars, starvations, and out; cavernous, wrung with
the memory of weeping, thick braids, relation and through the
braid, within and without the screen - this braid is taken for
granted; it's the godawful sound of these instruments, so what
k9% wc godawful-text
125 953 6428 godawful-text
