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They say I made the Moon. (13)
Nowhere, Somewhere
Immortal since Dec 11, 2007
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    The human species is rapidly and indisputably moving towards the technological singularity. The cadence of the flow of information and innovation in...

    The Total Library
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    What happened to nature?
    How to stay in touch with our biological origins in a world devoid of nature? The majestic nature that once inspired poets, painters and...

    The great enhancement debate
    What will happen when for the first time in ages different human species will inhabit the earth at the same time? The day may be upon us when people...
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    Sometimes the most fascinating books are the ones we cannot read. Here are two illustrated texts which have eluded and confounded those who have sought to decipher them (but then, perhaps that is the point). One is thought to have been written several hundred years ago, whose author is only speculated; the other was written only a few decades ago, whose author is both known and still living.

    The Voynich Manuscript

    The Voynich manuscript is a mysterious illustrated book written in an indecipherable text. It is thought to have been written between 1450 and 1520. The author, script and language of the manuscript remain unknown... Over its recorded existence, the Voynich manuscript has been the object of intense study by many professional and amateur cryptographers, including some top American and British codebreakers of World War II fame (all of whom failed to decrypt a single word). This string of failures has turned the Voynich manuscript into a famous subject of historical cryptology, but it has also given weight to the theory that the book is simply an elaborate hoax — a meaningless sequence of arbitrary symbols.

    ( 1, 2, 3, 4, 5, 6 )

    ~ + ~

    The Codex Seraphinianus

    The Codex Seraphinianus is a book written and illustrated by the Italian architect and industrial designer Luigi Serafini during thirty months, from 1976 to 1978. The book is approximately 360 pages long (depending on edition), and appears to be a visual encyclopedia of an unknown world, written in one of its languages, a thus-far undeciphered alphabetic writing.

    Visionary or Hallucinatory Encyclopedia?

    ( 1, 2, 3, 4, 5 )

    ~ + ~

    ¿ Dig Deeper ?

    undeciphered writing systems
    James Hampton

    ! This was originally inspired by Mr. Blank Dog's Voynich MS post ¡
    Wed, Oct 15, 2008  Permanent link
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    If something is boring after two minutes, try it for four.
    If still boring, then eight.
    Then sixteen. Then thirty-two.
    Eventually one discovers that it is not boring at all.

    "So that each person is in charge of himself. " from Chicago '82: A Dip in the Lake

    Music is Everywhere, we just have to look for it.

    { From Miroslav Sebestik's Listen : In Love With Another Sound, A Bottle Of Coca-Cola }

    Like acrostics, mesotics are written in the conventional way horizontally, but at the same time they follow a vertical rule, down the middle not down the edge as in an acrostic, a string spells a word or name, not necessarily connected with what is being written, though it may be. This vertical rule is lettristic and in my practice the letters are capitalized. Between two capitals in a perfect or 100% mesostic neither letter may appear in lower case. .... In the writing of the wing words, the horizontal text, the letters of the vertical string help me out of sentimentality. I have something to do, a puzzle to solve. This way of responding makes me feel in this respect one with the Japanese people, who formerly, I once learned, turned their letter writing into the writing of poems. In taking the next step in my work, the exploration of nonintention, I don't solve the puzzle that the mesostic string presents. Instead I write or find a source text which is then used as an oracle. I ask it what word shall I use for this letter and what one for the next, etc. This frees me from memory, taste, likes, and dislikes, By means of Mesolist, a program by Jim Rosenberg, all words that satisfy the mesostic rule are listed. IC [a program that generates the I Ching numbers, available for downloading on the Net] then chooses which words in the lists are to be used and gives me all the central words, the position of each in the source material identified by page, line, and column. I then add all the wing words from the source text following of course the rule Mesolist does within the limit of forty-five characters to the right and the same to the left. Then I take out the words I don't want. With respect to the source material, I am in a global situation. Words come first from here and then from there. The situation is not linear. It is as though I am in a forest hunting for ideas.

    { The Music of Verbal Space: John Cage's "What You Say", Norton Lectures }

    Side A from the album: John Cage Meets Sun Ra, Meltdown MPA-1 (1987). Alternates performances by Sun Ra-Yamaha DX-7; and John Cage-voc. Sideshows by the Sea, Coney Island, NY, 6/8/86. (Ubu)

    We are living in a period in which many people have changed their mind about what the use of music is or could be for them. Something that doesn't speak or talk like a human being, that doesn't know its definition in the dictionary or its theory in the schools, that expresses itself simply by the fact of its vibrations. People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.

    ~ from "An Autobiographical Statement"

    Silence excerpt from The Dial-A-Poem Poets: Disconnected

    How do you feel about the intrusion of technology with art or the intrusion of art with technology?

    I think it is one of the things that characterizes the present period and that it will probably continue, and the technology will get more and more sophisticated. I think it will ultimately get to the point where we don't notice that it exists, although it will be, then, even more essential, and generally essential, to everyone's life. But I think instead of imposing itself on our attention that it will become more and more invisible. We notice — Fuller, Buckminster Fuller has noticed that we do more with less — copper, for instance, and we can notice the difference between, oh, engines of, say, 50 years ago and engines of the present time. And there appears to be an increasing ability not only to do more with less, but to do the same thing with something simpler. And I think it would be marvelous if, say, in some utopia that I hope we're going to that we would have all the advantages of technology with seemingly no presence of it.

    In other words, art should eventually become magic?

    Yes, if, for instance, I could telephone without bothering with the telephone.

    { John Cage @ UbuWeb Historical, Sound, Film }

    This post was originally inspired by squashed's third installment of Three Lists For The Lover (After Love) at motel de moka. And on that note...

    Love is memory. In the immediate present we don't love; life is too much with us. We lust, wilt, snort, swallow, gobble, hustle, nuzzle, etc. Later, memory flashes images swathed in nostalgia and yearning. We call that Love. Ha! Better to call it Madness.

    + +

    Amazing what discoveries one often makes whilst following a tangent!

    I was looking for an image of John Cage and came across a fascinating virtual collage of Cage-related information and media, created by Ralph Lichtensteiger, whose diary contains a wealth of enlightening entries. But that's only part of the main site (and here's his latest project).
    Wed, Apr 2, 2008  Permanent link
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    Brion Gysin, William S. Burroughs, Cut-Ups, & Dreamachines

    "I Am" Machine-poem (1960) via UbuWeb

    Of course the sands of Present Time are running out from under our feet. And why not? The Great Conundrum: 'What are we here for?' is all that ever held us here in the first place. Fear. The answer to the Riddle of the Ages has actually been out in the street since the First Step in Space. Who runs may read but few people run fast enough. What are we here for? Does the great metaphysical nut revolve around that? Well, I'll crack it for you, right now. What are we here for? We are here to go!

    ~ BG, The Process ~

    { Brion Gysin @ Brainwashed, UbuWeb, The Western Lands }

    It is to remember that all art is magical in origin - music sculpture writing painting - and by magical I mean intended to produce very definite results. Paintings were originally formulae to make what is painted happen. Art is not an end in itself, any more that Einstein's matter-into-energy formulae is an end by itself. Like all formulae, art was originally functional, intended to make things happen, the way an atom bomb happens from Einstein's formula. Take a porcelain stove and disconnect it and put it in your living room with ivy growing over it... it may be a good-looking corpse but it isn't functional anymore. Or take a voodoo doll full of pins - authentic West African, $500 on the 57th Street - and hang it on the wall of your duplex loft. It isn't killing enemies anymore, and the same goes for a $5,000 shrunk-down head, which a fashionable shrink bought for his consultation room. Writing and painting were one in cave paintings, which were formulae to ensure good hunting...

    The painting of Brion Gysin deals directly with the magical roots of art. His paintings are formulae designed to produce in the viewer the timeless ever changing world of magic caught in the painter's brush - bits of vivid and vanishing detail. . . . The pictures constantly change because you are drawn into time travel on a network of associations. Brion Gysin paints from the viewpoint of timeless space.

    ~ William S. Burroughs, Essay in Contemporary Artists Magazine ~

    { The Cut-Ups (film; flash player + mp4 d/l), Gysin & Burroughs in Paris, Port of Entry }

    "3 Permutations" (1960) via UbuWeb

    When I first fell into the cut-ups and put those texts together which appeared in Minutes to Go, they amused me. I laughed out loud. I knew all about Breton's precious and pseudoautomatic writing and I had heard of the poem that TristanTzara pulled out of a hat about the same time that Aragon was reciting his alphabet poem to the avantgarde of the 1920s. all that was old hat. The cut-ups were brand new because the words were treated like mere material, like the images they are and treated in a painter's creative way rather than a writer's metaphysical view of language as the lesser part of speech. Words were attacked physically with the scissors or framer's Stanley blade.

    I showed the first texts to Burroughs hoping to hear him laugh out loud as I had. He took off his glasses to reread them even more intently, saying : " You've got something big here, Brion."

    ~ BG, Here To Go ~

    We began to find out a whole lot of things about the real nature of words and writing...What are words and what are they doing? Where are they going? The cut-up method treats words as the painter treats his paint, raw material with rules and reasons of its own... Abstract painters found that the real hero of the picture is the paint. Painters and writers of the kind I respect want to be heroes, challenging fate in their lives and in their art. What is fate ? Fate is written : Mektoub means "It is written." So ... if you want to challenge and change fate ... cut up words. Make them a new world.

    ~ BG, Rolling Stone interview ~

    { Interview about Cut-Ups, Non-linear Adding Machine, Video }

    Had a transcendental storm of color visions today in the bus going to Marseilles. We ran through a long avenue of trees and I closed my eyes against the setting sun. An overwhelming flood of intensely bright patterns in supernatural colors exploded behind my eyelids: a multi-dimensional kaleidoscope whirling out through space. I was out in a world of infinite number. The vision stopped abruptly as we left the trees. Was that a vision? What happened to me?

    Ian Sommerville, who also read Walter, ( Walter Grey, "The Living Brain" ) wrote me from Cambridge on February 15, 1960:

    "I have made a simple flicker machine. You look at 'it with your eyes shut and the flicker plays over your eyelids. Visions start with a kaleidoscope of colors on a plane in front of the eyes and gradually become more complex and beautiful, breaking like surf on a shore until whole patterns of color are pounding to get in. After awhile the visions were permanently behind my eyelids and I was in the middle of the whole scene with limitless patterns being generated around me. There was an almost unbearable feeling of spatial movement for a while but It was well worth getting through for I found that when it stopped I was high above the earth in a universal blaze of glory. Afterwards I found that my perception of the world around me had increased very notably. All conceptions of being dragged or tired had dropped away..."

    I made a "machine" from his ensuing description and added to it an interior cylinder covered vith the type of painting I have developed in the three years since my first flicker experience. Flicker may prove to be a valid instrument of practical psychology: some people see and others do not. The DREAMACHINE, with it's patterns visible to the open eye, induces people to see. The fluctuating elements of flickered design support the development of autonomous "movies", intensely pleasurable and, possibly, instructive to the viewer.

    What is art? What is color? What is vision? These old questions demand new answers when, in the light of the DREAMACHINE one see all of ancient and modern abstract art with eyes closed.


    { Learn, Build, HTML Dreamachine, 10111 }
    Wed, Feb 20, 2008  Permanent link
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    From "18 Portraits Of Atlas"

    Here are some works by my favourite 'musivician', Masakatsu Takagi. He fuses music, video, and psychedelia to reveal a highly imaginative, alternate visualization of life. ~ ~ ~ Magnificent!

    From "Bloomy Girls"
    original footage recorded in Zurich, Switzerland

    Takagi Masakatsu is one man trying to make sense of the world. He travels the globe recording people's everyday lives, and then returns home to Japan where he delicately molds the everyday into the sublime. A classically-trained pianist, a multimedia documentarian, an art-gallery exhibiting jet-setter, Takagi Masakatsu is clearly a renaissance man of our times.

    From "18 Portraits Of Atlas"
    original footage recorded in Morocco

    From "world is so beautiful" | Digest Movie (Quicktime)
    original footage recorded in Nepal, Cuba, Guatemala, Turkey, Indonesia, and Japan

    From "Tidal"
    original footage recorded in Zurich, Switzerland

    + +

    { Music Samples | Video Interview + Clips | "Journal For People" Digest Movie }
    Thu, Dec 27, 2007  Permanent link
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