'The Eternal Festival Of Memory' for Mick Wood and Cookie
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'Muster Up Some' and 'New Pictures Of Plutocracy'
Muster Up Some...
...can you muster up
some good faith today
can you give the
benefit of doubt
medicine for the hypersensitive
everybody on the edge-cusp
stress of language used badly
pushing on reality
how can i be the same person
everyday?
exorcising the right
to be unpredictable yet
friendly sympathetic and
willing to listen
are you willing to listen?
willing to give up your time
to understand and
re-register sameness
equal to difference
to blame yourself and
others equally but not
to dwell on what might
have been so it clouds
the here and now
fill in the missing parts
of every message with a
balanced openness to
alternative meanings
love all the people
shine bright and let the
warmth of well wishes
charge the hearts of
all humanity
love thy enemy
with a furious blessing
a bolt from the blue
a stern good luck charm
a simple nice word or two
everybody has a complex
story hidden away
can you listen to the tale
can you overlook the
distortions and conceits
will you share some
good faith today
and hold back the
prejudice snapping at
the front of your head
quick to judge blame
and smudge based on
subjective sensations
unaware of the hoodwink
acting like the center of
everything
including the center of
other people
like a omnipotent God
of righteousness
find some good faith today
consider that you might be wrong
and they might be right
or that a universe may exist
where both opinions hold
truth and falsehood
and where probability informs
the discussion
bad faith and empiricism
the illusion of the totality
of meaning and worse yet
the imposition of such bad faith
in deed and action
a literal call to arms
muster up some good faith
today and launch your
lucky charms
help keep yourself out
from harms way
muster some
instant karma
instant karma
--steve fly
Kinkerstraat, Amsterdam. Friday 18th July, 2015. 11:54 A.M
John Sinclair: 'Bloomdido' and 'An Oscar For Treadwell' at the Cosmic Trigger Launch Party
Recorded, Edited and Uploaded by Complexity LTD.
Cheers Nic.
just a few things that wus' running through my heeed
Preservation of the self
What TORY poet?
to jump ship
and join the self
preservation society
resist creeping humility
the others
the 7 billion or so
others here on planet earth
kill or be killed
no its program or be
programmed and so
both and more
all for your genes the pool
they happen to come from
did you ask to be born
to the genetic and class
you ended up in?
the elite and the high brow
looking down from top dog spot
moral superiority to go with
privilage and invisible righteousness
those who are stupid
and damn sure
stupid and certain
those know-it-all
fascists
do not forget that each and
every human being thinks and
feels and desires and loves
not just your family and friends
everybody
and here comes everybody
the hyperdiversity and
multiplatform entities
take your fucking racist elite
and rot on your island
selfish and centralized
authoritarian and
conservative
ruthless and gangster
yes we need a serial killer in
power
no room for suspended judgement
or philosophy
no time for humanitas and
for the long poem
give me tweets and slogans
vote forget trust confuse
sleep
and those with wish to keep it
all to themselves by hook and
by crook and by fucking the
working class in the ass
over and over again
sometimes i wonder about
when the revolution comes
if i will be there in the thick of it
or watching from a safe distance?
when the other 7 billion wake up
and take agency of their collective
futures
and i hear you thinking
who am i to say?
good point and first thought
i am fly agaric 23
ready and willing
finger on the trigger
Im gonna' pull it
What TORY poet?
Well what political poet
where who step up friend
where you at?
any political Pratt
show yourself to me
come now step fourth
times up
calling all Tory poets
calling all high brow bards
where are you at
where is your army and ammunition?
200'000 working class poets
got my back writing write now
with deeper feelings than you have
more truth and beauty in one breath
than three decades of your filthy lies
against humanity against god
you have no pantheon of gods
nor bards
your literary lineage reads like
a similar stunted list as your royal
retards
hey Tory boy and Tory girl too
you have no poets and no men
at your side just an army of
spin doctors who
spin and doctor
and money men
and spies that are world beaters
at lies
and the hard bards cry
and wail at the fire storm
the waste lands and fracking plans
offshore banking tax haven scandel
ideological austerity and a war
on the poor and vulnerable
like Goebbles and Himmler
got back in the driving seat
only a superficial Tory beauty
like plastic flowers and fake trees
chemicals steel and plastic all
mushed together with human flesh
the Tory ball of shit
rolling down every street in Britain
industry and capital all stolen
or borrowed with previously stolen
or borrowed credit
what fucking TORY arts?
what music and painting from the upper class
twats? who WHO WHOOOOO?
drunk on the Hollywood goop
the vacuous and empty pop culture
spawned by the likes of Simon Cowell
this reflect proper TORY talent
and a culture of conceit
'we are the self preservation
society
we are the self preservation
society
we are the.....
no matter your own opinion
or side of the argument
try oh please do
try again to retain a critical
view
criticise your darlings
pull your own playhouse down
stay relative
and keep it real
have a sense of duty
patriotism if you like
in constructive criticism
and critical thinking
upon ALL matters
critical thinking and regular
what if? sessions
deconstruct synthesize and
reconstruct catepillar
butterfly style
You are wrong
I am wrong and they are
wrong
all of these wrongs do not make
a right
embrace the ambiguity of things
the immeasurable nature of
reality
strive for pluralistic and open
process
open mind open data sets open
access to information
law based
medical based and
corporate tax avoidence based
dig deep for humility folks
yes you few reading this
those who already have a feel for it
a sense of the others and perhaps even
the ancestors
the bigger picture
the magical view if ypu will
the human universe and the shared
experience of the other
playful and sympathetic
listening and understanding
just say no to political
representative democracy
and failed bloody corpse
wringling on the battle field
all limbs removed together with
the vital organs
the collective will of the people
around planet earth
remains strong and steady
on the trajectory toward equality
and better distribution of the wealth
the resources and the infinite
benefits shared freely by this
beautiful planets natural
abundence
a giving planet
a naturally healing planet and
naturall healing nervous
body brain system
self regenerative
in body and in earth
the magic of the recycling process
before time
and bangs
the return and condensation
the poem and the life
Oh England
please find your way now
out from the insular close minded route
marked out by the leaders leading
followers to a life of mental torture
how...HOW could i ever have voted for them?
like in Nazi Germany 1939
an entire nation hoodwinked by a strong
leader and a militant insular plot to
take over the world by brute force
just like the British empire
and the Hang dynasty
and Geroge H. W Bush
and Tony Blair
unfair tactics
below the belt blows
reff!
REFFFFF!
Waywords and Meansigns: Recreating Finnegans Wake [in its whole wholume]
Published May 4, 1939
Topics Waywords and Meansigns, James Joyce, Finnegans Wake, Audiobook, Music,Roratorio, Anna Livia Plurabelle, Dublin, Ireland, Irish literature
Track listing:
Finnegans Wake is organized into four books. Roman numerals indicate the book, Indo-Arabic numerals indicate the chapter within that book. Chapter names are italicized, followed by the names of musicians. Finnegans Wake is circular, so you can start listening wherever. Mariana Lanari and Sjoerd Leijten suggest beginning with Book IV. To locate a particular passages of the text, use http://www.trentu.ca/faculty/jjoyce/ and http://fweet.org/
I.1 - Fall, pp. 3-29 - Mariana Lanari & Sjoerd Leijten, with Erik Bindervoet
I.2 - The Humphriad I: His Agnomen and Reputation, pp. 30-47 - Robert Amos; Chelidon Frame; Alan Ó Raghallaigh
I.3 - The Humphriad II: His Trial and Incarceration, pp 48-74 - Greg Nahabedian
I.4 - The Humphriad III - His Demise and Resurrection, pp. 75-103 - Un monton, torero; with Charlie Driker-Ohren & Walker Storz
I.5 - The Mamafesta, pp. 104-25 - Tim Carbone
I.6 - Riddles: The Personages of the Manifesto, pp. 126-68 - Kevin Spenst
I.7 - Shem the Penman, pp. 169-216 - Belorusia
I.8 - Anna Livia, pp. 196-59 - Dérive
II.1 - The Children's Hour, pp. 216-59 - Street Kids Named Desire; with Derek Pyle, Parker McQueeney, Zach Leavitt & Samuel Nordli
II.2 - The Studies, pp. 260-308 - Liz Longo & Izzy Longo, with Leo Traversa
II.3 - The Stories: Tavernry in Feast, pp. 309-82 - Hayden Chisholm
II.4 - Mamalujo, pp. 383-99 - Ryan Mihaly
III.1 - Shaun before the People, pp. 403-28 - Gareth Flowers
III.2 - Jaun before St. Bride's, pp. 428-73 - Steve Fly, with William Sutton
III.3 - Yawn under Inquest, pp. 474-554 - Peter Quadrino, Jake Reading & Evan James
III.4 - Humphrey Chimpden Earwicker and Anna Livia Plurabelle: Their Bed of Trial, pp. 555-590 - Graziano Galati
IV.1 - Dawn: Return to the Beginning, pp. 593-628 - Mariana Lanari & Sjoerd Leijten; with EloÃsa Ejarque, Grace Kyne-Lilley, & Erik Bindervoet.
Additional track credits:
Track 1: Produced and performed by Mariana Lanari and Sjoerd Leijten, with special thanks to guests reader Erik Bindervoet (pp.13-18, pp. 21-24).
Track 2: Robert Amos recorded by Robert Martin.
Track 3: Keyboards, Voice, Guitar, Bass, and Drums by Greg Nahabedian. Recorded and mixed by Greg Nahabedian and Paul Schmelz.
Track 5: Tim Carbone (fiddle, guitar, drone, tan, keyboards, samples), Andy Goessling (zither), Phil Ferlino (piano). Recorded by Tim Carbone and mixed by Don Sternaker and Tim Carbone.
Track 6: Background arrangement by Josh Pitre, featuring a Stravinsky circus polka and two ragtime pieces
Track 8: Dérive is Greg Nahabedian (keyboard, voice), Paul Schmelz (guitar, voice, keyboard), Noah Jacques (bass, voice), Paul DeGrandpre (drums, voice). Recorded by Paul Schmelz. Mixed by Dérive and Paul Schmelz.
Track 9: Recorded by Derek Pyle and Zach Leavitt. Sound collage by Derek Pyle, featuring many of the musical allusions found in Joyce's text. With Derek Pyle (bass, voice), Parker McQueeney (piano, voice), Samuel Nordli (mandolin, violin, and viola) and Zach Leavitt (guitar, bass, voice).
Track 10: Leo Traversa on bass. Recording by Taylor Roig.
Track 11: Recorded by Robert Nacken at Nucamusic Studios in Cologne and by Hayden Chisholm in the Moers Residence house, and at Sant Vicenc beach in Mallorca
Track 14: William Sutton reads pp. 429-42 469-73; Steven 'Fly' Pratt reads pp. 443-68. Drums, turntables, guitar, arrangement, production, recording in Amsterdam by Steve Fly. Mastered by Tim Egmond at Ei-Complex Studios, Amsterdam.
Track 15: Produced by Jake Reading & Peter Quadrino. Executive producer: Evan James. Recorded and mixed by Jake Reading at Casa de Feelgood. Additional vocals by Evan James and Melba Martinez.
Track 17: Produced and performed by Mariana Lanari and Sjoerd Leijten, with special thanks to guests readers EloÃsa Ejarque (pp. 610-612), Grace Kyne-Lilley (pp. 613-615), and Erik Bindervoet (pp. 13-18, pp. 21-24).
Derek's acknowledgments:
Waywords and Meansigns would not be possible without the support of many people. Like the Joycean maxim says: Here Comes Everybody. Thanks to the fwread listserv, especially Peter Quadrino, Peter Chrisp, Roman Tsivkin, as well as Adam Harvey and Mariana Lanari; your collective knowledge of Joyce is astounding. Marie Broadway, Jake Tozer, Sam Nordli, and Emma Pampanin co-hosted the Finnegans Wake parties that inspired this project. Zach Leavitt and Chelsea Westra co-hosted the parties of the future. Elaine Thomas, Dylan Muhlberg, the Amherst Irish Association, Jacqui Wise, Krzysztof Bartnicki, Mike Moran, Mike Medeiros, Jason Gross, Rebecca Hanssens-Reed, Billy Mills, and the James Joyce Gazette played pivotal roles spreading the word about this project, through press coverage and otherwise. Thanks to Mackenzie Libbey, and Michael Robbins, for their support throughout. Thanks to L. Brown Kennedy and Annie G. Rogers for first introducing me to Joyce. Special thanks to Mark Traynor and the James Joyce Centre in Dublin, and to Robert Berry.
Infinite thanks to the project contributors, and all who channel the spirit of James Joyce.
Finnegans Wake is organized into four books. Roman numerals indicate the book, Indo-Arabic numerals indicate the chapter within that book. Chapter names are italicized, followed by the names of musicians. Finnegans Wake is circular, so you can start listening wherever. Mariana Lanari and Sjoerd Leijten suggest beginning with Book IV. To locate a particular passages of the text, use http://www.trentu.ca/faculty/jjoyce/ and http://fweet.org/
I.1 - Fall, pp. 3-29 - Mariana Lanari & Sjoerd Leijten, with Erik Bindervoet
I.2 - The Humphriad I: His Agnomen and Reputation, pp. 30-47 - Robert Amos; Chelidon Frame; Alan Ó Raghallaigh
I.3 - The Humphriad II: His Trial and Incarceration, pp 48-74 - Greg Nahabedian
I.4 - The Humphriad III - His Demise and Resurrection, pp. 75-103 - Un monton, torero; with Charlie Driker-Ohren & Walker Storz
I.5 - The Mamafesta, pp. 104-25 - Tim Carbone
I.6 - Riddles: The Personages of the Manifesto, pp. 126-68 - Kevin Spenst
I.7 - Shem the Penman, pp. 169-216 - Belorusia
I.8 - Anna Livia, pp. 196-59 - Dérive
II.1 - The Children's Hour, pp. 216-59 - Street Kids Named Desire; with Derek Pyle, Parker McQueeney, Zach Leavitt & Samuel Nordli
II.2 - The Studies, pp. 260-308 - Liz Longo & Izzy Longo, with Leo Traversa
II.3 - The Stories: Tavernry in Feast, pp. 309-82 - Hayden Chisholm
II.4 - Mamalujo, pp. 383-99 - Ryan Mihaly
III.1 - Shaun before the People, pp. 403-28 - Gareth Flowers
III.2 - Jaun before St. Bride's, pp. 428-73 - Steve Fly, with William Sutton
III.3 - Yawn under Inquest, pp. 474-554 - Peter Quadrino, Jake Reading & Evan James
III.4 - Humphrey Chimpden Earwicker and Anna Livia Plurabelle: Their Bed of Trial, pp. 555-590 - Graziano Galati
IV.1 - Dawn: Return to the Beginning, pp. 593-628 - Mariana Lanari & Sjoerd Leijten; with EloÃsa Ejarque, Grace Kyne-Lilley, & Erik Bindervoet.
Additional track credits:
Track 1: Produced and performed by Mariana Lanari and Sjoerd Leijten, with special thanks to guests reader Erik Bindervoet (pp.13-18, pp. 21-24).
Track 2: Robert Amos recorded by Robert Martin.
Track 3: Keyboards, Voice, Guitar, Bass, and Drums by Greg Nahabedian. Recorded and mixed by Greg Nahabedian and Paul Schmelz.
Track 5: Tim Carbone (fiddle, guitar, drone, tan, keyboards, samples), Andy Goessling (zither), Phil Ferlino (piano). Recorded by Tim Carbone and mixed by Don Sternaker and Tim Carbone.
Track 6: Background arrangement by Josh Pitre, featuring a Stravinsky circus polka and two ragtime pieces
Track 8: Dérive is Greg Nahabedian (keyboard, voice), Paul Schmelz (guitar, voice, keyboard), Noah Jacques (bass, voice), Paul DeGrandpre (drums, voice). Recorded by Paul Schmelz. Mixed by Dérive and Paul Schmelz.
Track 9: Recorded by Derek Pyle and Zach Leavitt. Sound collage by Derek Pyle, featuring many of the musical allusions found in Joyce's text. With Derek Pyle (bass, voice), Parker McQueeney (piano, voice), Samuel Nordli (mandolin, violin, and viola) and Zach Leavitt (guitar, bass, voice).
Track 10: Leo Traversa on bass. Recording by Taylor Roig.
Track 11: Recorded by Robert Nacken at Nucamusic Studios in Cologne and by Hayden Chisholm in the Moers Residence house, and at Sant Vicenc beach in Mallorca
Track 14: William Sutton reads pp. 429-42 469-73; Steven 'Fly' Pratt reads pp. 443-68. Drums, turntables, guitar, arrangement, production, recording in Amsterdam by Steve Fly. Mastered by Tim Egmond at Ei-Complex Studios, Amsterdam.
Track 15: Produced by Jake Reading & Peter Quadrino. Executive producer: Evan James. Recorded and mixed by Jake Reading at Casa de Feelgood. Additional vocals by Evan James and Melba Martinez.
Track 17: Produced and performed by Mariana Lanari and Sjoerd Leijten, with special thanks to guests readers EloÃsa Ejarque (pp. 610-612), Grace Kyne-Lilley (pp. 613-615), and Erik Bindervoet (pp. 13-18, pp. 21-24).
Derek's acknowledgments:
Waywords and Meansigns would not be possible without the support of many people. Like the Joycean maxim says: Here Comes Everybody. Thanks to the fwread listserv, especially Peter Quadrino, Peter Chrisp, Roman Tsivkin, as well as Adam Harvey and Mariana Lanari; your collective knowledge of Joyce is astounding. Marie Broadway, Jake Tozer, Sam Nordli, and Emma Pampanin co-hosted the Finnegans Wake parties that inspired this project. Zach Leavitt and Chelsea Westra co-hosted the parties of the future. Elaine Thomas, Dylan Muhlberg, the Amherst Irish Association, Jacqui Wise, Krzysztof Bartnicki, Mike Moran, Mike Medeiros, Jason Gross, Rebecca Hanssens-Reed, Billy Mills, and the James Joyce Gazette played pivotal roles spreading the word about this project, through press coverage and otherwise. Thanks to Mackenzie Libbey, and Michael Robbins, for their support throughout. Thanks to L. Brown Kennedy and Annie G. Rogers for first introducing me to Joyce. Special thanks to Mark Traynor and the James Joyce Centre in Dublin, and to Robert Berry.
Infinite thanks to the project contributors, and all who channel the spirit of James Joyce.
Run time 31 hours, 8 minutes, 11 seconds
Language und
Chaoid Systems by Keith Hopewell.
KEITH K. HOPEWELL - CHAOID SYSTEMS - LP
(containing CD & 8 page booklet with exclusive artwork and text)
A calling siren. Listen. There...Frequency mod' cross spectrum - sound-light-particles to spray, from the nozzlety wave field-array. Impressive on retinatty boom. Point-line-planetary. Can you fly through? Fucksake geometry. Sandglass fizz, subroute tonic teasers. Audio trapshots, snare pots, pan lots, cross wired burnt circuit wires shadow captures, abducted by. Handy made photophonoglyphs oi. Yes mate. Opacity in sound layers, cake goop in the speaker, fleas breakdance in the dancehall cymatics, frequent C miles. Sampletude punk fuckers.
Sound shadows of the silent majorities. A Calling, a part2.wav dotted WAVE sonic signal to process, i hear a calling. Rockt' on with hertz, amps and ohms. No place like...alpha beta gamma theta nestled into cutting headedge lacquer. And error photon-tone focus. Son of a pitch stepping out to myth it all. Panning on for golden rations for the bread-line peeps too. To cannavas to vinyl disc, digitalis too. Tale from, the spraypaint fella' voyager Part2.wav cutting pathways to mother spaces-co ordinaughts psych. Chaoid-units, measures chaos, bits, yars, knots and chin, feet, pounds, ampair of boom-booms. Systems, in family relations, statements of relations.
Geometree and dandylow dubs synthesis-thesister-anti-this-is. This is not, again. Systems evolve. Travel the circuit world boards, capture waves, mek em' wavs, ride and call back again, the part.wav sirens. Project-amplify-evolve-decentralise. Spann the pan. Like a light house beacon hacked, like a cluster of light house beacons hacked--illuminating a strange coastline jagged vast new world--on rotation.
1 Broken Systems in C Major: Insectoid taptaptapping on exposed stereo jacks. In the air. Sandpaper on glass, just fine, sands rubbing dubbing up the right way. Ay. An airplane full of steel-bearings crashed into the studio, that sound...bending metal at high temperature. Smelting subs pop and bubble goo. Oh r' Hummingbird food for a bass face. Smushet' and smudged down lowdown. Cymatick responses move in onion ringworm outwards, left-right right left stereotype face bass again. Yeahp. Moving into 6th Gear on a 2019 drag-racer at pole-position, dancer Major bus-through.
2 Interlude: Industrial speaker test signals, swinging across an aircraft hanger. Synth keys wash the minimal beat through colour changes. Reminiscent of some earlier part2 material from Universally Dirty.
3 Fractal: Venusian winds sweep about another tribal electro-hook, a roving sonic search vehicle, scanning and scuttling about the alien terrain. Broadcasting signal/code back to mothership authorship command, where data processing and reconstruction of the image transpire. Post-modem.
4 Factory: Z. When all is ZED and done. 'There is no is, he has no story but what you deem as his'--RAMMELLZEE
5 Chaoid: Swarming squelch bugs infest the prism. The whole sphere in resonance. Cymatic thoughts arise, see? melt the speaker-cones and scratches them with grains of sand. A haunted garage in deepest Germany is infested with tools tapbanging in revolt.
6 Myth: Sun Ra speaks, the mutant disco creeps along with an upbeat bounce. The incessant sub-bass always present, rough and rugged, raw and gritty. Moving into another pulse-code wave, disguised by a static overcoat, signals write a more path.
7 Outelligence: Electro breaks spread with 8-bit sauces, another familiar bashment bouncmate cut. Play at high volume. Tabula Rasa
8 Part2 manifesto. 'The future has become fractal' Burroughs.Part 2 wisewise, plus Rammellzee and Sun Ra invoked.
9 Fragments: Deep static and space detritus, a stargaze, now a stagate--wedged open with future bass weapons--what lurching beasts await beyond the door, past the gate. Pistons splurt, dental drill attachments grind through the locks, all the time tiny machines leaking through the gaps, electromagnetic pulses darting between worlds. New signal paths, synth speaks. Metallic liquid squeezed through a washingmachine hose, a refrigerator with attitude. Sparks fly, short circuit in the dance. Getting closer, neuro-harpooning. Breakthrough in the grey room. Somebody or something is knocking. HAL. Frazzled phased and breaking. Urban systems broken, chaos of cars bodies buildings, scrap heap of consumer hell. Broken people struggle against the borg, the bits dropping off, changing colour. Desolate world of post-skynet/foxsoft lands. Bleak to blunt yr. beak.
10 Space-Time: Featuring the voice and words of T Judd, playful postcard from the future yesterday today worlds deployed in programmatic prose dot dot. Moving along into a classic Part2 electro-smash lushush.
11 myths & Structures: And the bass drops, bringing the focus back to some minimal sonic roots. Plenty of space for the bass to squeal and dive. Lo-bit interruptions and loose cables, synchronised into a cacophony of cannons. More signals and pulses projecting the geometry.
GET THE ALBUM: http://www.vavarecords.com/keith-k-hopewell---chaoid-systems-lp.html
SUPPORT THE ARTIST!
--Steve 'Blue-Bottle' Fly
(containing CD & 8 page booklet with exclusive artwork and text)
A calling siren. Listen. There...Frequency mod' cross spectrum - sound-light-particles to spray, from the nozzlety wave field-array. Impressive on retinatty boom. Point-line-planetary. Can you fly through? Fucksake geometry. Sandglass fizz, subroute tonic teasers. Audio trapshots, snare pots, pan lots, cross wired burnt circuit wires shadow captures, abducted by. Handy made photophonoglyphs oi. Yes mate. Opacity in sound layers, cake goop in the speaker, fleas breakdance in the dancehall cymatics, frequent C miles. Sampletude punk fuckers.
Sound shadows of the silent majorities. A Calling, a part2.wav dotted WAVE sonic signal to process, i hear a calling. Rockt' on with hertz, amps and ohms. No place like...alpha beta gamma theta nestled into cutting headedge lacquer. And error photon-tone focus. Son of a pitch stepping out to myth it all. Panning on for golden rations for the bread-line peeps too. To cannavas to vinyl disc, digitalis too. Tale from, the spraypaint fella' voyager Part2.wav cutting pathways to mother spaces-co ordinaughts psych. Chaoid-units, measures chaos, bits, yars, knots and chin, feet, pounds, ampair of boom-booms. Systems, in family relations, statements of relations.
Geometree and dandylow dubs synthesis-thesister-anti-this-is. This is not, again. Systems evolve. Travel the circuit world boards, capture waves, mek em' wavs, ride and call back again, the part.wav sirens. Project-amplify-evolve-decentralise. Spann the pan. Like a light house beacon hacked, like a cluster of light house beacons hacked--illuminating a strange coastline jagged vast new world--on rotation.
1 Broken Systems in C Major: Insectoid taptaptapping on exposed stereo jacks. In the air. Sandpaper on glass, just fine, sands rubbing dubbing up the right way. Ay. An airplane full of steel-bearings crashed into the studio, that sound...bending metal at high temperature. Smelting subs pop and bubble goo. Oh r' Hummingbird food for a bass face. Smushet' and smudged down lowdown. Cymatick responses move in onion ringworm outwards, left-right right left stereotype face bass again. Yeahp. Moving into 6th Gear on a 2019 drag-racer at pole-position, dancer Major bus-through.
2 Interlude: Industrial speaker test signals, swinging across an aircraft hanger. Synth keys wash the minimal beat through colour changes. Reminiscent of some earlier part2 material from Universally Dirty.
3 Fractal: Venusian winds sweep about another tribal electro-hook, a roving sonic search vehicle, scanning and scuttling about the alien terrain. Broadcasting signal/code back to mothership authorship command, where data processing and reconstruction of the image transpire. Post-modem.
4 Factory: Z. When all is ZED and done. 'There is no is, he has no story but what you deem as his'--RAMMELLZEE
5 Chaoid: Swarming squelch bugs infest the prism. The whole sphere in resonance. Cymatic thoughts arise, see? melt the speaker-cones and scratches them with grains of sand. A haunted garage in deepest Germany is infested with tools tapbanging in revolt.
6 Myth: Sun Ra speaks, the mutant disco creeps along with an upbeat bounce. The incessant sub-bass always present, rough and rugged, raw and gritty. Moving into another pulse-code wave, disguised by a static overcoat, signals write a more path.
7 Outelligence: Electro breaks spread with 8-bit sauces, another familiar bashment bouncmate cut. Play at high volume. Tabula Rasa
8 Part2 manifesto. 'The future has become fractal' Burroughs.Part 2 wisewise, plus Rammellzee and Sun Ra invoked.
9 Fragments: Deep static and space detritus, a stargaze, now a stagate--wedged open with future bass weapons--what lurching beasts await beyond the door, past the gate. Pistons splurt, dental drill attachments grind through the locks, all the time tiny machines leaking through the gaps, electromagnetic pulses darting between worlds. New signal paths, synth speaks. Metallic liquid squeezed through a washingmachine hose, a refrigerator with attitude. Sparks fly, short circuit in the dance. Getting closer, neuro-harpooning. Breakthrough in the grey room. Somebody or something is knocking. HAL. Frazzled phased and breaking. Urban systems broken, chaos of cars bodies buildings, scrap heap of consumer hell. Broken people struggle against the borg, the bits dropping off, changing colour. Desolate world of post-skynet/foxsoft lands. Bleak to blunt yr. beak.
10 Space-Time: Featuring the voice and words of T Judd, playful postcard from the future yesterday today worlds deployed in programmatic prose dot dot. Moving along into a classic Part2 electro-smash lushush.
11 myths & Structures: And the bass drops, bringing the focus back to some minimal sonic roots. Plenty of space for the bass to squeal and dive. Lo-bit interruptions and loose cables, synchronised into a cacophony of cannons. More signals and pulses projecting the geometry.
"to make another analogy with the world of sci-fi, it’s like Huxley’s soma.--James McNally
GET THE ALBUM: http://www.vavarecords.com/keith-k-hopewell---chaoid-systems-lp.html
SUPPORT THE ARTIST!
--Steve 'Blue-Bottle' Fly
HYPERCIVILITY--Mark Pesce
Mark Pesce edges into the future, while keeping humanitas and civility as a main focus point. The horrors of Genocide and perceived differences that lead to racism, fascism, gene-pool-chauvanism and the worst elements of our human species are explored and summed up by Mark. He gives hints at a possible solution-processes, and examples of such real-world solutions such as article 54 of the Rawadan' constitution. Once again mark forces you to think outside of the box and takes the stakes to another level.
"Article 54 states that "political organizations are prohibited from basing themselves on race, ethnic group, tribe, clan, region, sex, religion or any other division which may give rise to discrimination".--http://en.wikipedia.org/wiki/Constitution_of_Rwanda
--Steve Fly
Integrity Systems and...
Integrity Systems
(a series of feedback loops and spontaneous notes compiled into a sort of wonky review/brainstorm fallout zone, enjoy. Steve)
A colleague of mine here in Amsterdam gifted me a press-pass to 'Integrated Systems Europe'(iseurope.org) So Yesterday i put on my best hoody and headed over to the RAI exhibition center on the tram, due to the fact i had a press pass i feel it only right to write a review of my 3 hours spent inside.
I was pre-warned about the suits, but i did not expect them all to be so dark in colour which made many of the white males look very similar. The food vendors were easily the best dressed IMHO. Many had little or no hair, either facial or on top which had the effect of amplifying the long flowing locks of the women present. I estimate 20 males for each female at this exhibition. One future trend i predict for future iseurope gatherings is more females and the felt presence of the feminine other in the technology itself.
The exhibition was spread out over several halls inter-connected by corridors littered with coffee-bars and food outlets. A constant river of people from around the globe flowed back and forwards, and who knows what they were thinking, having probably also seen what i have seen...a glimpse of the future?
Like with all things, i can't help but view everything i see from my own skewed perspective, or in this case what i would do with these advanced technologies in the realm of the creative performance arts, rather than commercial business sector. Although if my suspicions are correct, the future will seem like an artists creation rather than a cold static kiosk in a run down shop. I say 'seem like' due to the fact that everywhere i look i see innovative technology aimed at selling products. Products that are often not so advanced or innovative, a burger meal at the fast food place, a beer at the stadium or festival, the signs and signals used to sell pretty bland stuff to the masses.
I do not wish to seem like a technophobe who is against the development and deployment of these advanced artificial advertisement technologies. The business backing and support and success of such gatherings as Integral Systems, and International reach gives me a good sense that there will be another iseurope next year with yet larger screens, more powerful light manipulators, holographic technologies, directed audio, surveillance and facial recognition systems.
I really felt the Kurtzweil curve and what Robert Anton Wilson called 'the laws of acceleration' the exponential growth in technology. One could extrapolate from this experience what other international exhibitions and conferences are like these days (2015) no matter what sector, the ability to engage your audience and or future business associates remains paramount. Shit, what if you could beam the messages you wanted directly into the heads of individuals, would you?
Larger screens, smaller cameras, faster processing, wider integration, weather proof, in the dark, immersive, 360, 4k, 10k, remote, automated, smart, digital. It's a mans world of information technology and social strategy for integration, implementation on a real global scale. McDonald's global, or Microsoft global, to mean global. Yet the future may hold a few surprises and the mechanical bride has yet to fully awake.
I wonder what Marshall McLuhan and Buckminster Fuller would make of the 12th Integrated Systems exhibition? and what might uncle Bob say? Much like the other huge gathering of global tech at the RAI in Amsterdam, the ICB, iseurope demonstrates the latest and the next in a very broad spectrum of technology. A deeper look at such exhibitions reflect cultural phenomena and all sorts of interesting things about communications and cybernetics.
Try taking the floor plans from a particular sector of an exhibition and transplant them somewhere else, and in so doing you come up with a single exhibition space that combines all the technologies into one area. Housed in the cloud, voice activated and omnipresent. A studio/stage. To record and playback in real time.
The great end-game technology that i envisioned would have turned every head present is the geoscope, as developed by the late great R. Buckminster Fuller. I say 'end-game' because from what i can gather, Bucky intended the geoscope to help integrate many systems together in a new global picture of spaceship earth, illustrating the past-present-future results of global co-operation versus a world at war, both in the sense of business competition for profit and contracts, and the very real killy' weapons based war. I quickly grokked, however, that this geoscope would attract the wrong kind of attention and most probably be turned into yet another advanced tool for the private eyes and pockets of the few. The fact remains that these technologies can be used for good or for bad, however you choose to define those primordial differences? Bucky used the terms 'livingry' versus 'killingry' get it? now you decide which technology falls into which category.
(a series of feedback loops and spontaneous notes compiled into a sort of wonky review/brainstorm fallout zone, enjoy. Steve)
"Integrity of the individual is what we're being judged for and if we are not passing that examination, we don't really have the guts, we'll blow ourselves up. It will be all over. I think it's all the difference in the world.--Buckminster Fuller.
A colleague of mine here in Amsterdam gifted me a press-pass to 'Integrated Systems Europe'(iseurope.org) So Yesterday i put on my best hoody and headed over to the RAI exhibition center on the tram, due to the fact i had a press pass i feel it only right to write a review of my 3 hours spent inside.
I was pre-warned about the suits, but i did not expect them all to be so dark in colour which made many of the white males look very similar. The food vendors were easily the best dressed IMHO. Many had little or no hair, either facial or on top which had the effect of amplifying the long flowing locks of the women present. I estimate 20 males for each female at this exhibition. One future trend i predict for future iseurope gatherings is more females and the felt presence of the feminine other in the technology itself.
The exhibition was spread out over several halls inter-connected by corridors littered with coffee-bars and food outlets. A constant river of people from around the globe flowed back and forwards, and who knows what they were thinking, having probably also seen what i have seen...a glimpse of the future?
Like with all things, i can't help but view everything i see from my own skewed perspective, or in this case what i would do with these advanced technologies in the realm of the creative performance arts, rather than commercial business sector. Although if my suspicions are correct, the future will seem like an artists creation rather than a cold static kiosk in a run down shop. I say 'seem like' due to the fact that everywhere i look i see innovative technology aimed at selling products. Products that are often not so advanced or innovative, a burger meal at the fast food place, a beer at the stadium or festival, the signs and signals used to sell pretty bland stuff to the masses.
I do not wish to seem like a technophobe who is against the development and deployment of these advanced artificial advertisement technologies. The business backing and support and success of such gatherings as Integral Systems, and International reach gives me a good sense that there will be another iseurope next year with yet larger screens, more powerful light manipulators, holographic technologies, directed audio, surveillance and facial recognition systems.
I really felt the Kurtzweil curve and what Robert Anton Wilson called 'the laws of acceleration' the exponential growth in technology. One could extrapolate from this experience what other international exhibitions and conferences are like these days (2015) no matter what sector, the ability to engage your audience and or future business associates remains paramount. Shit, what if you could beam the messages you wanted directly into the heads of individuals, would you?
Larger screens, smaller cameras, faster processing, wider integration, weather proof, in the dark, immersive, 360, 4k, 10k, remote, automated, smart, digital. It's a mans world of information technology and social strategy for integration, implementation on a real global scale. McDonald's global, or Microsoft global, to mean global. Yet the future may hold a few surprises and the mechanical bride has yet to fully awake.
I wonder what Marshall McLuhan and Buckminster Fuller would make of the 12th Integrated Systems exhibition? and what might uncle Bob say? Much like the other huge gathering of global tech at the RAI in Amsterdam, the ICB, iseurope demonstrates the latest and the next in a very broad spectrum of technology. A deeper look at such exhibitions reflect cultural phenomena and all sorts of interesting things about communications and cybernetics.
Try taking the floor plans from a particular sector of an exhibition and transplant them somewhere else, and in so doing you come up with a single exhibition space that combines all the technologies into one area. Housed in the cloud, voice activated and omnipresent. A studio/stage. To record and playback in real time.
The great end-game technology that i envisioned would have turned every head present is the geoscope, as developed by the late great R. Buckminster Fuller. I say 'end-game' because from what i can gather, Bucky intended the geoscope to help integrate many systems together in a new global picture of spaceship earth, illustrating the past-present-future results of global co-operation versus a world at war, both in the sense of business competition for profit and contracts, and the very real killy' weapons based war. I quickly grokked, however, that this geoscope would attract the wrong kind of attention and most probably be turned into yet another advanced tool for the private eyes and pockets of the few. The fact remains that these technologies can be used for good or for bad, however you choose to define those primordial differences? Bucky used the terms 'livingry' versus 'killingry' get it? now you decide which technology falls into which category.
"Synergy is the only word in our language that means behavior of whole systems unpredicted by the separately observed behaviors of any of the system's separate parts or any subassembly of the system's parts. There is nothing in the chemistry of a toenail that predicts the existence of a human being--R. Buckminster Fuller.
Genepool Lifeguard Journal 1
'How can anyone describe the whole until he has learned the total of the parts.'--Sufi teaching.
...went swimming in
deep emotional bias for my gene-pool
mygene-pool-space country
stung by the rising 'fuck the others crews'
and the 'i ain't got time to entertain
animals and plants you mad' lot, and thought
DNA first!
A chalked cue to beat
your gene-pool players
neuro-relativity rules
AGCT bigger than that, them and IS
DNA first!
Twistin' NRA into RNA with
ribonucleic bazookas
blowing identity windways
to the facebrook flooded seas
of gene-pool chauvinism disease
DNA first!
Many drown in gene-pool
conceits and strong
chlorinated conservative dislike
or borderline hatred of anybody
not of their own gene-tribe
DNA first!
Blinkered by national shampoozy
paralysed by stinging patriotism
drowned of all-life by hatred
revenge prejudice and ignorance
DNA first!
Swirling bio-alfuqbets
mass of uncertainty and chaos
spitting out programs to build
our physical body and meatspace
Jeez, have some self-replicating respect
DNA first!
humanity second buy seconds
no reverse that--just a sec
thirdly--put an end to
groupthink on all levels
religio politico thug-dialect
end it and sever the head
DNA first!
Stop!
consider your DNA
first ask what would your DNA say
perhaps on behalf of your own
gene-pool? what IS your
gene-pool filled with?
not your name silly, your code mate
DNA first!
AGCT party politics
DNA first! my me we and ALL
my people my family my
land my army my money my
friends my my my wake up to
the tale of the tribe and what is
mine is yours too
i am you and you are me right? we are one
DNA first!
Amino acid party get together come
the corkwynding fist of
twinned strands second
triple helix no problem
whos your daddy?
DNA first!
Nice n' wickid ancient
self-replicating biotech
heart soulseat brain lungs
and all living things
ALL to mean all biological
organisms on earth
ALL people too. A real majority win.
Oh, and Non-Servium
DNA first!
no theists no state-ists
you them and us all related
by an awesome acid factory pool
of micro-biological wet-ware
embroidery inresonance
DNA first!
Pretty sick futurefuture
hobbyhorse shiz' i mean
the dynamic process of
RNA DNA transcription makes
a scmockery of science
4 letter words spring boarding into
cellular life to fuckplicate again wow
DNA first!
No party political platform for DNA?
i mean really...what is life?
by definition humanity
the rooting of compassion
to come with and into the deep end
DNA first!
Jump into the gene-pool of life
wider than any silly political
party narrowmind n' naff' splashywashy
a real manifestation of things
things like you and waltzing
in helictical jacuzzi jizz
DNA first!
belief illness
patriotism and nationalism
illness in need of a foot bath
ISNESS IS AN ILLNESS
illness illness illness
isness isness isness
identification WHA'?
DNA first!
By us i refer to humans
so how many of us boss?
how many of us have you met?
ever suspect the others might be
different to your suspicions EH?
Jesuspect Christereotype
ever meet your ancestors?
DNA first!
Study isillness get yr' goggles on
Islam 'ism' and isn't 'ism
identification in racist ideology
purity lunacy certainty gene-pool
chauvinism and the curse of the 'ish' suffix
the 'ism' suffix the crucifix on which
poetic justic hangs roughly from the top board
DNA first!
'we live as one family'--Rough Justice
--Steve Fly 12/02/2015,
Amsterdam.
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