JOHN SINCLAIR & SHARING COUNTER-CULTURE

The epic & encyclopedic - back catalogue - of music and writings from John Sinclair, will soon be available for - digital download - and SHARED' availability. Many of his works have been tragically lost, to both personal and national disasters of one kind or another; other works have been miss-placed and kept in storage for a long long time, and, like any other great archeological anthropological discovery from the African heartlands - the opening of the JOHN SINCLAIR archives and vaults provides a rich resource of counter-cultural gems and treasures, useful feedback for all humanity to process.

So, i thought i could contribute a little something in the way of a hyperlinked guide to John Sinclair in cyberspace, and the places and spaces you can find his footprints and fresh air. I will also begin the work on his recommended reading/listening list from the back of GUITAR ARMY.

http://www.radiofreeamsterdam.com/

http://johnsinclair.us/10for2/

http://www.youtube.com/user/johnsinclairtv

http://en.wikipedia.org/wiki/John_Sinclair_(poet)

http://www.luminist.org/archives/marijuana.htm

http://arborwiki.org/city/John_Sinclair

DETROIT LIFE: JOHN SINCLAIR AND HIS MOTOR CITY SCHOLARS.

IT'S ALL GOOD: A JOHN SINCLAIR READER

FATTENING FROGS FOR SNAKES: DELTA SOUND SUITE. (BOOK)

DON'T START ME TO TALKIN': FATTENING FROGS FOR SNAKES.

F.F.F.S. REVIEW IN ROLLINGSTONE.

recordings:
Detroit Life with the Motor City Blues Scholars (No Cover Records, 2009)
Tearing Down the Shrine of Truth & Beauty with the Pinkeye Orchestra (LocoGnossis Records, 2008)
Fattening Frogs For Snakes, Volume 3: Don’t Start Me To Talking (Big Chief/Electric Catfish Records, 2008)
crisscross with Mark Ritsema (Big Chief Records, 2006)
Fattening Frogs For Snakes, Volume 2: Country Blues (No Cover Records, 2005)
No Money Down: John Sinclair’s Greatest Hits, Volume 1 (Big Chief Records, 2004)
Peyote Mind with Monster Island (Book Beat, 2003)
Knock Out with Lange Frans & Baas B (420 Café, 2002)
Fattening Frogs For Snakes, Volume 1: The Delta Sound (Okra-ToneRecords, 2002)
It’s All Good with Fluxedo Junction (Fluxedo, 2000)
Underground Issues (Spy Boy Records, 2000)
White Buffalo Prayer with Wayne Kramer & the Blues Scholars (Spy Boy, 2000)
Full Circle with Wayne Kramer & the Blues Scholars (Alive Records, 1997)
thelonious:a book of monk—volume one (New Alliance Records, 1996)
If I Could Be With You—John Sinclair & Ed Moss with the Society Jazz Orchestra (Schoolkids Records,1996)
Full Moon Night—John Sinclair & His Blues Scholars (Total Energy Records, 1995)
“flyright”—a monk suite,with pianist Ed Moss (1991, unissued)
books & publicationsIT’S ALL GOOD: A John Sinclair Reader (Headpress, 2008)
GUITAR ARMY (2nd Edition, Feral House/Process Books, 2007)
GUITAR ARMY (Italian Translation, Stampa Alternativa, 2007)
Va Tutto Bene / It’s All Good (Stampa Alternativa, 2006)i mean you: a book for penny (Palomar Press, 2005)
Peyote Mind & After (Book Beat, 2003)
Fattening Frogs For Snakes: Delta Sound Suite (Surregional Press, 2002)
Full Circle (Minimal Press,1997)
“flyright”—a monk suite (1991, unpublished)
“We Just Change The Beat”: Selected Poems (Ridgeway Press, 1988)
thelonious: a book of monk—volume one (1985, unpublished)
GUITAR ARMY: Street Writings/Prison Writings, Douglas/World, 1972Music & Politics (with Robert Levin), Jazz & Pop/World, 1971
Meditations: A Suite For John Coltrane (Artists Workshop Press, 1967)
The Poem For Warner Stringfellow (Artists Workshop Press, 1966)
FIRE MUSIC: a record (Artists Workshop Press, 1966)This Is Our Music (Artists Workshop Press, 1965)

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http://www.headpress.com/JohnSinclair.aspx

"John Sinclair is a huge lover with masses of curly black hair flowing all over his head and shoulders. . . He and his White Panther brothers and sisters from Ann Arbor, Michigan are the most alive force in the whole Midwest. They turn on thousands of kids each week to their own beauty and build them into warriors and artists of the new Nation. . . For this some bald-headed judge named Columbo sentenced John Sinclair to nine-and-a-half to ten years in the penitentiary at Jackson, Michigan."
— Abbie Hoffman
Woodstock Nation (1969)




JAMS (FROM GUITAR ARMY BY John Sinclair)

ROCK AND ROLL

KICK OUT THE JAMS – MC5 (Elektra)
CHEAP THRILLS – Big Brother and Holding Company (Columbia)
ARE YOU EXPERIENCED? – Jimi Hendrix Experience (Reprise)
SMASH HITS – Jimi Hendrix Experience (Reprise)
FREAK OUT – The Mothers of Invension HIGH TIME – MC5 (Atlantic)
DETROIT – Mitch Rider (Paramount)
OZONE – Commander Cody and His Lost Planet Airmen (Paramount)
STOOGES – stooges (Elektra)
FUN HOUSE – Stooges (Elekra)
GRIS-GRIS – Doctor John (Atco)
BABYLON – Dr. John (Atco)
BRINGING IT ALL BACK HOME – Bob Dylan (Columbia)
HIGHWAY 61 REVISITED – Bob Dylan (Columbia)
BLONDE ON BLONDE – Bob Dylan (Columbia)
JOHN WESLEY HARDING – Bob Dylan (Columbia)
BEGGARS BANQUET – Rolling Stones (London)
LET IT BLEED – Rolling Stones (London)
STICKY FINGERS – Rolling Stones (Rolling Stones)
REVOLVER – Beatles (Capitol)
SERGENT PEPPER’S LONELY HEARTS CLUB BAND - Beatles (Capitol)
BOOGIE WITH CANNED HEAT – Canned Heat (Liberty)
SUNSHINE SUPERMAN – Donovan (Epic)
MY GENERATION – Who (Decca)
SAFE AS MILK – Captain Beefheart & his Magic Band (Buddha)
THE FUGS (2nd Album) – Fugs (ESP-Disk’)
WHITE HEAT WHITE LIGHT – Velvet Underground (MGM)
JEFFERSON AIRPLANE TAKES OFF – Jefferson Airplane (RCA)
VOLUNTEERS - Jefferson Airplane (RCA)
THE GRATEFUL DEAD (1st Album) - Grateful Dead (Reprise)
ELECRTIC MUSIC FOR THE MIND AND BODY - Country Joe & the Fish (Vanguard)
LOVE (1st Album) - Love (Elektra)
DA CAPO - Love (Elekra)
THE DOORS (1st Album) - Doors (Elekra)
FRESH CREAM - Cream (Atco)
WHEELS OF FIRE - Cream (Atco)
BLUESBREAKERS - John Mayall (London)
VINCEBUS ERUPTUM - Blue Cheer (Phillips)
SUNSET - The Rationals (Crewe)
TRAVELLERS TALE - SRC (Capitol)
MONGREL - Bob Seger (Capitol)
SURVIVAL - Grand Funk Railroad (Capitol)
E PLURIBUS FUNK - Grand Funk Railroad (Capitol)
CREEDENCE CLEARWATER REVIVAL - Creedence Clearwater Revival (Fantasy)
BAYOU COUNTRY - Creedence Clearwater Revival (Fantasy)
SANDERS' TRUCK SHOP - Ed Sanders (Warner)
SPIRITS KNOW AND UNKNOWN - Leon Thomas (Flying Dutchman)
EDGAR WINTER'S WHITE TRASH - Edgar Winter (Epic)
LIVE - Johnny Winter and (Columbia)
JOHNNY WINTER (1st Album) - Johnny Winter (Columbia)
SLY & THE FAMILY STONE'S GREATEST HITS - Sly & the Family Stone (Epic)

RHYTHM & BLUES

HISTORY OF RHYTHM & BLUES (Volumes 1-4) - (Atlantic)
PAUL BUTTERFIELD BLUES BAND - (!st Album) - Paul Butterfield (Elekra)
THE RESURRECTION OF PIGBOY CRABSHAW - Paul Butterfield (Elekra)
J. GEILS BAND - (Elekra)
ELMORE JAMES - Elmore James (Bell)
CHUCK BERRY'S GOLDEN DECADE - Chuck Berry (Chess)
16 GREATEST HITS - Bo Diddley (Chess)
THE BEST OF MUDDY WATERS - Muddy Waters (Chess)
ELECTRIC MUD - Muddy Waters (Chess)
MOANIN' IN THE MOONLIGHT - Howlin' Wolf (Chess)
THE LONDON SESSIONS - Howlin' Wolf (Chess)
16 GREATEST HITS - B.B King (Crown)
JAMES BROWN LIVE AT THE APOLLO (Vol. 1) - James Brown (King)
BOBBY BLUE BLAND'S GREATEST HITS - Bobby Blue Bland (Duke)
HOUSE OF THE BLUES - John Lee Hooker (Checker)
URBAN BLUES -John Lee Hooker (ABC)
SERVE YOU RIGHT TO SUFFER -John Lee Hooker (Impulse)
I'M JIMMY REED - Jimmy Reed (Veejay)
THE JIMMY REED STORY -Jimmy Reed (Atlantic)
OTIS READING IN EUROPE - Otis Reading (Atlantic)
ARETHA'S GOLD - Aretha Franklin (Atlantic)
CHICAGO/THE BLUES/TODAY - (3 vOLUMES) - (Vanguard)
DETROIT BLUES - (BLUES CLASSICS)
GOLDEN GOODIES (Volumes 2,3,6,7,12) - (Roulette)
LIGHTIN' IN NEW YORK - Lightning Hopkins (Candid/Barnaby)
WEST SIDE SOUL - Magic Sam (Delmark)
HOODOO MAN BLUES - Junior Wells (Delmark)
OTIS SPAN IS THE BLUES - Otis Span (Candid/Barnaby)
THE BEST OF SONNY BOY WILLIAMSON - Sonny Boy Williamson (Chess)
GREATEST HITS - Little Richard (Speciality)
GREAT JUKEBOX HITS - Hank Ballard and the Midnighters (King)
ALL AROUND THE WORLD - Little Willie John (King)
I PUT A SPELL ON YOU - Screamin' Jay Hawkins (Okeh)
THE BEST OF LITTLE WALTER - Little Walter (Chess)
GREATEST HITS FROM THE BEGINNING - The Miracles (Motown)
GREATEST HITS - The Temptations (Motown)
GREATEST HITS - Martha and the Vandellas (Motown)
GREATEST HITS - The Four Tops (Motown)
GREATEST HITS - Elaine Brown (Vault)

SPOKEN

DIG -Eldridge Cleaver
MESSAGE TO THE GRASS ROOTS - Malcolm X (Afro-American Broadcasting Co.)
BY ANY MEANS NECESSARY - Malcolm X (Douglas)
THIS IS MADNESS - The Last Poets (Douglas)
THE SICK HUMOR OF LENNY BRUCE - Lenny Bruce (Fantasy)
WHAT I WAS ARRESTED FOR - Lenny Bruce (Douglas)
I AM NOT A NUT, ELECT ME - Lenny Bruce (Fantasy)
LENNY BRUCE AMERCA - Lenny Bruce (Fantasy)

BERKELEY CONCERT - Lenny Bruce (Straight)
AIN'T NO AMBULANCES FOR NO NIGGUS TONIGHT - Stanley Crouch (Flying Dutchman)
SOUL AND SOLEDAD - Angela Davis (Flying Dutchman)
HOWL & OTHER POEMS -Allen Ginsberg (Fantasy)
A NIGHT IN SANTA RITA - Robert Scheer (Flying Dutchman)
MURDER AT KENT STATE - Pete Hamill (Flying Dutchman)
LORD BUCKLEY'S HITS - Lord Buckley (Wolrd Pacific)
MASSACRE AT MY LAI - Pete Hamill (Flying Dutchman)

NEW BLACK MUSIC

NOTHING IS - Sun Ra (ESP-Disk')
THE HELIOCENTRIC WORLDS OF SUN RA - Sun Ra (Saturn Research)
THE MAGIC CITY - Sun Ra (Saturn Research)
ATLANTIS - Sun Ra (Saturn Research)
STRANGE STRINGS - Sun Ra (Saturn Research)
A LOVE SUPREME - John Coltrane (Impulse)
LIVE AT BIRDLAND - John Coltrane (Impulse)
MEDITATIONS - John Coltrane (Impulse)
SELFLESSNESS - John Coltrane (Impulse)
KULU SE MAMA - John Coltrane (Impulse)
COSMIC MUSIC - John Coltrane (Impulse)
UNIT STRUCTURES - Cecil Taylor Unit (Blue Note)
INTO THE HOT - Cecil Taylor & Gil Evans (Impulse)
JAZZ COMPOSERS ORCHESTRA - Jazz Composers Orchestra (JCOA)
TAUHID - Pharoah Sanders (Impulse)
KARMA - Pharoah Sanders (Impulse)
THEMBI - Pharoah Sanders (Impulse)
FIRE MUSIC - Archie Shepp (Impulse)
MAMA TOO TIGHT - Archie Shepp (Impulse)
ORNETTE COLEMAN TOWN HALL CONCERT - Jazz Composers Orchestra (ESP-DISK)
THIS IS OUR MUSIC - Ornette Coleman (Atlantic)
ORNETTE ON TENOR - Ornette Coleman (Atlantic)
FRIENDS AND NEIGHBOURS - Ornette Coleman (Flying Dutchman)
BELLS - Albert Ayler (ESP-Disk)
NEW GRASS - Albert Ayler ((Impulse)
THE LACK SAINT & THE SINNER LADY - Charles Mingus (Impulse)
MINGUS PRESENTS MINGUS - Charles Mingus (Candid/Barnaby)
EVOLUTION - Grachan Moncur (Blue Note)
LET FREEDOM RING - Jackie McLean (Blue Note)
LIFE TIME - Tony Williams (Blue Note)
OUT TO LUNCH - Eric Dolphy (Blue Note)
OUT THERE - Eric Dolphy (Prestiege)
IRON MAN - Eric Dolphy (Douglas)
LIBERATION MUSIC ORCHESTRA - Charlie Haden (Impulse)
THE THIRD WORLD - Gato Barbieri (Flying Dutchman)
THE MARION BROWN QUINTET - Marion Brown (ESP-Disk)
SONG FOR - Joseph Jarman (Delmark)
AS IF IT WERE THE SEASONS - Joseph Jarman (Delmark)
SOUND - Roscoe Mitchell (Delmark)
LEVELS & DEGREES OF LIGHT - Richard Abrams (Delmark)
HUMILITY IN THE LIGHT OF THE CREATOR - Maurice Mcintyre (Delmark)
NUMBERS 1&2 - Lester Bowie (Nessa)
CONGRIPTIOUS - Roscoe Mitchell (Nessa)
COMPLETE COMMUNION - Don Cherry (Blue Note)
SKETCHES OF SPAIN - Miles Davis (Columbia)
KIND OF BLUE - Miles Davis (Columbia)
MILESTONES - Miles Davis (Columbia)
BITCHES BREW - Miles Davis (Columbia)
MILES DAVIS AT THE FILMORE - Miles Davis (Columbia)
"IS" - Chick Corea (Solid State)
PATTI WATERS SINGS - Patti Waters (ESP-Disk')
BLACK WOMEN - Sonny Sharrock (Embryo)
EVERYWHERE - Roswell Rudd (Impulse)
COMPULSION - Andrew Hill (Blue Note)
FRANK WRIGHT TRIO - Frank Wright (ESP-Disk)
BURTON GREENE QUARTET - Burton Greene (ESP-Disk)
WHY NOT - Marion Brown (ESP-Disk)
THE GIANT IS AWAKENED - Horace Tapscott (Flying Dutchman)
QUARTET - John Carter/Bobby Bradfoed (Flying Dutchman)
MULTIDIRECTIONAL - Contemporary Jazz Quintet (Blue Note)

BOOKS

ITS ALL GOOD - John Sinclair (Headpress)
FATTENING FROGS FOR SNAKES - John Sinclair (Headpress)
GUITAR ARMY - JOHN SINCLAIR (Douglas Book Corporation)
MUSIC AND POLITICS - John Sinclair and Robert Levin
SHOTS - David Fenton
TRIAL - Tom Hayden
WEATHERMAN - edited by Harold Jacobs
GETTING BUSTED - edited by Ross Firestone
THE DRUG BUST - John Dominick
FREE MARIUANA - Michael Aldrich
FIRE! Writings from the Underground Press - Edited by Paul, jon & Carol
THE CONSPIRACY - Chicago 8
WE ARE EVERYWHERE - Jerry Rubin
WOODSTOCK NATION - Abbie Hoffman
REVOLUTION FOR THE HELL OF IT - Abbie Hoffman
DO IT! - Jerry Rubin
THE NEW LEFT: A Documentary History - edited by Massimo Teodori
THE MOVEMENT TOWARD A NEW AMERICA - edited by Mitchell Goodman
WHOLE EARTH CATALOGUE
PSYCHEDELIC PRAYERS - Timothy Leary
JAIL NOTES - Timothy Leary
REVOLUTIONARY LETTERS - Diane Di Prima
HOWL & OTHER POEMS - Allen Ginsberg
PLANET NEWS - Allen Ginsberg
NAKED LUNCH - William S. Burroughs
THE SOFT MACHINE - William S. Burroughs
NOVA EXPRESS - William S. Burroughs
THE JOB - William S. Burroughs
HUMAN UNIVERSE - Charles Olson
MEAT SCIENCE ESSAYS - Michael Mclure
DARK BROWN - Michael Mclure
THE MAXIMUS POEMS - Charles Olson
FOR LOVE - Robert Creely
THE NEW AMERICAN POETRY 1945-1960 - Edited by Donald Allen
PEACE EYE - Ed Sanders
REBELLION & REPRESSION - Tom Hayden
POT: A HANDBOOK OF MARIJUANA - John Rosevear
ON THE ROAD - Jack Kerouac
THE DHARMA BUMS - Jack Kerouac
MOUNTAINS & RIVERS WITHOUT END - Gary Snyder
EARTH HOUSE HOLD - Gary Snyder
POISONED WHEAT - Michael Mclure
BEEN DOWN SO LONG IT LOOKS LIKE UP TO ME - Richard Farina
V. - Thomas Pynchon
TROUT FISHING IN AMERICA - Richard Brautigan
THE STRANGE ODYSSEY OF HOWARD POW! - Bill Hutton
A HISTORY OF AMERIKA - Bill Hutton
THE SUN - Jim Semark
ONE FLEW OVER THE COOKOOS NEST - Ken Kessey
ELECTRIC KOOL AID ACID TEST - Tom Wolfe
REALLY THE BLUES - Mezz Mezzrow
THE AIR-CONDITIONED NIGHTMARE - Henry Miller
THE JOURNAL OF ALBION MOONLIGHT - Kenneth Patchen
RED FLAG/BLACK FLAG - Patrick Seale & Maureen McConville
SEIZE THE TIME - Bobby Seale
THE GENIUS OF HUEY P. NEWTON
ESSAYS FROM THE MINISTER OF DEFENCE - Huey P. Newton
SOUL ON ICE - Eldridge Cleaver
POST-PRISON WRITINGS AND SPEECHES - Eldridge Cleaver
CONVERSATION WITH ELDRIDGE CLEAVER
PALANTE - Michael Abramson and the Young Lords Party
OUT THING IS DRUM - Kenny Cockrill & Mike Hamlin
THE POLITICAL THOUGHT OF JAMES FOREMAN - James Foreman
MALCOLM X SPEAKS
THE AUTOBIOGRAPHY OF MALCOLM X
DIE NIGGER DIE - H. Rap Brown
STOKELY CARMCIHAEL
SOLEDAD BROTHER - George Jackson
IF THEY COME IN THE MORNING - Angela Davis
THE SPOOK WHO SAT BY THE DOOR - Sam Greenlee
BLUES PEOPLE - LeRoi Jones
BLACK MUSIC - LeRoi Jones
FOUR LIVES IN BEBOP BUSINESS - A. B. Spellman
SISTERHOOD IS POWERFUL - Edited By Robin Morgan
THE FEMALE EUNUCH - Germaine Greer
THE DIALECTIC OF SEX - Shulamith Firestone
THE EMANCIPATION OF WOMEN - V.I Lenin
DANCE THE EAGLE TO SLEEP - Marge Piery
WOMEN IN SEXIST SOCIETY - Edited by Vivian Gornick & Barbara K. Moran
THE WRETCHED OF THE EARTH - Frantz Fanon
A DYING COLONIALISM - Frantz Fanon
HANDBOOK OF REVOLUTIONARY WARFARE - Kwame Nkrumah
QUOTATIONS FROM CHAIRMAN MAO TSE-TUNG
LONG LIVE THE VICTORY OF PEOPLES WAR - Lin Piao
SELECTED WORKS OF MAO TSE-TUNG (Vol. -4)
ON PRACTICE - Mao Tse-Tung
ON CONTRADICTION - Mao Tse-Tung
MAO TSE-TUNG ON LITERATURE AND ART
ESSENTIAL WORKS OF LENIN - edited by Henry M. Christman
LEFT-WING COMMUNISM AN INFANTILE DISORDER - V.I Lenin
THE COMMUNIST MANIFESTO - Karl Marx & Frederick Engles.
THE ORIGIN OF THE FAMILY, PRIVATE PROPERTY & THE STATE - Frederick Engles
RED STAR OVER CHINA - Edgar Snow
HO CHI MINH ON REVOLUTION - Edited by Bernard B. Fall

DETROIT LIFE: JOHN SINCLAIR AND HIS BLUES SCHOLARS

"When I think of Detroit Life, these are the people I think of, these musicians and the people like them who make their art and their lives in the wilds of the former Motor City and live to tell the story -- these people and the ones who used to be here with us, and the ones who showed us the way, and the young ones who are coming up now with the bohemian tradition, and all the people who have survived and sustained themselves as the city collapsed and rotted all around them." --John Sinclair. Detroit Life

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DETROIT LIFE: JOHN SINCLAIR AND HIS MOTOR CITY BLUES SCHOLARS.

Produced by John Sinclair. Recorded and Mastered by Mike Boulan at the Jazz Loft, Detroit and Sraight Ahead Studio. 2009 NO COVER PRODUCTIONS. www.nocover.net

Featuring:

Johnny Evans Tenor Saxophone

James O’Donnell Trumpet

Phil Hale Keyboards

Chris Rumel Bass

Martin "Tino" Gross Drums

Johnnie Bassett Guitar

Jeff "Baby" Grand Guitar

Lyman Woodard Hammond B-3 Organ

Duncan McMillan Hammond B-3 Organ

Ibrahim Jones Bass

RJ Spangler Drums

Milton Hale Drums

John "T-Bone" Paxton, Trombone

Rick Steiger Baritone Saxophone

Thornetta Davis, Backing Vocal and

The Lyman Woodard Organization With Special Guest Marcus Belgrave.

A brand new album from poet John Sinclair signals a time to kick back, listen up and pay attention to the music and the words. Detroit Life: John Sinclair and his motor City Scholars – released on NO COVER records 2009 - serves up 15 hot slices of Detroit life as perceived through the lense of John Sinclair and his roaming band of legendary Detroiters’.

I've been paying attention to the words of John over the last three years - a meer drop in the ocean of vast timescape that his works traverse - yet in this relatively short time i have seen a phenomenal artistic output form him – musical and literary - shedding live and studio recordings books and articles wherever he travels; ping! Truly the hardest working poet in show-business, with a gritty street level reality expressed through his language; American life, love’s and sorrow translated with a great compassion; unifying humanity and culture, music and poetry, head and heart.

TRACK 1: “The Screamers”. James O’ Donnell and Jeff “Baby” Grand come firing out the gate. Overgrown sidewalks of Detroit memory music, Martin “Tino” Gross serving up the sweet shuffle groove and beautifully defined snare work on this classic Detroit Blues tour de force. The poem invoking a band of screaming artists that reclaim the overgrown streets of Detriot – historical gangsters of love, a loud and chattering ensemble of sincere rebels in the street. Arranged by Charles Moore - the Screamers - begins the swirling history of Detroit, retold through poetry, framed and bound by the beat bounced into yr/ heed by the poet.

“Life in the ruins of modern-day Detroit is not for the weak – minded nor the faint of heart” reminds me that Detroit Life has many challenges, many Blues, and to emerge from the last 50 years of life in America without a terminal case of angry man’s disease, and continue spreading an equal amount optimism and a message of freedom to choose, love and tolerance - seems to me - to be a great accomplishment for any American who lived through the 1960’s and the evidence is captured here on this recording, a diary of Detroit Life – Love’s, losses, riots – mixed into a musical medicine that helps to heal the deep wounds and fissures cut into Detroit by the greedy corporate vampires, spearheaded by BUSH 2.0 and the 8 year long hijacking of America.

TRACK 3: “april in paris” Arranged by Johnny Evans, another reworked Monk Tune. John launches into tales of bird with strings., bud powell and the Be Bop masters turning corny broadway music inside out and broadway itself - upside down”. “standards. STANDARDS. “Hammered in to the public body. Turning the western world on it’s ear.” John says; ” blam’ blam’ blam’ blam’ blam’ blam’ “They set a STANDARD so HIGH that we’re still trying to reach it.” Snappy drums, snare flares and buzz in the air. The longing for geographical teleportation, a travel blues, longing for April in Paris, but the body stuck in Detroit, or somewhere else. Once more the music brings the listener home, having been on a journey to somewhere, or several places, seemingly at once.

Each of the 15 tracks stirs up the sweet and sour equation that defines - Detroit Life - music and words cooked to just precisely the critical temperature so as to sizzle into the heart and mind like Thunder and Lightning, and help melt away, or dry up the mild depression that seems compulsory to modern city life in 2009, like a fluffy cloud dissolving through the ear - clear skies open up with the music - and help propel the thinking individual into a new historical place, guided by the groove and getting THE NEWS from John’s timeless languaging engines of creation, in the music.

TRACK 5. “Monk’s Dream”, realized and pulled back through the Vortex by the poet and presented here in full glory with Johnny Evans on sax and Martin Gross swinging the dream out of it’s mind, in the middle of the night Monk’s Dream came through, Monk’s Dream realized through Street Art, Street Sculpture and poetry, the self-reference of Monk’s Dream – the spellbinding tune - playing on the radio on the outside porch’ while all around the soundwaves are reflected off of earth works and inside out objects of ART arranged in a special way, on Heidleburg Street. “like tyree say – there are so many openings in life, you only have to choose the right one.”

John provides another blueprint for such a universal artists workshop, and maybe what the curriculum might touch upon. Thinking, acting and speaking – Glocally - John Sinclair binds the environment and language into hip messages. Tales including friends, story condensed into track title, and including favourite song lyric and with the music glued all over the language place – the shrine of truth a beauty or the poem, a pulsating historical tapestry of the Detroit Rainbow coloured variety. The Motor City tales that head through the Odyssey of Detroit Life, Love, Loss, Laughter, Sorrow, Uprising; and anchors the smells tastes and lingo’ from that particular, specific intersection point, each word wrapped up in the sound of the music – a pivot - the foundation and the structure of poetry, observation and FEEDBACK spread out in all directions – omnidirectionally - throughout Detroit and the engines of John Sinclair and his Blues Scholars.

TRACK 8: “all alone”. Introduced by Famous coachman' speaking by way of a pre-recorded sample, setting the scene for the Cadillac bluesman - Johnnie Bassett - to launch into sensual jazz-inspired blues licks – ice-coffee and cherries swirl in an upward fountain - a jazz-blues equation exploring a world where slowness is beauty and radiance of the soul. A Guitar duet with the Hammond B3 of Phil Hale - keys on your knees if you please; serving a sermon of energy. Whirling the heart around like a fan belt on a summers day, then softly as a evening sunset – burning honey under the heat –“baby i do” - The poet’s love for blues and humanity, the healing of separation fielded by the band and arranged to push the light’s to the ON position!

The music on Detroit Life comfortably covers all the bases, to borrow a phrase from a friend, and takes one on a historical journey of Detroit in a similar fashion to the John Sinclair guided tour of American Blues “Fattening Frogs For Snakes”, rumoured to soon be available as a complete box set, text and music together. The hidden wisdom and timeless genius of legendary street artists of Detroit; who came up from hardships and poor ruined areas to somehow produce innovative and beautiful art is rendered and annotated by John in a way that reminds the reader/listener of the rebellious spirit implicit in any art by definition.

TRACK 10: “Street Beat”. Martin Gross whisking up a second line beat to a Raspy vamp accenting on the first two syllables of the words - “Street Beat” – the rhythm the rhythm and the street word of legendary drummer “papa J.C heard” recontextualized by the poet, spewing out from a new historical setting: (The Jazz Loft, Detroit, April 21, 2008). A poem and roll-call of drums, another biographical verse – the fact’s and figures, the dates, quotes and details, from Dizzy and other great authorities: “J.C heard brought us the word, and the beat of the street...He made it swing” and the music swings around again, rolling again, another heroic tale of an extra-ordinary individual, from Detroit, placed in a musical setting, placed in a musical setting, with poetry, with poetry, with music.

Five of the fifteen tracks are re-worked Theolonious Monk compositions and feature new musical interpretations by the scholars and translations into words by John. Monk is reflected throughout every poem on the album, explicitly on “April In Paris” and “Monk’s Dream”. Monk’s music and Monk’s philosophy interweave with John’s, the word sound pulse dancing through text into the air and mixed with drum, bass, guitar and sax languages, criss-crossing a new definition of Detroit Life.

TRACK 12: “Bags Groove” The timeless standard pulled through groove space by Milton Hale on drums, Ibraheem Jones on bass - James O’ Donnell and Johnny Evans - peppering the mind’s screen with melody. The poet presents a celebration of art, music and word from the Detroit renaissance – a massive role call to the greats - named and reclaimed, given extra hand, clear tone and dashings of volume. The breath of life re-circulated into the names, propelled out and reconfigured through the a trumpet horn, a guitar, a drum, to riff’ to the ends of the earth, and swing till time stands still, the drums like a rhythmic motor car chases holding the song-vehicle in position - the lush mix of word sound and power bounded by historical details, precise fact if circumstance, truth and beauty, and a Detroit Jazz and blues roll call to the gods, invoking the legends of Motor City Culture, the music itself and characters that “Made the Motor City Great”.

John Sinclair and his Blues scholars, combined with all the characters scaffolding through into the music by way of poetry form an Historical University sized resource, in that they branch out into the historical events and legendary characters of Detroit, and beyond, but thankfully in an underground street level tradition, beatnik and polarising the mainstream corporate controlled and mega-media manipulated – history - of music and culture into a new musical language and ‘tale of the motor city tribe’ one man’s tale of the tribe - Blues, Jazz, and life in verse.

(Cover photo by Leni Sinclair 1965 of John passing - what seems to me to be - a joint to horn player and philosopher Charles Moore).

http://www.myspace.com/johnsinclairradio

http://www.myspace.com/pinkeyewow

http://www.cdbaby.com/cd/emsjo (Ed Moss)

http://www.myspace.com/johnniebassett

http://www.somethingelsereviews.com/2009/06/johnnie-bassett-gentleman-is-back-2009.html

http://www.myspace.com/rjspangler

http://www.myspace.com/philhalemusic

http://www.myspace.com/marcusbelgrave

http://www.mefeedia.com/entry/john-sinclair-radio-show-203/10360193

http://www.myspace.com/planetdnonet

“Thus, all three extensive epics make extensive use of direct quotations from the actual records left by the past. As was noted earlier, this practice helps to establish the poet’s authority as a trustworthy historian, and serves to deflect our tendency to treat his discourse as a purely subjective creation. But Walter Benjamin saw another and more subtle purpose in this technique, one I think Ezra Pound, Williams Carlos Williams, Charles Olson and [John Sinclair] also instinctively utilized. In Benjamin’s eye’s, the judicious use of quotations offers one of the most effective means of overcoming the historiography of pure power and political dominance. As Irving Wohlfart notes, for Benjamin, “the function of quotation is to break up the unified, totalitarian blocks that comformist historiography passes out as history,” it “isolated the elective affinities between the present and specific moments of the past. To grasp such correspondences is to seize the chance of the moment” (on Benjamin’s last reflections, “Glyph 3, 1978. P. 181). – Micheal Bernstein, Conclusion, The Tale of the Tribe, p. 274.

BJ is for BERLING JAM

Berlin 22-25th
July 2009.07.26

”What we cannot speak about we must pass over in silence” – Ludwig Wittgenstein, Tractatus Logio-Philosopicus.

Hot Coach Eurolines
To swerve of Olympic Stadium – swimming,
Yoga, Novel video recording, sunshine
HemJoymint and fuzz.

Diving board - splash,
Out and off on U2 train East!
To Spittlemarkt and naked lunch.

Good cheer, Laffta
Play on (words)
Drop jokes not bombs.

Deconstruction of off pist' subject matter
Syntax and form of what we
Cannot speak about, with friends

Eye contact, smiles, a mutter
Who? what? and the wrestler
Of sense.

Three became four, five, six and seven, eight!
BorskyChristyChrisFuzzTonsMacaBogusFly
Experienced in the life.

English was spoken and shook up
Whole societies, people and tribes in the wind
Of deep sea black smoking thermal vents.

High City Eyeline, and light pale rants
Sky, breaks in the digital weather forcast
The pintter-patter of Blackberry maps.

Heavens crunched Earshots
But no damp or gush of wet
- Sunshine on a rainy day.

Alreadymade Laptop Pissa’
Off the net felt good thought
With web buddies.

Forgetting Wittgenstein
In every breath, I want to say
I love you all, and feel honoured to be
Present. Flexible minds,
Distinguished thinkers

Friends, maybes
Even my teeth were saved by
Friends and nutrient knowledge

And the encyclone' styles of cutting kickback
Banter. I, chasing
Wittgenstein until I look
Away towards what "is", what maybe?

And lifted once more by a friend
A word, a description of place, time
Moment.

A Long Pleasant Day
Out of time.
Korzybski in the air,
So hard to anchor.
Dillinger Rules Pool.

How many words lost?
And fielded back for another home-base run
Around of the unspeakable. Wisdom and sincerity (SINCERITAS)
Humour, (HILARITOOTH) wild trills' and calm waves of
Maybe thread-workers.
Live interknitting. (HUMANITAS)

Free minds cast into a non electronic
Stage space,
My head between a wall
Of dutch soup beer waffle
I talked plenty and listened not nearly enough
And talked of playing and listening
All-at-once, with PLUCKING AIR
music.

Synchonous “aha’s” “wow’s” and
Names after noons after places after traces
Of BOB.

Tales of place and story, mine,
His, her’s, his and’
Some of their’s – Belgium, Germany, England, Netherlands

And loving perceptive feedback.
differences
Oh jolly great Europe,
Here's Congratulations Elffolk

Walking and talking
Sitting and drinking, smoking
Eating words over delectable food A lifting punk spirit of the street
Housing Caligraffed Everywhere

East street art, stickers, overgrown
Sidewalks of memory
Graffiti on Churches, in Chapels

Handmade Chapel Emulsion
Writing in technicoloured text
No Starbuck, KFC, Burger King in sight,
But they are close by rumour has it.

Heavenly Corporate Exstinguishing
On the street, on the Street - people and many distinguished
Bicycles.

Happy cats and shrubbery blend street corners
The concrete with glass:
Light pink and grey, cream of mushroom soup

B is for Beer H is for Hash
V is for vegetable
E is fur’ Escher

No Skype, No Mouse, No Moustache’
No connect capatain, but SUN RA played Rings around Saturn
And (Detroit riots 67') in the mouth.

Dillinger Rules pool
A day out of time, again.
Sitting in seat number 23.

Watching mini Norse rockers.
Time and space changed, I thought
Each 5 minutes another incredible
Piece of ‘cannot say speak’
B'ham, a joke...

Scrambles image and word, LO!
TV, movie, book (invocation of foot plot notes)

Wild cards and spilt beer served back with spin
Imaginations ping pong
Bouncing from screen to screen

Drop names not bombs
To quote or not to quote?
Literally - saying and speeching a trunk full of
Humanitas!

Suspense, riffing on a whim - truth,
Sincere, On the edge of eternity, talk and chat,
With old friends...Sparks dart Walking up and down in the heart

Norse female rock band one night,
Rico Loops – a one man music showman the next,
Beatbox, Synth sampler multi instru'
- The Iggy Pop of Live electronica - I thought.
The A-Ha of fembot pop?

Groove music, Free world word music. Mothman pool table landing.
Shem and Shen and Iraq
A stolen wall, dodgy business for
City Space developers.

The Phone,
The loud strange
Conversations and crossed wired
Laughter, carrots, strawberries & Tea, coffee and friendlyness.
The laughter, cracking yokes.

Pushing temporary clusters of meaning
Out, up and over my head.
Temporary Clusters of meaning in the drinks
To spreek the cake-walk.
To almost pot seven from a break.

Us and them became we, maybeee's
Most tollerant of each other
Dylan and The hero's with a thousand
Faces.

Habits, likes, dislikes and rants
All of them fielded masterfully,
Snowboarding over the Wiener Schnitzel ridges

Some Talk of NLP, Joyce and Grant Morrison
Talk of Arlen – and the many BOB's
Had Fun everyone….

--Steve Fly.

Crowley and Foley, Foley and Crowley.

I have been writing a novel, screenplay, over the last 9 months and i just discovered why it appears i have had problems with two of the characters i wished to include. The following information concerning stourbridge is like a part of me re-writing history for the purposes of fitting my story!

"He succeeded to his father's business as an ironmonger and naval contractor for ironware. His contract with the Navy Board has been printed, and lists 30 different kinds of nails and nearly 60 other species of iron goods.^[1] However, he lost his contract to the rising Ambrose Crowley. -- http://en.wikipedia.org/wiki/Robert_Foley_(MP)

FOLEY CROWLEY DAMNBIGUATION!

--FLY.

Takes the HIGH out of pot for profit

Cannabis should be freely available in PLANT form, as intended by whatever processes led to Cannabis receptors being hard-wired into the human brain, and, Cannabis Plant's evolving on planet earth feel good to me. Robert Anton Wilson told me he was afraid that a - squib - would be manufactured by big pharma, claiming to keep the benefits of Cannabis medicine, but, producing it without the HIGH! The HIGH! The HIGH that boosts wellness, happiness releases helpful endorphines.

See GW Pharama at work here:
http://www.youtube.com/watch?v=qscNnWhnkRM


Cannabis may Hold a Key to Fight Obesity

P is for Pig Bird Man Flew

From WIKIPEDIA.

"The H1N1 viral strain implicated in the 2009 flu pandemic among humans often is called "swine flu" because initial testing showed many of the genes in the virus were similar to influenza viruses normally occurring in North American swine.^[51] Further research has shown that three-quarters or six out of the eight gene segments of the 2009 virus arose from the 1998 North American swine flu strains which emerged from the first-ever reported triple-hybrid virus of 1998.^{[44][44][47][47][48]}

In late April, Margaret Chan, the World Health Organization's director-general, declared a "public health emergency of international concern" under the rules of the WHO's new International Health Regulations when the first two cases of the H1N1 virus were reported in the United States, followed by hundreds of cases in Mexico.^[52][53] Following the initial cases in the USA and Mexico, on May 2, 2009, it was reported in pigs at a farm in Alberta, Canada, with a link to the outbreak in Mexico. The pigs are suspected to have caught this new strain of virus from a farm worker who recently returned from Mexico, then showed symptoms of an influenza-like illness.^[54] These are probable cases, pending confirmation by laboratory testing.

http://en.wikipedia.org/wiki/Swine_influenza


"The linguistic relativity principle (also known as the Sapir-Whorf Hypothesis) is the idea that the varying cultural concepts and categories inherent in different languages affect the cognitive classification of the experienced world in such a way that speakers of different languages think and behave differently because of it. -- http://en.wikipedia.org/wiki/Linguistic_relativity


International Agencies Try to End Flu Naming Wars!

From the outset, health agencies and scientists have used a variety of monikers to describe the pathogen. "Mexican flu" and "swine flu" were considered controversial because they could stigmatize Mexicans or induce irrational fears of pigs or pork. So a plethora of alternatives has resulted. WHO has stuck with "influenza A(H1N1)," a term criticized by scientists as ambiguous because there's a seasonal A(H1N1) strain circulating as well. Others have called the pathogen anything from "swine-origin influenza virus" and "novel influenza H1N1" to "influenza A(H1N1)v," in which "v" stands for "variant."

-- http://blogs.sciencemag.org/scienceinsider/2009/07/international-a.html

The Sapir-Whorf Hypothesis (the 'Korzybski' annexation came later) claims that the structure of a language defines the way a person behaves and thinks -- http://nobeliefs.com/Sapir-Whorf-Korzybski.htm

CS is for Cyber-$wine Flu

UK CYBERSWINE FLU EPIDEMIC

DELL and the Police are going into business. Lord Carter, CAW CAW CAW Digital Government Business! As Ezra Pound wrote “Who distributes it, how” Information! D.I.G.I.T.A.L - ambiguous like Claude Shannon and NTL.

Digital ways to extend the reach and accuracy of killingry, weaponry, and disinformation Warfare. Digital Warfare. Urban. All pervasive information warfare. Digital Analogue. Pirates fight like Samauri or Ronin – lone rangers, discordian immortals, drunken, always On. NO more cyberlaws and restrictions and government interference.

How can we trust The Government men and women, who have hindered, blocked, slowed down and trickled down Information. Lying, stealing and cheating their way into positions of government, Using and abusing Government status to further private interests, telecommunications Banking, Arms and pharma – all wrapped up in a giant syringe, the ultra junky.gov Power, control and distribution mixed in a toxic cocktail, a red hot Heroin hit in the eyeball.

Fuckin' DELL! Lord! and the Forensic Police and curse you and your total information awareness program. Lordy, Lordy Lordy, would you look at that! What of Lord Carter and the Brunswick Group – EMI, B.P, British Airways and B.T Group? No Shit, he worked for NTL on broadband police work, and even went to Harvard And what of OFCOM and what of NTL?

Why would the people of Great Britain, Or anywhere take any of the Digital Britain report seriously, just glancing at Lord Carter’s file? Have we just witnessed an attempted U.S style telecommunications coo by the info-Tzar?

The RIAA, the British Government and DELL are all making threats to the consumer. And the sick sound of suited monkeys talking about Digital Knowledge and Culture. The Tzarist Occupation government is passing judgement on video games and Cannabis.

The Government that sent the entire British culture and economy into illegal war Bowing to the commands from Washington, and wasting Trillions of public Pounds wants Us to take them seriously when proposing we trust them to distribute our digital information What Government Tzar?

Of what secret order, what rank, can ordain the mighty information? EVERYTHING can be thought of as information, and information permeates everything everyware. All this talk of pirates and nobody mentions the great Pirates, as Buckminster Fuller calls them, The sea-faring, robber-barrons of industry and technology who stole our collective cultural Inheritance and sold it to the highest bidder – Sony, General Motors, Universal-Vivendi, Monsanto, J.P Morgan, NTL, and on and on, just read the paper, see the stocks and bonds – the great LOOT!
Ministry of Information.

As Minister for Communications, Technology and Broadcasting in the U.K Government Lord Carter Might have read Finnegans Wake by James Joyce, easily the greatest broadband network poem. Or maybe not, maybe he reads white papers on current DARPA research, police forensics etc. I speculate that he does, and this worries me, as a consumer and artists and as a poet i must sing.

NO, LOOK:

“Mr Brown had high hopes for Lord Carter, formerly the chief executive of the City PR firm Brunswick, where he earned a reported £500,000 salary. The Prime Minister was delighted when he agreed to serve as his chief of strategy and principal adviser for just £140,000 a year. -- http://www.timesonline.co.uk/tol/news/politics/article6481851.ece

On BLOOMSDAY 2009: the UK Gov. Lead by Carter, produced a report called Digital Britain. James Joyce wrote:... "He held the bowl aloft and intoned:"

Pirate Utopia?

I love Great Britain, my family and friends and everyone over there, and i want the best information Rich environment and culture for them, where open source democracy and co-operative collabs. Replacing a single Tzarist tyranny dictated by a business lawyer media savvy gangster and his P.C! The consumer dictates the future now, and the consumer landscape is eating you, oh Lord, Lord.

But, not just for Britain but for Ireland, Scotland, Wales, Europe, America, India, Africa, The Middle EastChina, South America, Australia, Indonesia, Siberia, Russia, Antartica, The Moon, Mars, Saturn and beyond.Information shall travel everywhere in all directions in ever increasing increments. Just try and stop it.

Oh Lord, Try to control the digital disinformation campaign, make it just for you and your lords, M.P's and Forensic detectives. Spare the community spaces and places that wish to use the network for art, poetry.Surprise. And please, Lord, understand that the Pirate is growing a long beard, waiting to strike, as pirates.Aha, aha, ahaaaaaaaaaaaa.......

--steve fly.

POP maybe dead, but POOP lives...

Pop Bubble Pop
Splash
Cycle Back Sun
Pop Sugar drink
POP

--steve fly

I is for Immigration: Fly drops some straight talk.

What the hell is going on? bird flu epidemic, a swine flu scare, what’s next...? Flying Pig Flew? How did hoof and mouth disease get such a name?

Maybe Cancer might become chancer over night, a tumour turns into a rumour at the dinner table, a terminal illness can now be seen as a simple term related illness at the hospital check out desk, even death can be revised optimistically to breath, at the end.

symbol structures that define you and your world – might entrap you – mentally, physically if you let them - new language provides a new path out of totalitarian states (inner and outer). Gno Word Order. Why don’t all those immigrant yeast spores fly back to the star system they came from? taking up our jobs and resources. Immigration, huh, do you think that the prefix (im) versus (em) can really help us when looking at migration of human beings?

I think that humanity should be able to traverse the globe as global citizens, citizens of earth, you dig, a nomadic-migrant humanity. I think immigration, the word, causes more than half of the problem concerning foreign migrating workers that wonder far from home, and then get portrayed by the satanic newspress, often as a straw-man, an immigrant.

From the point of view of valuing all humanity as citizens of spaceship earth - we are all migrating beings, you dig - depending on the time-map and language-metaphors used to describe any individual. So now, the immigration wing-nuts, who fan the flames of racial hatred, dogmatic communications and straight up racist lies would not be able to produce havoc surrounding immigration if they were not a part of the conspiracy to use immigration language trickery as a decoy, a straw-man argument and a political hot-dogmatic word-world-war potato to help raise the frustration, chaos and blood pressure of those on the receiving end of the warped messages and imperialist lingusitic deception. Crazy i know, but just hear me out here. OK.

Z is for Frank Zappa and Finnegans Wake

"Frank Zappa was born into a time when James Joyce was still alive: Joyce died on 13 January 1941; Zappa had been alive just 23 days (a number which always appears when your thoughts are concentrated on the Great, the Pleasurable and the True (2)). -- http://www.militantesthetix.co.uk/zappo/FZWAKE.htm

More from fly agaric on this soon...

C is for CUBE: CHU & Korzybski

| posted on Jun 09 2009

51, birmingham, cube, edding, jibbering art

360, Draw, Installations, News

The little promotional stickers that advertised 51 Degrees, the solo show back in April, had a website on the reverse pointing to www.schudio.co.uk/51. Visitors to this page would have seen a few different panoramas during the show, but at the moment its the final rendition of the Cubic Experiment.

After my group show, Jibbering Art moved the cube outisde. I had to recreate the floor and the ceiling, this gave me a chance to fill up the design a bit more, going for almost complete coverage. The floor was a large piece of reverse lino that took to the Edding pens really well, and was ably laid down by Big Chris and Jon from Jibbering.

Other details were added to the upper walls and some of the ‘rear’ wall, opposite the slogan.

The final effect was more than satisfactory and it continued to conceal a few secrets of its own.

See the final cube in its own FULL PAGE window, no need to download anything to see it, all you need is Flash installed (which most browsers have nowadays, if not then go here.)

"The proteiform graph itself is a polyhedron of scripture.
There was a time when naif alphabetters would have written it
down the tracing of a purely deliquescent recidivist, possibly
ambidextrous, snubnosed probably and presenting a strangely
profound rainbowl in his (or her) occiput.-- James Joyce, Finnegans Wake pg. 107.










http://www.vimeo.com/4372989

http://en.wikipedia.org/wiki/Logic_alphabet

"Dr. Zellweger’s background is a combination of formal education and extensive research in the fields of Psychology, Pedagogy, Semiotics and Logic. Beginning in 1949, Dr. Zellweger spent his summer at the Institute of General Semantics with Alfred Korzybski. In 1975 he spent one year at the University of Illinois, Biological Computer Laboratory, under the direction of Heinz von Foerster. -- http://en.wikipedia.org/wiki/Shea_Zellweger

Logic Alphabet models by Shea Zellweger.

In 1953, while working a hotel switchboard, Shea Zellweger began a journey that would culminate in a radical new notation for formal logic, the set of relations that underlies modern computing. From a garage in Ohio, Zellweger developed a visual language he dubbed the “Logic Alphabet,” in which a group of specially designed letter-shapes are maneuvered like puzzles to reveal the geometric patterns hidden beneath the symbolic web of logic. For more than fifty years, Zellweger has been exploring the symmetries and relations inherent in these patterns, which he has made manifest in a series of delicately crafted wooden models and in thousands of pages of diagrams. In this jewel-box exhibit, the Institute For Figuring and the Museum of Jurassic Technology proudly present Dr Shea Zellweger’s Logic Alphabet models and drawings.

The Logic Alphabet Tesseract – a four-dimensional cube. Diagrams by Warren Tschantz.

Zellweger’s work is based on a discovery that the logic on which our computers run is allied with a geometric structure whose form is a tesseract, a four-dimensional cube. Much of his research over the past half century has aimed at identifying all the subsets of this group of relations in one, two, and three dimensions. The resulting models and diagrams, often crystalline in nature, constitute a genuine research project in logic while simultaneously passing through distinct aesthetic phases, reminiscent of Russian Constructivism, concrete poetry and Pop Art. What is most important here is that these physical models enable us manipulate logical symbols spatially – we may learn to do logic by flipping and rotating these marvelous toys.

Left: The Logical Garnet, three dimensional projection of the Logic Alphabet tesseract. Right: A cubic sub-group of the Logical Garnet.

That logic is underpinned by a spatial architecture was independently discovered at least six times in the history of mathematics, first by C.S. Pierce, one of the pioneers of the field. For Zellweger this fact is of more than purely formal significance - it is the seed of a potential pedagogical revolution. Through model play, he proposes, we may teach our infants logic in school. Like the great nineteenth century creator of the kindergarten system of education, Friedrich Froebel - himself an experienced crystallographer - Zellweger’s models call forth the latent potentiality of the mind through engagement of both the eyes and hands. This revolution would not be confined to the schoolroom, for given that logic is the foundation of computing, the alphabet might serve to re-envision the computer itself. -- http://www.theiff.org/exhibits/iff-e7.html GRAFFITI ART AND STREET ART ARE REVOLUTIONIZING ALPHABET AND COMPUTERS - WAKE UP TO THE WRITING ON THE WALL. --STEVE FLY ALSO SEE http://www.logic-alphabet.net/

SPS is for Saul Paul Sirag (Interview with fly agaric23)

When I recorded this interiew in 2000 A.D. on minidisc recorder I had no way to transcribe and upload the results, and there was no wikipedia to enhance the wisdom of Saul. Big thanks to Jack Sarfatti, please spend a moment at his new website:
http://www.stardrive.org/

FLY interviews Saul Paul Sirag:

FLY: Robert Anton Wilson?

SAUL: Yeah, i first introduced him to Jack,

SAUL: Yeah, well he learned about this Bell's theorem stuff from Jack and me, i introduced Jack to Wilson, that was when he was living in Berkeley.

FLY: Oh, the trick top hat

SAUL: what?

SAUL: The trick top hat', oh, yeah, the trick top hat, yeah that’s the next one i think, and the third one is called 'homing pigeons', trick top hat is the one that has references to both Jack and Me as coming up with futuristic kind of physics that changes things drastically and so on.

FLY: That’s interesting as John Lilly just recently spoke about the...erm...form of law

SAUL: Laws of form?

FLY: yeah, and the trick top hat relates to that somehow?

SAUL: I'm very interested in the Laws of form also, yeah he talks about it in both his fiction and he has written a lot of non-fiction too of course, and maybe more none-fiction than fiction actually, although, you know he's one of these people that mixes the two together a lot, kind of like Borges' the Argentinean writer, well, B draws a fine line between lit. criticism that is not fiction and the fiction that he's criticizing, B's criticism is so speculative and interesting that it reads almost as fiction, you know.

FLY: I like the idea of exploring our unreality's. At the back of the book "Secret Chamber by Robert Bauval" there's an appendix in which the author mentions Wilhelm Reich and something he calls Cosmic ambience. Terence Mckenna is quoted at length, talk of probing into unreality's, but now were realizing that's our reality too.

SAUL: One of the most important pieces of criticism that's really fascinating, and it's about that famous British poet - William Taylor Coleridge - and you see what's interesting about that poem is that Coleridge calls it a - fragment of a poem - the reason he calls it a fragment is that he actually dreamt' the whole poem, he woke up and just started writing it down, but he got the first part of it written down, and a visiter came and visited, and he forgot the rest of it, so he calls it a fragment of a poem anyway, its a beautiful poem all by itself, but here's the weird thing that Borges points out - there really was a Khan who was a builder - and he was the grandson of Genghis Khan; who was just a conquerer, but Kubilai Kahn was a builder. What Coleridge never knew is that Kubilai Kahn really did order a pleasure dome to be built, and that was enough, but what wasn't known in Cooleridge's time is that it itself was an incomplete building, and that was discovered by archeologists after Cooleridge's time, eh, so what Borges says is there's a kind of archetype, a vast archetype thats trying to get in through our reality, the first time its comes in the form of a building Kubilai Kahn wants to build, and for some reason its not completed, and the second time it takes the form of a poem about Kubilai Kahn's building, and that's incomplete too, because of this guy who walks in and disturbs his memory of the dream. So then Borges speculates that it will try to come in a third time, and he thinks that the form will be different, in some way. My feeling about that is that the form, having my own prejudices about forms, is that the form is what Mathematicians have discovered, a beautiful set of structures, they call it the Coxeter graphs, named after the canadian H. S. M. Coxeter, who's still alive in his 90's still doing math very accurately, and he invented these graphs in the 1930's to classify hyper-dimensional crystal structures, well that already sounds like Kubilai Kahn and Coleridge - and then in the 40's totally independent of Coxeter'mathematicians work because it was in a totally different part of mathematics, a Russian mathematician named Dinken, invented the same set of graphs to classify very different kind mathematical objects, something called; lie algebras and lie groups. Then in the 60's a french mathematician called Rene' Thom invented a whole new field of mathematics called Catastrophe theory, which deals with dynamic systems that can undergo drastic changes due to a very small change in the parameters that they are dependent on, thus the word catastrophe, but catastrophe is to be taken in a neutral sense, that is to say a lot of catastrophes are good.

In fact what RT was trying to model was the changes that living systems go through, he wanted a mathematics to deal with living systems, especially development and growth and so on; which is very difficult to deal with mathematically.

Well then a Russian mathematician named V.I Arnold looked at Rene Thom's work and said Thom just delt' with a lower, small set, 7 of them in turned out, of catastrophe structures, but actually there is an infinite series and they are classified by these same graphs, so then of course the obvious idea that Arnold had was that the must be a whole bunch of other mathematical objects that can be brought into this classification scheme and so he set that up basically as a program for his students and himself to work on over the years and a lot of other mathematicians have been involved in this. And it has the feel of an archeological dig like their digging up this vast.... see because, Here's why, its because all these mathematical objects are related to each other by way of these graphs, the graphs form a kind of bridge between different types of mathematical objects, that’s a very powerful thing to be able to do in mathematics because what's very difficult to see with one type of math object and if you have a bridge between the two and you can switch back and forth and get a much broader and much more accurate feel for what's going on.

And so the idea now is that the mathematicians are wondering what the vast underlying object is that the whole set of graphs ultimately refers to and that object is this archeological structure in some sense, and its being dug up, its not a ruin its not something that’s incomplete because its mathematical, its - gotta’ be whole - so to speak. And a very interesting thing from the point of view of science is that all the math objects that have been brought into the classification scheme with these Coxeter graphs are of great use and interest in physics. In fact especially in unified field theory type physics, that’s cutting edge now, like string theory, uses all these kinds of objects usually without the physicist realizing that they're grabbing objects that are related to each other by way of these graphs, because for the most part they don't know about the history of these discoveries and that it’s kind of ongoing, sort of at the cutting edge of mathematics, a kind of unification in mathematics concurrently with a unification of the forces of physics, and these two programs are intimately interrelated, and so what i think is that this vast underlying object that underlies all these graphs, is simply reality - reality in all its forms - you know.

A physicist is going to want to call it physics, because they want to bring everything into the physics program, someone else might want to call it something else, like life or something , it has the feeling of a living breathing creature, its a bit like Phil Dick's idea of VALIS: Vast Active Living Intelligence System, and yeah, ironically he claimed that the definition is in some Soviet encyclopedia of some distant year, and of course the soviet Union is long gone, but still the idea of VALIS is still valid i feel.

FLY: valid VALIS!

SAUL: Laughs.

FLY: I’m also interested in the parable between the yang-mills field theory and the work of the mathematician Ramanujan.

SAUL: Yeah, oh yeah, see that’s related to this ADE stuff too. It all is. Yang-mills fields was first a generalization of the electromagnetic field, the em field is mathematisized in a sense, by a simple group which is a circle called U1, a unitary one group, and its a communicative group, in other words the way in which you rotate a circle does not matter, 30 degrees plus 60 degrees equals 60 plus 30 degrees, so it doesn't matter, and that;s a communicative group, and in the language we use today we say thats the gauge group of electromagnetism.

But what Yang and Mills did back in the 1950's, 54 i think was the year, generalized the group into a bigger group that deals with rotations ultimately rot' in a 3d space, and thats the gauge group; they were trying to model the strong force, but it turned out to be the right group for the weak force, then in the 60' there was the unification of the st and weak force by simply putting U1 and SU2 together as a bigger gauge group, work by Weinberg, Salem and Glashow, and this had certain experimental implications, like the existence of certain particles that were then found which verify the theory, but in fact there are still parts of the theory we are still trying to verify, like the Higgs particle, which hasn't been found yet, and thats part of the theory, and we think that eventually it will be found, but generally these gauge groups are groups that are classified by the ADE groups, now SU actually is an ADE classification, simply the very first rung on the ladder so to speak, in order to bring in the other forces like the strong for force they have to go to a larger gauge group, put all 3 forces together, weak the strong and the electromagnetic force, they had to go to SU5, which is a 3 dim group, that work was done in 74 i guess, by Glashow and Geogee, the same Glashow that did the work on electro-weak theory.

But then in order to bring in gravity which is a lot harder to do because gravity entails Einstein's theory of general relativity which is so different from Quantum mechanics, these other forces are modelled by way of the rules of general relativity, which are very different, almost opposite from the rules of Quantum Mechanics, so it’s very hard to put these theories together; to assume sub theories, or some bigger theories. But thats been done now with superstring theory. Yeah, since 1984 superstring theory has been proven to be a viable consistent quantum gravity theory, and thats what started a sort of bandwagon effect in physics and when lots of young physicists got interested in studying strings.

But the gauge groups involves in string theory are huge groups, like E8 x E8. There are 3 groups, which is interesting, an infinite A's, An Infinite D's and then only 3 E's, E6 E7 and E8, the dimensionality is huge. E6, is a 78 dimensional group, E7 is a 133 dimensional group and E8 is a 240 dimensional group, and they use 2 copies of it. They have an E8 x E8 version of superstring theory, they have 496 dimensional group actually, and the E8 x E8 gives you 16 very special dimensions which they use to interpolate between the 26 dimensional superstring theory and the 10 dimensional theory in a very clever way. And all this is an out-growth of what you mentioned - the yang-mills theory of 1954 - it’s an out-growth of other developments too, but that was a key development in 1954 and i just wanted to plug that in and see how that fits into the ADE scheme itself, you see?

FLY: I see a parallel between the superstrings and the strings on an instrument

SAUL: Yeah, well it is like strings on an instrument in this sense, that the harmonics, what we call vibrational states, quantized vibrational States are exactly harmonics, auk, and string harmonics are what we used to call particle states, OK, that’s how string theory corresponds to particles, and the way the correspondence works is by way of the gauge groups that are classified by these ADE graphs so the ultimate tool is simply these graphs, which go way back into the 30's to Coxeter's work, not knowing the way these things were be used in the future but he really started something there and Dinken in Russia you know, the same graphs, classifying "Lie algebras which are the algebras of the gauge groups as we use them in physics now and he had no idea that development was going to happen, he was a pure mathematician not a physicist, even physicists in the 40's should not foresee that development.

And you mentioned RAM earlier, and some of the more esoteric discoveries of RAM are actually very fundamental parts of super string theory and special membrane theory, and so people thought of RAM's work as not only been rather fantastic of course, its amazing he came up with those identities, allot of his work involved saying "this is equal to that, and the two things are so deferent that, you know, you might never in a thousand years think that was true, they're still working on proving RAM's ideas, and a lot of people are working on that now in mathematics. But a lot of his ideas are being brought into physics by Super-string theory funnily enough.

FLY: One of the things i found really interesting in the work of Buckminster Fuller was the isotropic vector, (Vector equilibrium you mean?) yeah... i'm looking for relationships between the superstrings and Bucky's work...

SAUL: The vector equalibrium is an object that has 12 vertices, ok, and actually that object, is one of these crystallographic objects, in fact that crystallographic object exists exactly in what i call the reflection space, or you could call it a crystallographic space of the SU(4) group. OK, and in fact of course; those 12 vertices actually correspond to what we call; eigen values of the S4 group which correspond to what we call the gauge particles, or the force particles. You see; there's two types groups of particles in quantum theory these force particles and matter particles.

One of the fundamental ideas in particle theory is that matter particles interact by exchanging force particles, and mathematically the way that works is that in these gauge group structures you have two different types of crystallographic structure, you have the matter c.s and the force c.s, and in the case of SU(4) the matter crystallographic structures are like tetrathedra, you have two tetrahedra making a cube and those exactly correspond to the eigen values of the quarks and anti-quarks, and the electrons and the neutrinos. OK. So those are all matter particles, but then there are actually 15 force particles involved because SU4 is a 15 dimensional group but 3 of the force particles have zero eigen values, and 12 of them have none zero eigen values and those eigen values exactly correspond to the vertices of what Bucky fuller calls the 'vector equilibrium'. So that object is being used but in a totally different way to what he thought of it.

Fly Agaric: yeah.

Interview with Saul Paul Sirag, in North Beach, San Francisco: 27/05/2000. Recorded and transcribed by Steven "Fly Agaric 23" Pratt.

NOTES AND QUOTES:

"In 1936 Coxeter moved to the University of Toronto, becoming a professor in 1948. He was elected a Fellow of the Royal Society of Canada in 1948 and a Fellow of the Royal Society in 1950. He met Maurits Escher and his work on geometric figures helped inspire some of Escher's works, particularly the Circle Limit series based on hyperbolic tessellations. He also inspired some of the innovations of Buckminster Fuller. --http://en.wikipedia.org/wiki/Coxeter

A Fuller explanation: the synergetic geometry of R. Buckminster Fuller
By Amy C. Edmondson


Toward a science of consciousness: the first Tucson discussions and debates
By Stuart R. Hameroff, Alfred W. Kaszniak, Alwyn Scott


Ramanujan: essays and surveys
By Bruce C. Berndt, Robert Alexander Rankin


The Trouble with Physics: The Rise of String Theory, the Fall of a Science ...
By Lee Smolin


Strings, conformal fields, and M-theory
By Michio Kaku






http://www.ted.com/talks/murray_gell_mann_on_beauty_and_truth_in_physics.html

The search for a unifying theory was interrupted by the discovery of the strong and weak nuclear forces, which could not be subsumed into either gravity or electromagnetism. A further hurdle was the acceptance that quantum mechanics had to be incorporated from the start, rather than emerging as a consequence of a deterministic unified theory, as Einstein had hoped. Gravity and electromagnetism could always peacefully coexist as entries in a list of Newtonian forces, but for many years it seemed that gravity could not even be incorporated into the quantum framework, let alone unified with the other fundamental forces. For this reason, work on unification for much of the twentieth century, focused on understanding the three "quantum" forces: electromagnetism and the weak and strong forces. The first two were unified in 1967–68 by Sheldon Glashow, Steven Weinberg, and Abdus Salam as the "electroweak" force.^[7] However, while the strong and electroweak forces peacefully coexist in the Standard Model of particle physics, they remain distinct. Several Grand Unified Theories (GUTs) have been proposed to unify them. Although the simplest GUTs have been experimentally ruled out, the general idea, especially when linked with supersymmetry, remains strongly favored by the theoretical physics community

In current mainstream physics, a Theory of Everything would unify all the fundamental interactions of nature, which are usually considered to be four in number: gravity, the strong nuclear force, the weak nuclear force, and the electromagnetic force. Because the weak force can transform elementary particles from one kind into another, the TOE should yield a deep understanding of the various different kinds of particles as well as the different forces. The expected pattern of theories is:

Theory of Everything

Gravity

Electronuclear force (GUT)

Strong force SU(3)

Electroweak force SU(2) x U(1)

Weak force SU(2)

Electromagnetism U(1)

Electric force

Magnetic force

In addition to the forces listed here, modern cosmology might require an inflationary force, dark energy, and also dark matter composed of fundamental particles outside the scheme of the standard model. The existence of these has not been proven and there are alternative theories such as modified Newtonian dynamics.

http://en.wikipedia.org/wiki/Theory_of_everything