opera in 4, or more minutes
astronomical feats in surrepticious light, beyond solo magnesium minor
sure to fade incontinence, continental bleak chemistry, blathering on
criminal circumstance, don robes yawn, mutter catastrophe, cata-lobe, cat and mouse cartography.
cave fortune, a hidden workbench, gutted animal hide hangs, a bell shaped stench
from whence came either, little bottle ether, and beakers. Many tiny beakers.
OUT COMES WHITE COAT JACKET MAN WEARING BEARSKIN, SOME KIND OF SKIN, ANIMAL UNIDENTIFIABLE.
"I am Sir 200 Years" exclaims little beaker man. Man holds tubes connecting glass maze. Our new witnessed man turns around, shows animal hide only and thus dissappearing into the subcontext of the cave behind him. Highlight cave paintings, Lascuaex style, silence falls around the situation, but in deafening drone.
"I cannot hear" shouts deaf audience member, growing grass out of skin, shoveling sod. (For the failure to recognize the role of 'it and that' as simultaneity result in building without thinking, & wretched society results) The unheard deafening sound is rushed capillaries, corporals and sargeants, front and phalanx. Blood war groom dance of the very reddest sort, a maroon variety show. Horse blood, knight blood, soldier blood, heart surgeon blood.
Winged bat interlude, flutter wings, emit wings, wings flying upon wings, soar out hollowbones, curiously adapted to weightless conscience, not heavy. Sonic listening avalanche mutant canine birds. Membrane skin, through which light illuminates unutterable complexity. Wings cut through the tet, heavy tets of those onlooking. Exclaiming headless no more onlookers, and suddenly, a rising.
The headless orchestra, now straddles the stratus. Not that the body was necessary aye. Note that the body was necessary I. The spine thus unfolded in expressed futurity, and joy. Wielding fresh and headless, the audience admits to its whereabouts and finally, be gone. 3,000 empty rows behind us, turn to one convex mirror seat, angled in such a way that one side reflects the other, permitting hover.
ON THE SUBJECT OF BLUE.
Blue is the state of the ever changing position of a thing, losing itself in its failure to comprehend itself through attempted comprehension. Sat back the blueness and said: "I am less blue, than I once was" but prepondered, "I have within me, the ability to be more blue, than I once was." Why not admit vibration as dimension, and thus vibrate dimensionally. Arms outstreched, less than limbs - more the immediate range of that which may be graced knowingly. Immediately after, a sinking occurs.
Into a bush of berries, impact. Sugary syrup underneath sidways. Berry nourishment, impact fulfills. Hidden technology creates juice, just as once juices were nonexistant, still more wait to be found. Float berries while, and stir. Impact berry nourishment, and fade solvently, back to drifting red.
properly sumblimate yourself
The End of Courtship By Leon R. Kass
"But perhaps still worse than such amorality—and amorality on this subject is itself morally culpable—is the failure of sex education to attempt to inform and elevate the erotic imagination of the young. On the contrary, the very attention to physiology and technique is deadly to the imagination. True sex education is an education of the heart; it concerns itself with beautiful and worthy beloveds, with elevating transports of the soul. The energy of sexual desire, if properly sublimated, is transformable into genuine and lofty longings—not only for love and romance but for all the other higher human yearnings. The sonnets and plays of Shakespeare, the poetry of Keats and Shelley, and the novels of Jane Austen can incline a heart to woo, and even show one whom and how. What kind of wooers can one hope to cultivate from reading the sex manuals—or from watching the unsublimated and unsublime sexual athleticism of the popular culture?"
used 12-tone strat (DiMarzio body) with tele neck
Contemplating microtonal guitars on Josh's mentioning of his interest in them to me this weekend. This one is available. 12 frets in regular place, but 12 more frets added to provide 36 notes per octave. (?) Interesting to think of how this might radically alter the ability to find lost sounds, and in-between intervals, but I'm pretty sure that I couldn't figure it all out. I can't help but think that it would be easy to get more 'crazy warbles'
(my technical term for the sounds which inform life) from a regular tuning on a neck like this, as more notes would be available from the start. Essentially it would be possible to play runs without a tremolo bar which would sound like using a tremolo bar on a regular fretted instrument. I can also imagine that three or four note repeated melodies could get particular more jarring with the slight variations available at the fingertips.
Recently I have been tuning to [from low E] / D# G# C# F# A D# /
This is essentially tuning down every string a half step, but tuning the B (5th string) up a whole step. This allows for unisons on the 4rth + 5th string to be found at a comfortable position (upside down power chord) and also for full octave unisons between 1st and 6th string D#'s to drone around the inner strings. It also allows for sort of normal interaction in the first 4 strings where everything is just a half step lower.