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second brew, same leaves:

as a partially formed world, multisensory disturbance prickles into musical and technological instruments, slowly synthesized through the interaction of barely comprehensible processes. oscillating. tctwciching. chl tr e, as different music becomes sound, identifying itself as operations on the organization of a subset of such processes, disregarding boundaries of occlusion. endless improvisations, networked occlusions in synthetic worlds. performances and remote collaboration prolong the idea of openness and reinterpretation. continuously expanding. TOTAL AUTOMATION vs. HUMAN INTERACTION. seeking to shift the local atmosphere from dissolution and clumsiness through manual change and ecstatic fiddling into an imaginative state of complex monotony, structured calm and chill, or endless associative babbling. so that towards the end the authors become the audience and the audience stretches to the horizon, populated by machines infinitely rendering a stream of slight semantic madness. further, extracting a shadow from the skeleton of network flow. A layer of technological reality usually hidden becomes accessible through mediation across sound and visual flicker. Erratically shifting from chittering machines into the human realm. reply in cojoined different. multisensory disturbance communication, electromagnetism, nuclear fusion and ecstatic -ification, tools for near instantaneous endless possible through local atmospace delay. It is thetic and politich cant? fusion and nuclear decay. It is the cause of 3-space solvents, of left-right-asymmetry, of anisotropy of time. defect. all of these phenomena are physical effects which arise at the transition from logarithmic into linear space. The standing wave in logarithmic space now allows communication across astronomical distances practically without time delay. How is this possible?

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