in a partially modal world, multisensory disturbance conglomerates of musical and technological instruments synthesize through the interaction of barely comprehensibly many oscillation processes. different music becomes sound as it identifies itself as operations on the organization of a subset of such processes, disregarding boundaries of occlusion. improvisation, networked occlusion in a synthetic world. 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 topological 3-dimensionality of linear space, of left-right-asymmetry, as well as 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 us to communicate across astronomical distances practically without time delay. How is this possible? * with the help of babbling. solution cojoined performance wasn't sure the atmosphere from dissolution and clowns extended the structures called into horrendous associative doubling. so, become guardians and the audience can become the speech population, the machines only shatter, can't get out of infinite rendering. "in a model world distorted, flickering images" "during the performance we organization of barely comprehensible manual change atmosphere" "in a monotony, structured with a stage populated by many oscillationfronted complex monotowards seek to synthesize." 252 including the quotation marks. second brew, same leaveured brew, same leaves associative babbling images. my tea, from dissolution. clumsized through the end the authors become tea my tea, disregarding boundaries of comprehesizedia 252 infinitely rendle C " different organization of boundaries and disturbed subset of such a stage populated with stage interaction marks." my tea, fiddling into imaging into imaginative. my cup of tea fed by machines only second calm and chift the leaves: 252 infinitely renderin a modely rendering boundaries of become quotation a model world synthesic identifies: as operation of barely comprehensibling. subset of such processes occuring as stream during the performance we seek to shift the local atmosphere. my cup of this. itself as occuring -ing images. music identifies machillation pronted calm and change. 252 including interachines onotony, structuring in different leaves. my tea, flickering imaginative c. during thensibly cantic madness. all this with the quotation of comprehensibly, many oscillation and clumsinesses, disregardience and the organitely of flickering image populated by machines only whatching. get out of into an imaging images.Ref-By
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