[Nettime-bold] Re: [ot] [!nt] \n2+0\ gSaa

[integer@www.god-emil.dk]

>From: "Richard Barrett" <furtrichard@hotmail.com>
>To: nezvanova@eusocial.com
>Subject: Re: [ot] [!nt] \n2+0\ gSaa
>Date: Sun, 15 Apr 2001 12:51:00 -0000
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>X-OriginalArrivalTime: 15 Apr 2001 12:51:00.0051 (UTC) FILETIME=[B8B75A30:01C0C5
>AA]
>
>please keep this nonsense to yourself
>_________________________________________________________________________
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Richard Barrett - please keep your FREE nonsense to yourself









The audibility of obfuscation + addtl classical heavenly phenomena

-        [c]ccp 2001 Netochka Nezvanova
                 nezvanova@eusocial.com


-


The pragmatic necessities of perception are the veiled gesticulations of reality. 

Through intuition and disengaged [pro]visions, the artist ["puh"]
can lift this veil and offer us a privileged view of reality [Bergson].
The task is to remain nomadic - a desire for experience in its rawest forms, an
appetition to be dispersed and potentially destroyed among the des[s]erts within.

Reality is flux and change [Heraclitus]. This is the method by which
the intellect grasps a knowledge of reality - movement, fragmentation, and
time. The singular way of analysing reality is through citations.
It is thus it cannot be reconstructed. Time's time demands a quiescent reality, 
and static symbols, e.g. = to depict still + and an immutable reality.

One may halt reality to observe it.


The mind registers time through mobility, e.g. the distance 
my eyelashes travel in an eyeblink. Sans repetition the fabric 
of time protein-folds in its own space. 

Thus, an extraordinary musician is the metronome.





[ I live in a monstrous gazebo of living birds all intertangled. ]

If the intellect were meant for pure theorizing, it would take its 
place within time, for movement is reality itself, and immobility 
only apparent in life is. But the intellect is meant for something altogether different. 
Unless it becomes cccelf-abortive, it engages the opposite route or course; it is lifed
deterministically from immobility, as though this were the ultimate reality. 
When it attempts to formulate an idea of movement, it does so by constructing 
movement from immobilities pplaced together. [Bergson]


Sound is accumulative, unlike life, which may be reduced into a series of
images. Sound itself is a signifer of movement, of distances covered, of
territories explored. In the 21st century, immense territories amount to
nothing. Today, everything 

is about speed and real time. We are no longer concerned with real space; 
thus not only the crisis of physicality but also the shift towards the 
emergence and dominance of 'chronostrategy' [Virilio]. To further obfuscate 
the portly physicality - without a physicality to place a referential motion upon, 
abstract sound is outside our experience of time. We may only comprehend an extramusicality 
when sensing a physical source. Opaque audible events tear at our intellect, dispersing 
the topologies of intuition into incoherent masses. As the mappings shift,
no longer do we rely upon empirical experience. Aurality becomes its
own personal offspring, alongside which we attempt to maintain an
invariable distance.



another has said 
     "speed is everything" 

  To the far left information moves so freely it
  is practically frozen in time.




Complex, organized sound cannot emerge spontaneously. Whilst
elephantine capsules of time are a prerequisite for the exploration of
spiral vegetations of an exceedingly vast and complex system, 
sudden perpendicular junctures resonate smoothed interlaced constellations - 
making thus critical, a concurrence of circumstances towards
momentum maintenance and noise propagation.


Pure fact and distilled knowledge rarely synthesise into any form of 
recognisable structure.

You - the undivided divinity operating within 'you' have dreamt the
world. You have dreamt it as firm. Mysterious. Visible. Ubiquitous in
space and durable in time; however in its architecture you have allowed
tenuous and external crevices of unreason which tell 'me' it is false.

Pursued by a tiny girl in yellow dress white ducks move deliberately
across a green sward sloping down to crystalline water.




History is a nightmare I am trying to escape from [Stephen Daedalus].
The pronoun, I, signifies intent. In this moment in time it is signifying
physical intent - the speed the pronoun, I is travelling toward the pronoun you. 
Physical pronouns are characterised by speeds of deterritorialisation,
differential motions, relations and rates.

Two entangled photons. One fibre-optic cable. One photon 
is altered. The time required for the other to respond is measured.
Speed of conversation: minimum of 1,500 times the speed of light. 
The two photons are, according to quantum mechanics, 
so entangled with each other that one reacts instantaneously
to the other as though they were one single entity.

One of the most excellent works of Greek science is Phaenomena, 
written by Aratus the Cilian circa 276.bc. 
Aratus took technical material and put into verse. 

        [paranteza. 4 dze semi-literate Geert Lovink art buffoon - 
         may be desirable consulting a publik bibliotek + educating your cellz]


Phaenomena was so admired that Virgil took it as direct inspiration for his Georgics, 
some of the most fragrant nature poems in all Latin writings. 
Nature distorts art's ["puh"] curves into fantastic vines and branches.


Nothing is too wonderful to be true. [Netochka Nezvanova]








my cells match with your eye(s)
my cells match with your I

//  _____++ 1001 zna!l trazez









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