d i u 1 2 22 september 94 "Perhaps the most useful contribution of so-called 'language' work is that it has finally exposed the tradition in which it participates -- not only the poetic tradition, but the now fashionably secularized/ politicized ideological and philosophical traditions to which such a poetry ultimately owes allegience -- as precisely what it is: merely so much self-referential white and empty drut." --The As-Of-Yet-Undescribed Student Body If the student BODY remains, as yet, undescribed, Albert or Hubert hints (thusly) that it is the locus of knowing thereby that knowing like the (cultural and organic?) body is perchance ("...it happens...") gendered. and what of this "sorting" of the species into "two kinds"/ and what if it happened/ and how would it happen/ with lines of naked people and genital examinations?/oh but it does happen/and this is the way/decisions are made in cultures where infanticide for example/ is practiced/on ONE of the "two kinds" So if gender difference is "a dimension on the map", the measure of which is "ethical" what is POWER in this same cartography? knowledge is "local to everyone's location" (in the sense that) when the BODY's organs begin to consume themselves, the body KNOWS hunger and this is outside of language BUT, like everything else, is written on (literally bears the markings) and while "...knowledge may not be a committee product..." in an ideal sense, POWER insures that knowledge functions as such in most of the venues where POWER moves most efficiently. It is power that gives the appearance that "the feminine" is experiencing a "resurgence". whatisthefeminine?idon'tknow&wherediditgo? the feminine, if there is such a thing, has always been around it is a function of the highways, bridges, toll booths, time machines by which knowledge moves on "the map" that it ("the feminine") seems to need to resurge (to rise again as from death or virtual extinction --Pebbles Playlist, Conference of the Birds, KZSC, Santa Cruz 8-29-94 Habib Dieng/ Definition/ Les Nyamakala du Fouta Djallon Horoya (El Hadj Mayyhere Bah)/ Nafa/ Les Nyamakala du Fouta Djallon Salim Ali Arum/ Nijzi/ Bantu Teta Lando/ Wembo Wembo/ Esperancas Idosas Conjunto Cespedes/ Virgen de la Caridad ... Don Cherry/ Prayer/ Dona Nostra Tino d' Geraldo/ Bulerias del Norte/ Duende Sam Rivers/ Effusive Melange/ Dimensions and Extensions Steve Lacy/ The Door/ The Door Fred Ho and the Afro-Asian Music Ensemble/ Underground Railroad to My Heart/ Underground Railroad to My Heart ... Dewey Redman/ Mr. Sandman/ African Venus John Coltrane/ Bye, Bye Blackbird/ Bye, Bye Blackbird ... Cachao/ Lindo Yambu/ Vol. 1 Master Sessions Orquestra Os Jovens Do Prenda/ Harmonizaciao y Aministia/ Berlin Festa Djosinha/ Densa de Asfalto/ Simpatia Mirri Lobo/ Dole Guerra/ Paranoia ... Ramon el Portugues/ Vengo de Mi Extranadora/ Duende Om Koulsum/ Rak el Habib/ Rak el Habib Amalgama/ Chana/ Duende ... Henry Threadgill/ Gateway/ Song Out of My Trees Monks of Doom/ Chaos is Not Dead/ Forgery (4) There's no reason to remember. (5) Escape or Revenge. --bb What did Nietzsche mean when he announced that "God is dead"? He did not mean the classical gods where dead nor that the God of the early Christians was dead, though they were dead too. The God whose death was news was the Cartesian God. It was not the gods of the rivers and trees or the god of the logos (they were long gone), it was the god of algebra, who in one simple Image exhibited the infinite: y=f(x). This is the god of Modernism. "f" tilts back and forth with amazing agility and grace to keep a balance between an infinite number of y's and an infinite number of x's. "f" is a function, some constant relationship between "y" and "x". The details of the function may be extremely complex, but functionality as such is simple. The images of y=f(x) are as common as rocks and trees. The modern technological person inhabits a world filled with images of God. When Nietzsche said "God is dead," he meant y=f(x) is dead. The world is not given in the relationshipS. We make up the relationships. --Thus, Albert or Hubert Readlist, The Last Days of the White Race Radio Free Northamerica, 19 September 1994 LeRoi Jones (Amiri Baraka), "Hymn for Lanie Poo"/*Preface to a Twenty Volume Suicide Note* Bob Kaufman, "Voyagers"/*Solitudes Crowded with Loneliness* Ted Joans, "The African Ocean"/*Afrodisia* Will Alexander, "from *The Stratospheric Canticles*"/*apex of the M* Nathaniel Mackey, "Song of the Andoumboulou: 1"/*Eroding Witness* John Coltrane arrived with an Egyptian lady. he played very well. -LJ (AB) Cassandra dances On the singed eyelids Of sleepless ants. -BK I know your real name this name I'm proud to reveal I free you from that slave name Atlantic -TJ the rigid gas of diurnal Christian bondage -WA The song says the dead will not ascend without song -NM ((a response to Guantanamo Bey's essay in DIU and THE OTHER SIDE OF THE CENTURY)): TACO BELL RISING SUN the slipshod white of your skin is not white is not the brown of your eyes or the copper of your hair and the lackluster glow of your smile doesn't dip its curve above the water but watches the others going native along the banks of north america gatekeeper of our piss they call you Poetry --Plainclothes Black Policeman you'll find you no longer need to "pound" the keys...touch the keys lightly...be gin slowly...keep your fingertips close to the keys in a natural, curved posi tion...quick, resilient touch...relax finger pressure the instant that you co ntact the key * * * * * diu communications weekly c/o thelogic of sknowflakes cf2785@albnyvms.bitnet