D I U e m n s a i c g v r i e i n r p a s t r e i y o f a n s 3 2 12-17-95 * _from_ MACHINE LANGUAGE "The future, if there is one, is machines and madness." (Norman O. Brown - "From Politics to Metapolitics") and come to a cave in space-time, some continuum (Pegasus/Mercury paper tape code and a bag full of letters) contained within a TV screen. The image is fixed in the brain for an instant, then fed to their machinery. He is the one that enters in the shape of a tuning fork. She is a lunar egg afloat upon the back of a wave is not an always entity, is figmented * Arguments to Functions are Copies. The Number of (1010011010) the Beast. Leviathan or Virus? Language coiled around the Host Concept, encrypted. * YES OR NO. * Hermes/Thoth is the character that got us into this, and Pythagoras, perhaps, with his magic numbers, come to think of it, Heraclitus as guilty as the rest, some thief of fire and others, such a loud and luminous crowd as ever loitered here: Ogma Sunface, the pillars of, and blood of, the thunderer, who carved the letter of the spirit upon a tree at Delphi: Cadmus had it in the bag (the meaning of the E): Car and Palamedes and certain rock-throwing ghosts buried it with a crane and an unknown stone. * It speaks and says: I AM A HILL OF THE WAVE. I AM A WAVE OF THE WIND. I AM A SOUND IN HEAVY WATER. I AM HONEY AMONG STONES. I AM THE ONE WHO FORMS FLOWERS FROM THE EYES OF THE DEAD. I AM A HAWK ON THE HORIZON. I AM THE LION ON THE LOTUS. I AM SOLAR PROTON ION FORCE. I AM A SLOW CURVE ACROSS. I AM A BUG IN THE SYNTAX. I AM A DRAGON ON THE WING IN THE SKY. I AM A SHINING FISH IN THE POOL. I AM THE BOOK OF BREATHING. WHO MAKES CLEAR THE MIRROR? WHO BUT MYSELF KNOWS THE SECRET OF THE CIRCUIT? WHO REDEEMS THE BURDEN OF THE DREAM? WHO BRINGS THE FISH FROM THE STARS? WHO DECIPHERS THE TOOTH OF THE MOON? WHO SHAPES WEAPONS FROM BIRTH TO EARTH? * This earth and that earth, parallel circumambulations to Spiral Castle. Why curve of space-time and come to a cave in the Place of Skulls? She is a standing wave in the tonal control field, Aeriel? --djd THE SEVEN BY NINE SQUARES DISSOLVE ~The Seven by Nine Squares~, Neoist Web site at will cease to exist on March 24, 1996. As you read this, ~The Seven by Nine Squares~ have already begun to dissolve; documents and references are daily being crippled or erased until the site has disappeared. The E-Mail address will remain functional and revert to use by its former owners. Before March 24, 1996, an installation package mirroring ~The Seven by Nine Squares~ in its current state can be obtained upon request, either by FTP or on three Macintosh disks. Mail delivery is free for those who wish to install mirrors or mutants in the Internet. After March 24, 1996, a copy of this text will be mailed to anyone who writes concerning ~The Seven by Nine Squares~. MERCILESS MEMORY "Arkhe" names at once the commencement and the commandment. "Archive" comes from the Greek "arkheion": initially a house, the residence of the superior magistrates, the archons. On account of their publicly recognized authority, it is at their home that official documents are filed. The archons are first of all the documents' guardians. Their house marks an institutional passage from the private to the public. With such a status, the documents are only kept and classified under the title of the archive by virtue of a privileged topology: To shelter itself and sheltered, to conceal itself. Perhaps, nothing in the entire prehistory of humans is more terrible and uncannier than their mnemotechnics. "You burn something in to keep it in mind: only those things which never cease to hurt will remain in memory" - it's an axiom of the most ancient (and, unfortunately, most persistent) psychology on earth. It always meant torture, blood and victims when humans considered it necessary to construct themselves a memory; the most horrible victims, the most unspeakable mutilations, the most gruesome rites in all religious cults - all that is rooted in an instinct which discovered pain as the most powerful tool of mnemonics. "The spanking machine", she explained, "is a brandnew achievement of our time, or, to say it better, our culture. Once plugged to electricity, it will get in immediate motion. Of course, you have to adjust in advance the number, the efficacy and the kind of blows. Once a lesson is fixed, it will be taught under any circumstance: and that's the great advantage! Mercy is made technically impossible." The cruelty of the alphabet has nothing to do with willful or "natural" violence. It is the dynamics of culture itself, a culture which materialized in the bodies it inscribes and manipulates. This culture is not an ideology, but violently introduces desire into production and production into desire. For death, punishment, suffering are desired. They turn humans or their organs into parts of the social machine. And if "writing" is inscription right into the flesh, it means indeed that speech presupposes writing and that it's this cruel system of inscribed signs which enables humans to use language and gives them a memory of words and speech. --MC THESES FOR A POST-**LUDDITE-THOUGH-STILL-IN THE-CURRENT-CULTURAL-MEMORY-UNION/MILITIA FOURTH INSTALLMENT (attempting to explain GOD when, puzzlingly, it may also mean "Guaranteed Overnight Delivery") * "It is by no means rare" said Voltaire, "for a person under strong emotional stress to see something that does not exist." * * * "St. Gregory the Great reports that the devil turned himself into a head of lettuce one day, and that a young nun ate him in her salad." **dedicated to Noam Chomsky & Lenny Bruce** What we wish to further and unregrettably elaborate upon here, is the continuance of a dialogic (though the chorus has not yet spoken) involving the un-seen or the un-realized in language. We wish to become conscious of the stratification (not to be confused w/stratificational grammar--though this is related) of language and how it perpetuates general and specific misunderstandings [as stated in other installments]. The Union's desire here being, to dis/cover and expose hate-language phenomena. We have a critical need now, at our cyclical-time-luddite union--(**keeping in mind that we use "luddite" here as a red poppy of remembrance to those who fought/smashed to save their agrarian/craftspeople jobs, due to the power of the machine. It is in this sense [versus an anti-technological sense] of the "luddite" that the continual smashing of certain linguistic constructions may come into play)--to expose these constructions of violence--through non-violent means-to- invisible-ends. For We temporarily believe that these constructions *have* been used as violent-means-to-ends. We feel that if the layering of language purports to convey a positiveness and seemingly gilded edge--then, in a _sutra-sense_ [that is, via teachings] there must be a flip-side to this structural farce:i.e.necro-lingua-in-the-guise-of-posi- lingua; that this karmic condition is something that could be dangerous (or useful) within the sphere of animism. (*btw--the Union, having voted on the subject, decides that it does not wish to adhere to _singular_ notions of quasi-religious iconography, via its use of such terms as _souls_, etc. and that the use of such terms, can be seen as points of seeming reference; the reader is encouraged to spin off into her/his own independent linguistic or spiritual space)--if not recognized/realized. Of course, we see that a tract such as this may also appear to perpetuate the very philosophy that We wish to expose (_influence_ and the problem of memory perhaps, impossible to "do away with")...that this may be unavoidable...remembering, that the long-term goal is _awareness_, _right-mindfulness_ and most importantly, _reverse causality_. Implicit within this embrace is an understanding of the perpetual _suffering_ (the Sacred Heart/Kerouac/grandmothers wielding rosaries), within the universe (imaginary or otherwise) and the need to come to terms with its existence & transitoriness. Language--via the church, bureaucratic organizational structures, and land-ownership (modern and postmodern manifestations) --attempts to rid us of these structural shadowings, relayed to the populace via the commercial chanting of its charlatans. The 4th (international) installment will therefore be devoted to a reversed structural construction of sorts, involving the rearrangement of words and names. It is hoped that through this dissection and the reversal of letters, that the Union may better come to terms with the potential violence of chimera and shadow..of lightness and darkness. The method can be seen as a usage of the *empirical* but only in a sense that this use of the empirical may be a reverse empiricism: reversed but not necessarily *proving* a particular knowledge. We, at the Union/Militia could agree with the Buddhists (many threads), in that, the path to a greater language awakening lies within an understanding of its _right-cognition_ and an _awakeness_ to the capability of _awakeness_: --a [not exemplary] list of rhyming/other words,names, palindromic constructions, and what this could possibly mean for a culture desiring to couch/hide its language constructions-in-the-guise-of- beneficence; resonance being a *Law of Media*: word bird/drow/draw/herd love shove/drove/dove/evol/evolve hate mate/prelate/skate/etah/utah reason treason/season/nosear/nose/ear might flight/right/kite/thgim/thing symbol lobmys/lobos/thimble/nimble money honey/yenom/venom church hcruhc/crunch/birch/lurch/crutch clyde died/edylc/idyllic/idol newt suit/shoot/twen/twin/twit power cower/shower/flower/rewop/bebop sale male/mail/scale/hail/elas/esau mother other/rethom/fathom/cover father bother/rehtaf/tariff/lather tune loon/june/boom/eunt/enough dylan nalyd/nailed/sylvan/hildene hildegard drag/edlih/edict/grad/dragedlih coleman stole-man/name-loc/moleman whitman hit-man/namtihw/manitou what but/shut/tahw/saw/jackdaw plato otalp/opal/potato/plate-oh finger linger/regnil/tendril/singer pain rain/stain/main/vein/niap/nyanja prayer layer/sayer/conveyor/mayor/reyarp sacred scared/scarred/dercas/dervish mastication masturbation/noitacitsam/gnosticism glass mass/windlass/ssalg/salt smile elims/glimpse/tile/file/bile rock dock/gen. brock/lock/ticktock heaven haven/raven/neveah/nirvana/forgiven god dog/ogd/ogled .....the list goes on..simply..the point of the matter be: to _think_ of the layers and the potentially deadly _imp_ of implication [think of this while watching your next nationally televised political address or Tom Brokaw's haircut] and to see the point of non-implication in the words,the letters, the names, the kabbalistic forms, the music/non-music of IT...hear or see the warp and woof of language's looms/the smoke and mirrors/the magical enterprise. We do not wish to get caught up in divinity's (or, a demon's) web, nor to _use_ language as a right or a wrong (though some have attempted to prove the existence of "Laws"). We wish to re-cognize the spinning of such webs as important, but only as they _further_ an understanding of _right mindfulness_ or enlightened engagement. We wish to realize or recognize the _capability_ or the impotence of this hobgoblin called "language". until our next meeting, --Rep. Collin de Plancy, guest speaker & author of _Dictionary of Demonology_ SSSSS T T OOOO PPPPP TTTTT HHHHH EEEEE RRRRR S TT T O P P T H H E R S T T T O PPPP TTT HHHHH EE RRR S T TT O P P T H H E R SSSSS T T OOOO P P TTTTT H H EEEEE RRRRR AAAAA CCCCC IIIII SSSS MMMMM !!! A A C I I S M !!! AAAAA CCC IIIII S MMM !!! A C I I S M A CCCCC I I SSSS MMMMM !!! --DA t h e l a s t d a y s o f t h e w h i t e r a c e radio free northamerica december 1995 readlist: Horace Coleman, _In the Grass_ (Viet Nam Generation, 1995) *** that shadow in the night is Ch'en the wingless angel who practices death who hugs killing like a wound sucks steel into its oozing mouth --"The Conqueror" just stood there in that crappy dress looking like a big tired turd, acting like she didn't know everybody has to flush their own shit --"The Plot to Assassinate the Statue of Liberty" It could be a pink-faced VC broad trying to grasp the life that's just flown from your unfavorite dumb son. And she has no right to cry out in plain sight, to be so full of pain. --"Still Life with Dead Hippie" Take three--one to use, one to lose and one to break. Admit you're doing it because someone wants it done. Believe something--even if you have to make it up. --"Excerpts from a Mercenary's Diary" Licking honey off barbed wire --"What It Was" * THE LITERATI OF SAN FRANCISCO Some Honest Opinions at Random Respecting Their Authorial Merits, with Occasional Words of Personality by Edgar Allen Poe ----------- 7th Installment: TED PEARSON If ever mortal "wreaked his thoughts upon expression," it was Zukofsky. If ever poet sang--as a bird sings--earnestly--impulsively--with utter abandonment--to himself solely--and for the mere joy of his own song--that poet was the author of _80 Flowers_. Of Art--beyond that which is instinctive with Genius-- he either had little or disdained all. He loved, on the other hand, that Rule which is an emanation of mathematics, because his own soul was mathematics in itself. His rhapsodies are but the rough notes--the stenographic memoranda of proofs--memoranda which, because they were all--sufficient for his own intelligence, he cared not to be at the trouble of writing out in full for mankind. In all his works we find no conception thoroughly wrought. For this reason he is the most fatiguing of poets. Yet he wearies in saying too little rather than too much. What, in him, seems the diffuseness of one idea, is the conglomerate concision of many: and this species of concision it is, which renders him obscure. With such a man, to imitate was out of the question. It would have served no purpose; for he spoke to his own spirit alone, which would have comprehended no alien tongue. Thus he was profoundly original. His quaintness arose from intuitive perception of that truth to which Bacon alone has given distinct utterance:--"there is no exquisite Beauty which has not some strangeness in its proportions." But whether obscure, original, or quaint, Zukofsky had no _affectations_. He was at all times sincere. From his _ruins_, there sprang into existence, affronting the Heavens, a tottering and fantastic _pagoda_, in which the salient angels, tipped with mad jangling bells, were the idiosyncratic _faults_ of the original--faults which cannot be considered such in view of his purposes, but which are monstrous when we regard his works as addressed to mankind. A "school" arose--if that absurd term must still be employed--a mere _style_--upon the basis of the Zukofsky who had none, properly so called. Young men innumerable, dazzled with the glare and bewildered by the _bizarrerie_ of the lightning that flickered through the clouds of _"A"_, had no trouble whatever in heaping up imitative vapors, but, for the lightning, were forced to be content with its _spectrum_, in which the _bizarrerie_ appeared without the fire. Nor were mature minds, unimpressed by the contemplation of a greater and more mature; and thus, gradually, into this _affectless_ school of all style-lessness,--of obscurity, quaintness, and exaggeration--were interwoven the out-of-place didacticism of Rakosi, and the more anomalous metaphysicianism of Oppen. Matters were now verging to their worst; and, at length, in _Ted Pearson_ poetic inconsistency attained its extreme. But it was precisely this extreme (for the greatest truth and the greatest error are scarcely two points in a circle) which, following the style of all extremes, wrought in him (Pearson) a natural and inevitable misgiving; leading him first to shrink wholly into, and secondly to investigate, this schoolish manner, and finally to winnow, from its best elements, the truest and purest of all mathematical (which is to say _musical_) poetics. His later books-- _Planetary Gear_, _Acoustic Mask_--transform as wholly as cocoons do caterpillars, the tinkling sentimentality of the early work. From _Acoustic Masks_: "Carrier waves in holophrase redact the hymnal from its hymns a wanton por nada ebbs and flows in a tango of phantom limbs" But not even yet is the process complete; and for this reason in part, but chiefly on account of the mere fortuitousness of that mental and moral combination which shall unite in one person (if _ever_ it shall) the Zukofskyan _abandon_ and the Pearsonian poetic sense, with the most profound Art (based both in instinct and _Analysis_) and the sternest Will properly to blend and rigorously to control all--chiefly, I say, because such combination of seeming antagonisms will be only a "happy chance"--the world has never yet seen the noblest poem which, possibly, _can_ be composed. In person Mr. Pearson stands about five feet ten inches; hair long and black with traces of gray, and usually tied tightly back in ponytail, but sometimes loose, and wild looking, in a manner very reminiscent of William Everson. His beard is neatly trimmed. In dress he is apt to affect a down-to-earth elegance, priding himself especially on hispersonal acquaintance with both artists and working stiffs. He walks softly and slowly. His address is quite good, carefully considered and insinuating. His conversation has now and then the merit of humour, but he has a perfect mania for gaining the last word, and it is impossible to utter a sentence in hispresence without feeling the pressure of Mr. Pearson's own point of view--whether he agrees or disagrees. He has much warmth of feeling, and is not a person to be disliked, although very apt to irritate and annoy. From Menlo Park Mr. Pearson departed some time hence to Ithaca, N.Y. He is now resident in Buffalo. from Saturn Claus (w/special thanks to Dr. K) Anthony Braxton: Creative Orchestra (Koln) 1978 Odean Pope Saxophone Choir: The Saxophone Shop Tim Berne: Diminutive Mysteries (mostly Hemphill) Grachan Moncur III: Evolution Julius Hemphill: Raw Materials and Residuals Gamelan Semar Pegulingan: Music of Bali Sam Rivers: The Live Trio Sessions Grateful Dead: Greyfolded Samarai Celestial's "Isis Sun" The Steelwool 3's "International Front" Spontaneous Music Ensemble's "Karyobin" Sun Ra Arkestra - Nuits de la Fondation Maeght, volume 1 Jorrit Dykstra 3 - Whistle (cd, young Dutch alto-saxophonist) Dexter Gordon - Complete Dial sessions Willem Breuker Kollektief - To remain John Coltrane - Live at Birdland Sam Rivers - Fuchsia Swing Song Sun Ra Arkestra - Pleiades Derek Bailey - Han Marion Brown- "Why Not?" John Coltrane- "Sun Ship" Matt Shipp-"Critical Mass" Charlie Parker-"With Strings" Reggie Workman (with Sam Rivers!)- Cerebral caverns Complete Riverside recordings of Thelonious Monk Heavyweight champion: the complete Atlantic recordings of John Coltrane Complete Plugged Nickle / Miles Davis Albert Ayler live at Slug's Saloon, v. 1 & 2 A study in frustration / Fletcher Henderson Mayan temples / Sun Ra From THE NEW GROVE DICTIONARY OF JAZZ, 1998 ed. DICK, Philip K(indred), 1928-1982. American pianist and composer, born Chicago, Illinois USA; died Stockholm, Sweden. Best known for avant-standard, "Blues for PE." Early collaborator with Ornette Coleman in 1950s, culminating in the Coleman-Dick composition, "Ubikityness," the side-long closer to Coleman's 1959 double LP, MUSIC FROM THE HIGH CASTLE, based in part on an unpublished, never-performed jazz-opera composed by Dick in 1955. Dick left the US shortly after HIGH CASTLE's release (to minor critical acclaim and neglible public acceptance) due to pressure from President Joseph McCarthy's Anti-American Activities group (AAA); Dick had been a minor member of the Berkeley Communist Party and reputedly helped plan the infamous Marin County Putsch in 1957. Fleeing to Europe, Dick recorded little but played frequently with other exiled American jazz artists such as John Coltrane, Gil Evans and Sonny Blount, with whom Dick created the spacey keyboard duo known as Sun Ra, recording the hard to find MARTIAN TIME-SLIP BLUES album. Dick finally settled in in Stockholm in 1972, the year of his final album release, TRICKY DICK, an elegiac tribute to recently assassinated American president, Richard Nixon. In 1971, Nixon extended a full pardon to all American expatriates, lifting the death warrant imposed by President Robert Kennedy in 1966. Dick chose never to return to the US and stopped composing when he entered a neo-Gnostic monastery outside of Stockholm in 1974, where he stayed until his death from heart failure in 1982. See also BLOUNT, SONNY; COLEMAN, ORNETTE; COLTRANE, JOHN; EVANS, GIL; and EXPATRIATISM. Henry Threadgill- "Too Much Sugar for a Dime" Carlo Actis Dato/Laura Culver/Alex Rolle- Tree Allan Chase Quintet- Dark Clouds with Silver Linings John Coltrane- Stellar Regions Albert Collins and the Icebreakers- Live '92-'93 Vinny Golia Large Ensemble- Commemoration Paul Plimley and Lisle Ellis Kaleidoscopes Gerry Hemingway Quartet (Down to the Wire) Ornette Coleman's Tone Dialing Jamaaladeen Tacuma's Renaissance Man Mingus' Black Saint and the Sinner Lady Duke Ellington "live at the whitney" Albert Ayler "Spiritual Unity" Clusone 3 "Soft Lights and Sweet Music" Don Cherry "MU (The complete session)" Clusone Trio : I Am An Indian Wayne Shorter: Etc. Miroslav Vitous: Infinite Search (ancient Herbie-Mann-headed Embryo) Praetorius: Mass For Christmas Morning, McCreesh, cond. Rands: Suites No. 1&2 from "Le Tambourin," Chicago SO, Boulez Anthony Braxton's New York, Fall 1974 Cecil Taylor's Air Above Mountains Last Exit - Headfirst Into the Flames Massacre - Killing Time Laswell with Fred Frith and Fred Maher Praxis - Sacrifist Brian Eno - Taking Tiger Mountain (By Strategy) Anything by Charles Ives or Frederic Chopin John Zorn - The Big Gundown Any Gagaku - Japanese "refined" music italian instabile orchestra _skies of europe_ pino minafra _sudori_ c.a. dato _urartu_ butch morris _testament_ nedly elstak _paradise regained orchestra_ muhal richard abrams _one line, two views_ allan chase quartet _dark cluds with silver linings_ herbie nichols _the complete blue note recordings_ husker du- "erase today," off the sst compilation _blasting concept_ Ethiopian groove- The golden seventies Louis Sclavis sextet- Ellington on the air Red Sun / SamulNori- Then comes the white tiger The Wooden Indians- Celebration on the planet Mars Sol Hoopii- Master of the hawaiian guitar I Beach Boys- Good vibrations (box set) Art Ensemble of Chicago- Paris sessions Beatles- Anthology, pt. 1 Ellington, Duke- Far East suite (special mix) Ellington, Duke- Complete Brunswick 1927-1931 Gaye, Marvin- I want you Sly & the Family Stone- Life Sly & the Family Stone- Whole new thing sonic youth-"washing machine" elliott smith (self titled) orb-"pomme fritz" island eno-"another green world" pere ubu-"raygun suitcase" black sabbath-"master of reality" lee scratch perry-"soundzs from the hot line" nirvana (everything but that crap mtv unplugged album) panties "ha-cha-cha", cassette on 20/20 sound sergio mendez and brasil '66/'77 (selected tracks) stu goldberg, his orchestra and chorus-"feels like lovin'" amy arena (self-titled) nation of ulysses-"thirteen point plan to destroy america" unwound-"future of what" parliament's greatest hits twerdocleb-(self-titled) John Coltrane-"Crescent" Reggie Workman-"Summit Conference" Sonny Sharrock-"Ask The Ages" Frances-Marie Uitti-"Uitti 2 Bows" Dave Holland-"Conference Of The Birds" Charles Mingus-"Complete Town Hall Concert" AMM-"Combine+Laminates+Treatise 84" Lowell Davidson Trio Dave Smith-"First Piano Concert" * If you are interested in receiving DIU, send a subscription request which says SUBSCRIBE DIU-L your name to listserv@cnsibm.albany.edu you'll be asked to confirm this request detailed instructions are given still performing via the logic of snowflakes of given season. all DIU transmissions archived at the Electronic Poetry Center on the University at Buffalo Web-server: http://wings.buffalo.edu/epc/ezines/diu contribute to DIU via e-mail to cf2785@cnsvax.albany.edu thank you!