Fwd: HAVE PIG WANT GUN #4
mIEKAL aND
if you ever get a chance to see him perform, highly recommended. also
something very sexy about a visionary theorist sale. mIEKAL
Begin forwarded message:
> From: Frog Peak Music <f...@frogpeak.org>
> Date: Thu Oct 16, 2003 11:17:48 AM US/Central
> To: f...@frogpeak.org
> Subject: HAVE PIG WANT GUN #4
>
> ================
> PEAK PICKS (contents)
> ================
> * FP Visionary Theorists SALE: Rosenboom, Tenney
> * New scores by Asplund, Corner, Goode, Kettle, Monk Feldman,
> Polansky, Reid, Schick, Tenney
> * New CDs from Nagorcka, Stabler, Wilkinson
>
> * FROG SPEAK
> how do you know that, by Chris Mann
>
> ================
> FROG PEAK THEORISTS
> ================
> In celebration of Frog Peak's committment to American visionary
> theorists, we
> are offering a
> SPRECIAL SALE on two influential texts by two of the most important
> living
> theorists,
> David Rosenboom and James Tenney:
>
> * James Tenney, "Meta + Hodos and META Meta + Hodos."
> Tenney's major work from 1961, Meta + Hodos has been recognized
> as
> one of the most important and influential theoretical treatises of
> the past
> thirty
> years. It is an early attempt to redefine the language of musical
> form in light of the experimentation of composers like Varese,
> Webern, and Cage. META Meta + Hodos, written in 1975, is an extremely
> concise restatement of the ideas of the previous work, incorpor-ating
> new ideas from information theory, perception and cognition research,
> as well as Tenney's own work in musical form. Both classic works are
> presented together in one special edition. This new second edition
> includes many corrections and emendations by the author.
>
> * David Rosenboom, "Biofeedback and the Arts."
> Rare second edition of this groundbreaking 1975 publication
> covering work
> done by major artists and researchers in the field of biofeedback and
> the arts,
> and
> neurological information processing related to aesthetic experience.
> Only available through Frog Peak Music.
>
>>> META Meta + Hodos & Biofeedback. REG $40. SALE $30.<<
> =========================
> NEW SCORES by FROG PEAK Artists
> =========================
> Here is a selection of some of the new scores by fp members. For
> complete listings, see the individual artist pages at
> http://www.frogpeak.org
>
> * Christian Asplund
> Symphony #2. For viola. Asp49. REG $15. SALE $10.
> Symphony #5. For wind ensemble. Asp56. REG $25. SALE $15.
> * Philip Corner
> Dick Higgins' 1000 Symphonies #177. Cor 194a. REG $15. SALE $10.
> Dick Higgins' 1000 Symphonies #163. Cor 194b. REG $15. SALE $10.
> * Daniel Goode
> Caller's Music. For any ensemble. Goo19. REG $15. SALE $10.
> Say Your Piece. For chorus and organ. Goo22 (score & parts). REG
> $25. SALE
> $15.
> * Rupert Kettle
> Imaginary Variations Nr. 1. For percussion sextet. Ket04 (score &
> parts). REG $25. SALE $15.
> 3 Pieces/Percussionists. Ket 05. REG $15. SALE $10.
> * Barbara Monk Feldman
> The Love Shards of Sappho. For clarinet in Bb, piano, violin,
> soprano
> and percussion (II). Fel 09 (score & parts). REG $25. SALE $15.
> The Northern Shore (Trio Version). For piano, percussion and violin.
> Fel12 (score & parts). REG $25. SALE $15.
> * Larry Polansky
> k-toods. For piano four hands (or two pianos). Pol61. REG $15. SALE
> $10.
> * Wendy Reid
> Tree Piece #46. For violin & percussion. Rei14. REG $15. SALE $10.
> * Paul Schick
> AYO. For any 12 musicians. Schi01 (score & parts). REG. $25. SALE
> $15.
> CHI. For string quartet. Schi03. REG. $15. SALE $10.
> * James Tenney
> Ergodos III. For two pianos. Ten52. REG $15. SALE $10.
>
> =========================
> NEW CDs FROM FROG PEAK ARTISTS
> =========================
> * Ron Nagorcka
> Devils of the Night. With Robert Williams. Nag10. REG $15. SALE $10.
> * Gerhard Stabler
> Palast des Schweigens: Kassandra-Studien. Sta25. REG $15. SALE $10.
> Gerhard Stabler/Mayumi Miyata. Sta26. REG $15. SALE $10.
> Gerhard Stabler: fallen, fallen.... Sta28. REG $15. SALE $10.
> Strike the ear: Chamber Music. Sta30. REG $15. SALE $10.
> The Complete Piano Music. Sta31. REG $15. SALE $10.
> * Clive Wilkinson
> Scrumped. Pieces for Gamelan. Wil23. REG $15. SALE $10.
> excassette missile. Wil24. REG $15. SALE $10.
> azitwaz. Wil25. REG $15. SALE $10.
>
>
>
> ================
> FROG SPEAKS
> how do you know that
> by Chris Mann
> ================
> how do you know that
>
> (for the united states, trade is a dollar-selling pyramid scheme
> where the function of exchange is to defer risk on to the other party
> (the state being, of course, simple surplus value):)
>
> on the figure-ground placid random recruitment of the past: do the
> symptoms get more cash? and, which part of the strategy do you sell,
> the elaborate feedback-hunting that is the market, the (punctuated)
> bit that fits? (an object is that gives you insight into what you
> want (where understanding is that defence mechanism that allows you
> to defend (A) the tautology from its best intent, And (B).
> (decoration, then, is that confuses 'stinctions 'tween the given and
> the poss (and what is given to the model is of course no gift))), so?
> you mean hysteria just a technology of the local?
>
> a cop that adapts (if a positivist could be wrong, she would (if it
> works its obsolete)) is what, a cop? sure, and red is just a change:
> action is the dimension (stuff but the bank-rate of what was there, a
> romantic finder's fee (the two or three degrees that irritate the
> dust but just enough)), the phase-space future of 'saywhat?' grouped
> around a blow both off of of and squat, that doesn' pay: my stance
> the circumstance on H: quaint,
> make-a-scape-goat-of-the-object-and-all-the-rest-is-(zip)-profit
> habit: the past but a failed not-yet with Its (to decide, to
> refrigerate the facts) own string, the diagnostic (well, fuck me)
> twin.
>
> what (the medium accounts then only to the switch), the sentimental
> fait A compli, the restored, the redeemed, and nice (the melancholic
> rights (agency, for example (a scepticism that's shy but one
> dimension (a word has the luxury of pain if and only if (the fetish
> of choice (on being an analogy of ignorance))))), the toy?
>
> design, dark matter with an itch: everything a (moody) fractal of
> everything else so stuffs our concept of the thing that its
> positively heroic (a graven image exempt from tax) (use (the alibi)
> is a medium. it is a happy medium, a petable event (to know, and
> other mutations (amps) of yes):)
>
> (as a citizen of DNA (a metaphor just a cannibal with pretence), a
> number is that circulates as catalyst (or lisp), the tenant-as-credit
> pitch (cough to turn the mirror off) and other partial lists (the
> semi half-life of the nod): my it (the thing in heat) the quit, the
> proxy dog):
>
> and of all possible states, the violent is the most economical (the
> subject but a late attempt (for which any This can not be That
> (reason, that form of existence that requires me))) and, if
> information is the energy required to measure it, it fails thereby be
> true (context (noise) employs stress (more is here called evidence)),
> memory the topological defect.
>
> subtle. once. or, some: logic pimps for choice, a where i is the site
> that, like, requIres (and barters what for news?) like abstract, you
> know, as in drama (on the horizons of a joke and other acts aphasic
> cowardice): what qualms, the dose?
>
> compulsive failure, sufficient as a self is mediocre bib for an idea
> (left, left right out): that it resolves is almost bad enough,
> experience with no ex, but (though if time ain no (unit) metaphor for
> stuff, can nothing be left out?)
>
> existence is cathartic for the object, or it's not. the patient, the
> person with one idea, the bot that stracts stress frOm the past (a
> nod that's easy on the eyes (procrastinates (the it that's
> placeholder for the want))), the data-(what knows what Its gunna
> say)-is-depressed effect that utters on the (lil' loll and the
> indolents, the coma slouch:) lusk. as in touched.
>
> being the subject of production, learning is cathartic (price, the
> attempted cure (salvation is that form of knowledge that Invents
> proof (and, coz truth ineligible as subject, metaphysics is the
> science of the debt)), the very self of not-yet) on a thing.
>
> the pathology of being known, the self, the impossible set of Up and
> other low-tech swarms, the It bit To Be let out like some spare
> algebra ws left, a google acid webcam turned on by what wEren't said,
> a knowledge pimp, a neural pain, a list (the paranoid (nouns but just
> hypnotics where the sugar been licked off)) in bed:
>
> the similarity that makes a difference, fiction (sure, sheep is a
> medium (a shit medium counting sixtyherz bedspring modulators in
> their sleep, a class action 'gainst the news (the survival mech
> (oops, quantum for no) of being then foundout))):
>
> knowledge, avoidance therapy for the criminally insane (and though
> matter a low res echo of the buck, the dollar breeds a heirarchy of
> users where only those local to the treasury get to vote), an
> economic syndrome, catalyst and suit:
>
> administered by the US, the buck is lost on me (media, the
> lack-of-subject Effect (where tinnitus is the medium, content is the
> result (the talkies (we have sums of making you talk)))), the old
> phenomenological sing-along, the poll:
>
> doing some cyber applique on the object by renting out the audient
> and turning it to beg-the-question party one-on-one (the minimalist
> but sentimental), adultery with intent (the dead have simplified the
> plot), the rhymes transparent as a cop:
>
> experience is pathetic (if tautologies all is pink, how much
> red-shift mix a therapeutic ink?), smudge the nowfree noun (slow,
> slow, quick quick, slow) to the eugenics of next week (the clone, the
> delayed aesthetic twin), snuff enough for too:
>
> kill the fuckin ref, the prosthetic bloody dimension of intent: When,
> is a tax, the larynx of romance (the very name of value is the
> p'lice), the productive circulation of the weak. (it is the nAture of
> prOfit to conserve information, and action (that which sAves
> (sublimation in a pack)), maps capital as computational and therefore
> (though, maybe) one:)
>
> victimise the this, the borrowed experience (it warms the ads
> (serialisation-they-say doubles a use (the viewer remains a simple
> fetish (the drama of no idea at a time))), my friend the end.
> typical. the pessimist list, the matter butter (the derivatives of
> which is fucked (wants to recite the object by jerking off the
> price)): wet. to let.
>
> all names measure duration. except two ninetyfive which measures
> distance, wants to know where the value has bEen (movement is
> production (with the string)) (the past, an object with a cross, is
> thus a rule of war): ninetofive all a measure can then mean.
>
> the past is not a self. unless of course its known. as in, had.
> 'who?' is bad enough, a late or later 'sumption, the unconsciousness
> (domain fallacy) the fact, too many truthreduced to make a halfway
> decent thAt: no one charges narrative with a conflict of interest any
> more.
>
> to use the subject as its cure, a homeopathic 'terpret rEpress, to
> guild the trauma by making it a stage, a diagnostic (stupidity is a
> medium (the only trouble reading blindspots that you always lose the
> place), a house-trained mem, a an-explained, a
>
> as music proves the past, is violence proof of sanity, the subject a
> machine distributes market value to the poor: the temp, the pause,
> the my-bum-the-drug, time is that liberated from the coagulates of
> more, that old act capital (i mean not all pets is senile, some just
> muggin for the wall):
>
> analysis, capital for work, does time, comes between the measuring
> and that, the doe-ray-me neurotic shop, and stops: my what the lot
> (it take Um to fit up future (stuff is a reasonable explanation (the
> adequate event)), though guilt hardly what you'd call a risk).
>
> common. as in i is a name. cOme On, its only at the sAme tIme. a
> sweet ech' coz (the conditions of the event may name the same though
> the odds is pretty slim an okay version of the (time, the attempt to
> make context portable) space would get about). and what makes You a
> rentable insight, that you dO or dUnno what you dId?
>
> description lurks in some past-tense hovel dAnk, and though the def
> don't fit that well, the prop itself is On (at least mIne rhymes (and
> if you can't afford the time, at least please rEnt the relevance)).
>
> here of course fails to be experience (though ten fourtyfive a
> perfectly adequate proper name (as an early attempt at ethics, the
> noun was no particular success (reason minces backwards on high heels
> so is ugly with the shot (it was modelled on the hit:))), it but the
> gnostic shop of choice:
>
> data rock (the doityourself zero where one constantly bemoans some
> mock knockknock mnemonic pun like too), the (counterfeit (prose)) box
> set: next. (a joke has no ecology, is why:) my plot (fat (it flatters
> logic)) the rest.
>
> some blahblah some and the art of being fucked (the pluperfect, the
> disappointed hum), the dud automata, the old impoverished karmic song
> phenomena (three chords and truth will get you to the bus):
>
> complexity expEcts ever cheaper (and failure Is the measure of
> simplicity (value is generic to that which minds negation (the
> product otherwise only shows synthEtic profit (is ecological in those
> dimensions in which one doesn't live)))): fact is, facts only live
> below the poverty line.
>
> use, the syndicated past, only looks like capital (capital, the local
> failure of the market) when its fucked (the task is a medium only in
> the absence of she who does it): my tit the quit. or, intent (memory
> is only profit when far enough away) on value, the (weighted) box
> were rent:
>
> how much silence does it take to buy a can of coke? enough for five?
> that's the fuckin job (a (collapsed) fact is transparent to its use
> only if it might be not) up close (hypocrites on toast) as though
> transaction were the jam.
>
> a politic numb number, one, we is needed more than we do them and
> that's called narrative, and two i told you so (function is what it
> forgets), autistic facts and fatter string: guess. guess what? i
> dunno.
>
> dear sir, i'd like, to, you know, like, stYle (that that don't
> confuse the those that do decides): you call thAt a leaky recursion?
> i mean One but a short dimension of the It (the attractor syntax
> (like it only comes in ones(?)) (computability is only stupidly
> reversible (unless (set) it plagiarises stOps
>
> the past effect, in conjunction with the rule that says the past a
> once-only type affair, a function or solution of or to, an agent to
> or of, affected as any other self the bot gets off (if the average
> paradox is three by four, which sum is the altruist?):
>
> consciousness, slow murder, haunts equation (on being the result (a
> null subject (too busy to seriously exist)), a fatigued dissceptic
> lag (deferred pause-n-all) redemption-as-reference setting up (the
> boundary conditions of boredom) a store):
>
> the attempted explanation, the object, the ('ronic) noun with
> flowers, that in-excess-or-deficit-to the present, the make-mine
> simile, the (scaleless) latency, or price (luck, the negotiation of
> stuff by interrupts, is then (hostage) both),
>
> the event, the that which its not, tucks up: said, as beverage. a
> stress. the gift of want, a pic, a bid with tic suggests the saying
> stay in bed to sort (the fun) the two-for-one from something else,
> the better left of says.
>
> 'what' is the self of logic. and though it suggests itself a key (and
> narrative a useful code) it not near so gnostic as say a 'not' (a
> stutter tests a reading, a this-vowel-here, this stress? it
> conjugates. in three four): spot.
>
> the subject, the unconscious of language (music just the (It yoga)
> unconsciousness of words), 'peats after me: i buy you buy it buys a
> sonnet of the understood, and coz the surface of a collapsed meaning,
> the me, is big enough for two, who buys.
>
> understanding, the polite blush (avoids the evil eye by 'lucinating
> blinks (probably a wave, a see y late)) (i mean, only then did the i
> become confessional (to fend off fascination, second sight was used,
> then exorcised, feelies on a phantom field)):
>
> apathetic proof, the pun on the, the kitchen v(h): and coz language
> is the argument 'gainst the self, its given to the (schiz threat)
> past, the technique of victimhood. ubiquitous the result, runs off at
> the mouth (a subject is that has claims to suicide):
>
> (on the sanity of shit:) smothered in blotchy (exchange rate) irony,
> the good enough (the sign an 'tempted 'noculation 'gainst what might
> be said, adverbial prophylactic for gettin fucked)): the subliminal
> (turn-take syntax) pause instead
>
> the facts (residuals on a break, a puff and coke) don't wait. anyway
> not for subjects. repression (negation with a dressing), a noun is
> one of those invitations. the nausea that's left, is me.
>
> attention economics, the ABC corporate displacement activity, an
> unstable cyber narcissist readymade uninterested in cure, a medium
> with fries, at least tries (of the two cows, one says moo, the other
> you bastard i was gunna say that).
>
> that which survives the past is suspect. that which employs the past
> is dangerous (on the art of agreement): work, action On stuff, is the
> populist medium of choice, time the pure measure of its noise. ah,
> cash.
>
> if experience were less like memory, what'd be the point? intent? you
> mean the exploitation of sight by the object? (being more or less
> than itself (the shame of the self), it floats) (what is it about one
> that looks the same? (i mean cops have a peculiarly short shelf
> life:))
>
> the metaphysics of overlap, a pharmacopoeia of blunt stuff and little
> string: of the executed (what, we should apologise for inviting them
> to work?), it is true that some were just plain unlucky, shouldn't
> have been at work in the first place
>
> unconsciously but not invisibly christian, the facts no longer bleed
> on queue, they just like confess: (and the politics of undecideabilty
> (as though bank was no horizon, knowledge but localised revenge:))
> (ode to the business of being right:)
>
> on the immaturity of nouns: so it turns out, of the
> sixhundredandseventythreethousandfourhundredandeightythree
> investigated for subversion, not one has been charged. wish i had a
> boss like that. angels of the eff be eye.
>
> a noun is a tax. a deflationary regressive tax. two nouns is a
> profit. and as a form, a media of surveillance, profit has a bunch of
> advantages: aesthetics, for example. (and mirror teach you how to do
> your teeth.)
>
> experience deduces deduction. that's why its famous. it panders. (the
> rational, the attempt to devolve responsibility, to decorate the
> pause (emptiness, a dumb compassion for the past) (the threat is only
> extra)):
>
> existence, piss poor logic (i mean a hypocrite looks (vector) normal,
> right? (so, which part of the fact is adequate, its romAnce? (black
> hole maths with an address?))): my boss the loss (as though):
> chi-kEn, in pee for (oh) pAnts,
>
> on why guilt looks like knowledge (like ( ) 'ld be def better if
> weren't so fuckin cute (anxiety, the technology of nowt 'ticularly
> int'resting, likes to smirk)): (being-an-after-hours-event) finds its
> own way home as if home weren't such a friggin fluke.
>
> reason is to same as same is to medium: plus plus carry the one. and
> though not-yet but a style, it clear betrays the state (i (the
> undecideable) mean otherwise One 'ld be enough, the perfect drug (the
> tech but redundancy of place) tautology of bust):
>
> dyslexia, ecstasy, a pluperfEct of Then, admits to double parking on
> the kick: no black box coz, difference not some altruistic biscuit
> with sugar taken off, it just (on the you of use:) spIt proof, prose
> mere a symptom-distribution type machine, a singularity twitch.
>
> understanding impoverishes intent. indeed makes such a martyr of the
> thing (the drug the thing) that And (one of the (incredulous) clearer
> names of proof) is (impatient comma) hocked (my watch the cross): how
> do you knOw that?
>
> ============================
>
> HPWG is named for a listing in
> "It's Classified, " a weekly paper
> in the Upper Valley of New
> Hampshire and Vermont. The
> exact text:
>
> HAVE PIG WANT GUN. Grain
> fed pig ready Nov.-Dec. approx.
> 200 lbs. dressed, will butcher, cut
> and wrap or whatever. would like
> good bolt or lever, heavy caliber
> scope or mounts, depends. 802-
> xxx-xxxx.
>
> ============================
>
> --
> ________________________________
> Frog Peak Music (a composers' collective)
> Box 1052, Lebanon, NH 03766 USA
> phone/fax: (603) 643-9037
>
> Visit our website at
> http://www.frogpeak.org
>