Electronic Journal for Experimental Arts

Issue 2 - September 1995

Publisher: CI Acad. Poet. Aeth.
Editor: J. Lehmus
Stenbocksv. 24, 02860 Esbo, Finland

Copyright (c) 1995 by J. Lehmus. All individual works Copyright (c) 1995 by their respective authors. All further rights to works belong to the authors and revert to the authors on publication.

GLOSSOLALIA is published electronically on bi-monthly basis.

GLOSSOLALIA exists presently in two formats:

    GLOS_.TXT - ASCII text
    GLOS_.HTML - Hypertext version for WWW

A brief summary of each issue is available as a hardcopy.

To subscribe to Glossolalia, send an email message with SUBSCRIBE GLOSSOLALIA as subject to: jlehmus@cute.fi

GLOSSOLALIA is also available as a hypertext version on the World Wide Web at:


Reproduction of any complete issue of this publication is permitted. Complete issues of this publication may be downloaded, duplicated and distributed free of charge.

Authors hold a presumptive copyright and they should be contacted directly for permission to reprint individual pieces.

The contributors assume all responsibility for ensuring that the submitted material does not violate copyright conventions.

Submissions: email (text & GIF graphics) and ordinary mail (text) to the editorial addresses.


Communication Irrationalism

CI is an anti-organization devoted to experimenting with communication and mutations of information.

    in*for*ma*tion, ... n. 6. (in communication theory) an indication of the number of possible choices of messages, expressible as the value of some monotonic function of the number of choices, usually log to the base 2. 7. Computer Technol. any data that can be coded for processing by a computer or similar device {also in a biological sense}. [ME: a forming of the mind < ML, L: idea, conception]




learn to fly, by Guido Vermeulen is from his "Greetings from Lewis & Harris" cut-ups.

Aimless Wandering: Chuang Tzu's Chaos Linguistics, by Hakim Bey (Peter Lamborn Wilson) was initially published by XEXOXIAL EDITIONS, 1993.

Defining Chaos, by Mark Chao is from a Web site by Shawn Knight.

Received publications reviewed by J. Lehmus.

Fractal GIFs created with Fractint version 18.2 .




You are here.

Here in this second issue of Glossolalia, the focus is fixed on the ethereal communications' philosophy and (pseudo-) metaphysics, émail ombrant.

This issue is late as I have been too much occupied with my moving to a temporary address in Helsinki. For the same reason, most of the reviews intended for this issue have been left to be published in the next issue.

Submissions, review items, news, announcements, and comments are always welcome.

J. Lehmus

Helsinki, 28 September 1995

    émail ombrant, a technique of ceramic decoration in which a transparent glaze is laid over an intanglio design to produce an illusion of depth.


Guido Vermeulen

learn to fly

Angel's Feathers Whisper
whose primary esthetic strategy
eradicated any trace of

bird's eye view
suited to a discussion of mirrored rooms
utter primal cries as

for him
- not exactly a surprise
its war-traumatized parents
think of the rooms as the inside of his head



Karl Young

After a fragment of Bachylides

    D G E E I A D R P R N G A T L C E Y H S I S S S E A N O O O T T F F F T C W S S H I A U L E T T N E Y E L E L R I P O G O H M T S



Patrick Mullins

    breathe still skin ice sheets ----- borderline home cotton smell sea when



From 10380 Thu Sep 7 20:47:43 1995

Received: from localhost (localhost) by cute.cute.fi (8.6.12/8.6.3) with
internal id UAA11770; Thu, 7 Sep 1995 20:47:41 +0300
Date: Thu, 7 Sep 1995 20:47:41 +0300
From: Mail Delivery Subsystem
Subject: Returned mail: User unknown
Message-Id: <199509071747.UAA11770@cute.cute.fi>
To: jlehmus
MIME-Version: 1.0
Content-Type: multipart/mixed; boundary="UAA11770.810496061/cute.cute.fi"
Status: OR

This is a MIME-encapsulated message


The original message was received at Thu, 7 Sep 1995 20:47:34 +0300
from jlehmus@localhost

----- The following addresses had delivery problems -----
Bliss (unrecoverable error)

----- Transcript of session follows -----
550 Bliss... User unknown

----- Original message follows -----

Content-Type: message/rfc822

Return-Path: jlehmus
Received: (jlehmus@localhost) by cute.cute.fi (8.6.12/8.6.3) id UAA11768; Thu, 7 Sep 1995 20:47:34 +0300
From: Jukka Lehmus
Message-Id: <199509071747.UAA11768@cute.cute.fi>
Subject: Such
To: Bliss, far@medinah.atc.ucarb.com
Date: Thu, 7 Sep 1995 20:47:28 +7516517 (EET DST)
X-Mailer: ELM [version 2.4 PL22]
MIME-Version: 1.0
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit
Content-Length: 322

SUCH THINGS give this man his vague character, these days in his life acted as somewhat speechless frame mentions in this ascension theorems there call this soul in some bliss white genius to accumulate energy inside the living space, breeding, life in the misery of its own humane "high agonies."

J. Lehmus



Crackerjack Kid


1st State:
Is statelessness

statelessness in cyberspace

state of CyberNETics
There are no control processes
no copyrights

Perceive parallel infoflows
imagine flux between mailstream and cyberflow

infoflow is perpetual evolution
is everchangeable
is interchangable
like intermedia
the spaces between media
are inner formless
like a flooding mailstream
mail art merged with e mail

emailart (e 'mal' art) n. a. electronic mail art automatically passed through computer networks and/or via modems over common-carrier lines. Contrast snail-mail, paper-net, voice-net. 2. vt. To send electronic mail art. 3. OED listing as "embossed (with a raised pattern) or arranged in a network." 4. 1480 A.D. email usage : A word derived from French "emmailleure" NETWORK!

The moment has come to declare
mail art has a little to do with the mailed message
and a lot to do with messengers

Letting go is a radical act

The international post is not the medium
The internet is not the medium
If artists control mediums, ie. sculpture, painting, etc.
How does anybody control mailflow?
Do artists rule postal rates?
And who controls cyberspace?
(See 3rdSt)
Mail artists "control" their work before it is mailed
"Most (mail) artists and the public seem to have lost themselves in the game.
They have come to think that making Mail Art means producing postcards"
(U. Carrion quoted in 1983)

mail art is emailart, sometimes
emailart is mail art, sometimes



Crackerjack Kid/Chuck Welch

Cyberstamps: A Neologism

1: In cyberspace:

    1.1) Cyberstamps are stamps

    1.2) Cyberstamps aren't rubberstamps

    1.3) Cyberstamps are stamps without paper

    1.4) Cyberstamps are stamps without perfs

    1.5) Cyberstamps are stamps without tears

    1.6) Cyberstamps are stamps without thins

    1.7) Cyberstamps are stamps without glue

    1.8) Cyberstamps are stamps without watermarks

    1.9) Cyberstamps are stamps without inks

    1.10) Cyberstamps are stamps without cancellations

    1.11) Cyberstamps are stamps without hinges

Cyberstamps breathe like ether

A download purge
spirit to matter
Cyberstamps materialize

and . . .

choices dictate:

(a) paper color; (b) paper size; (c) paper weight; (d) paper texture; (e) paper smell; (f) ink color; (g) ink chroma; (h) ink opacity; (i) ink texture; (j) ink smell; (k) paper with glue; (l) paper without glue; (m) paper with perforations; (n) paper without perforations; (o) cancellations; (p) watermarks; (q) tears; (r) thins . . .

All can be arranged during or after download
random access

Cyberstamps are artiststamps in cyberspace

Cyberstamps are electronic bits and bytes, cancelled, altered, downloaded and uploaded, scanned, and faxed - cyberstamps are processed, exchanged, bartered, digitized, encoded, decoded, detourned, and layered.

Lick a cyberstamp?
Tear a cyberstamp?
Perf a cyberstamp?
Print a cyberstamp?
Why not?

Artistamps: faux post
Cyberstamps: faux post sublime
Neither long for realms of real.
Definitive posts
Commemorative posts
Revenue issues


What is authenticity?
Are stamps like mirror?
Which is genuine?
Which is error, freak, oddity?
Who holds mirrors?
Artist's glass and tong
hinge the tongue
stickless stamps
no gum to
flame the

What is authentic value?
very good?
Centered image very fine in catalogues by scotty dogs
counterfeit blackjacks
upside down jennys
yellow errors and hybrid freaks
cybersnakes, virustamps, hyperstamps
strike in coils
lurk in strips,
hang in pairs

leering blackholes
browsers are voyeurs
servers are predatory

It is the realm of imagination that governs the unorthodox, ephemeral aesthetic of artistamps created by mail artists and emailartists.

To be continued
as concept
as process
as all ways,

crackerjack kid



Guy Bleus

Telecopying in the Eternal Netland

THE WORLD IS A FAX-VILLAGE. After a. the telegram and mailgram, b. the telephone and telex, there is c. the facsimile or telefax. Artefax is more related to telephone(-art) than to mail(-art). Networking or (tele-)communication art is the lowest common denominator.

THE MYTHS OF FACSIMILE. The father of telefax is the Scottish physicist and clockmaker Alexander Bain (1818-1903). His invention of 1843 has been improved by Frederick Collier Blakewell (1847), Giovani Caselli (1865), G. Little (1867), Senlecq de Ardres (1877), Shelford Bidwell (1881), N.S. Amstutz (1892), Buss (1902), Arthur Korn (1904), Edouard Belin (1907), Diekmann (1917), American Telephone & Telegram Company (1924/1925), Western Union (1924), NEC (1927), Wise (1938), Xerox Corporation (& RCA) (1950/1961), the firm of Rudolf Hell (1965), Magnafax-Xerox (1966), Ricoh (1970), etc. Circa 1971 appears the first prototype of a laserfax. During the Eighties the facsimile apparatus spreads worldwide. In 1990 the firms of Sharp and Starsignal present the first prototypes of colortelefax. Meanwhile fax has become an art medium.

FACSIMILE, n. (< L. fac, imperative of facere, to make + simile, like), 1. an exact likeness, reproduction, or copy: abrev. fac.; 2. the transmission an reproduction of printed matter by a process involving the use of radio broadcast, microwave relay or regular telephone lines.; adj. of, or having the nature of, a facsimile; v; t; (-led, - leing), to make a facsimile of. - in facsimile, as an exact likeness.

COPY, (<O. Fr. <ML. copia, copious transcript <L. copia, abundance) A copy has to be truthfully by definition. "10.- 22.-38 ASTORIA" is mostly accepted as the first text in the history of the xerography. It was realized in New York by the American physicist Chester F. Carlson (1906-1968) and his assistant Otto Kornei. Yet the true father of the photocopy should be the German professor Johann Heinrich Schulze who realized the very first photocopy in 1727 in Altdorf (Nürnberg). The fact is that many praiseworthy inventors never will shine in the cruel spotlights of the photocopy-history. Anyway, today anyone can make a photocopy and become an artist at the push of a button. Although copy art & telecopy art have separate technological roots they certainly are artistic networking nephews.

FAX ART, (also called "ART(E)FAX" or telecopy-art) is a logical consequence of the economical revolution of the telefax machine. There are no fax transmissions if nobody can buy a fax apparatus. Telecopy art doesn't respect the same standards as xerography or copy art. The latter is an event. It is the artist who indicates at a particular moment which photocopies are artistic works and which are not. Fax art needs an electronic process. It is tele-communication art. The artist can transmit his or her image or work, but he or she has not the full control over the facsimile equipment of the receiver. So the aesthetic aspects of the faxwork become of secondary importance in comparison with the communicative aspects. In other words a work can only become fax art if it is transmitted.

The first international FAX ART PROJECTS go back to the early Eighties with important projects as THE WORLD IN 24 HOURS (September 27 & 28, 1982) as a part of the ARS ELECTRONICA 1982 organized by Robert (Bob) Adrian, or pARTiciFAX (ELECTRONIC MAIL) (June, 1984) co-ordinated by Peeter Sepp, Lisa Sellyeh, Mary Misner, Michael Bidner, a.o. with participants from Africa, America, Asia, Australia and Europe. In the late Eighties fax becomes an integrated part of the mail-art network. In this respect we can perceive more and more mail-art projects also mentioning a telefax number, so the artists can choose themselves if they want to send their work via post of fax. Many networkers have already curated or organized specific telefax or artefax projects, e.g. ARTPOOL/Galantai, Guy Bleus, Peter Brandt, Paolo Bruscky, Piermario Ciani, Natale Cuciniello, Ko De Jonge, Charles Francois, Mauricio Guerrero, John Held Jr., Giuseppe Iannicelli, Lora Jost, Christian Pfaff, etc. A good advice for fax performances or fax projects is to have permanently more than one fax line open. "Waiting" to have contact seems to be an essential aspect of telefax communication, because the lines are always busy.

The transmitted or received TELECOPY is always an original. The context or intension of the transmission can be false, but a fax does never lie. It is the interaction and result of a spatial and temporal process.

Since fax art is ELECTRONIC mail art one can also transmit "indirect" fax works; X sends a facsimile to Y with the request to transmit it to Z (now Y can add or erase some aspects of the fax before sending it to Z). This is a good and fast method to realize co-artworks in no time.

FAXING can transform the notion of time. By obstructing the "original" (not transmitted) text or image one can influence the duration of the fax transmission. For instance, one can manipulate the telefax machine by withdrawing, stretching, pulling up, pulling further out (a part of) the transmitting pages. Besides these vertical manoeuvres also horizontal (zig-zag, shaking or waving) actions are possible. Moreover the misuse of the electronic apparatus can be repeated. All these operations will affect both the process of the faxtransmission and the transmitted image or work. The latter can also be influences by the interventions on the faxpaper: heating, crumpling up, the use of corrosive liquids, etc. These operations can give wonderful and unexpected results and change the fax process; but of course all these artistic interventions are not highly recommended for the well-being of your telefax machine.

OPPONENTS of telefax as an artistic medium correctly emphasize its shortcomings. Fax is more expensive than postal networking. One can't transmit scents or 3-D objects. Facsimile means selection. One can not receive several faxes at the same time (with only one telefax line); etc. All these remarks ain't without truth, but the problem is that every artistic medium has its own limitations. For instance, mail art is not the proper or adequate medium for a sculptor. So, sculpture is highly selective because a block of marble or blue-stone is more expensive than a fax transmission. But these artforms are beyond comparison and doing so means confusing concepts. Sculpture, film, mail-art, photography, computer art, fax art, etc. are different ways of artistic expression. Possibility, feasibility, money, idiosyncrasy and preference are some of the applicable basic notions in this tasty rhubarb.

From an ideological or ethical point of view all art media mean SELECTION, even the democratic mail-art networking. How many mail artists are there in North Korea, Cambodia, Vietnam, Tibet, Lebanon, Iran, Sudan, or Somalia. Art is freedom and luxury. Fax is fun. It has no "ethical" or "ideological" implications. Except this one: the (electronic) (mail-art) world has become a global village with many "blind spots."

To fax or not to fax is not the question. Faxing or telecopying just adds NEW ELECTRONIC PERSPECTIVES to the existing mail-art activities. The consequences won't cause an inflation of the networking communication or replace the previous mail-art rituals, but exploring all the additional electronic possibilities means a new stimulus for the Eternal Netland.



Hakim Bey

Aimless Wandering - Chuang Tzu's Chaos Linguistics

NOTE. Suggested method for reading the text: extensive quotations from "Chuang Tzu" (translations by A.C. Graham and Burton Watson) are placed as
Appendices after the main essay. You might want to read them before reading the essay, and then refer back to them while reading the essay, when they're referred to in the text.

    The bait is the means to get the fish where you want it, catch the fish and you forget the bait. The snare is the means to get the rabbit where you want it, catch the rabbit and you forget the snare. Words are the means to get the idea where you want it, catch on to the idea and you forget about the words. Where shall I find a man who forgets about words, and have a word with him?

Does Taoism possess a "metaphysics"?

Certainly later Taoism, influenced by Buddhism and Neo-Confucianism, developed elaborate cosmology, ontology, theology, teleology, and eschatology - but can these "medieval accretions" be read back into the classic texts, the Tao Te Ching, the Chuang Tzu, or the Lieh Tzu?

Well, yes and no. Religious Taoism certainly established such a back-reading. But, as J. Needham pointed out 1, The Maoists of our century were able to evolve a marxist reading of Taoism, or at least of the Tao The Ching. No doubt any reading of a "spiritual" text may have some validity (since the spirit is by definition indefinable); the Tao Te Ching has proven especially malleable 2. But Chuang Tzu - it seems to me - not only has no metaphysics, he actually condemns and derides metaphysics.

Supernaturalism and materialism both appear equally funny to him. His only cosmographic principle is "chaos". Oddly enough the only philosophical tool he uses is logic - although it is the logic of dream. He makes no mention of divine principle, or the purpose of being, or personal immortality. He is beyond Good and Evil, sneers at ethics, and even makes fun of yoga.

The Chuang Tzu must surely be unique amongst all religious scripture 3 for its remarkable anti-metaphysics. It qualifies as "revelation" not because it unveils hidden knowledge (from "outside" the self) which is otherwise inaccessible to consciousness - as other scriptures claim to do - but because ious process), one might mention the phrase wei wu wei, "action/non-action."

The universe comes into being spontaneously; as Kuo Hsiang points out 4, the search for a "lord" (or agens) of this creation is an exercise in infinite regress toward emptiness. The Tao is not "God," as some Christian translations still believe. The Tao just happens. On the human scale misery arises solely from the uniquely human ability to fall out of harmony with this Tao: - to not be spontaneous.

Chuang Tzu has no interest in why humans are so inept (no concept of "sin"); his only concern is to reverse the process and "return" to the flow. The "return" is an action; the flow itself is not an action but a state - hence the paradox "action/non-action." The concept of wu wei plays such a central role in Taoism that is survives even in modern religious Taoism as the truth behind all metaphysics and ritual. In the great expiatory and communal rites of cultic Taoism as practised in Taiwan or Honolulu today, at least one person - the priest - must attain union with the Tao, and must do so by a process of voiding his consciousness of all "deities," all metaphysical principles 5. As for so-called ancient "philosophical" Taoism, we might say that it has wu wei instead of metaphysics.

Lao Tzu's goal seems to have been the conversion of the Emperor to Taoism, on the assumption that if the ruler does nothing (wu wei) the empire will run itself spontaneously. Chuang Tzu however shows almost no interest in advising rulers (except to leave him alone!), and his examples of "real humans" are almost always workmen (butchers, cobblers, cooks) or drop-out hermits, or bandits. If Chuang Tzu can be said to advocate a social program - and I'm not sure he does - it certainly has nothing to do with any imperial/bureaucratic/Confucian values or structures. His "program" could be summed up in the phrase AIMLESS WANDERING.

Chuang Tzu is more anarchistic than Lao Tzu - but is he an "anarchist"? I think yes - not because he wants to overthrow the government, but because he believes government impossible; not because he would ever sink so low as to espouse an "ism," but because he sees chaos as the essence of all becoming.

To illustrate this chaos-ontology we could do worse than investigate Chuang Tzu's take on language.

But first let me define a few terms. I call hermetalinguistics the concept that God revealed language and that there exists such a thing as the conveyance of essence through language. This conveyance can be direct (Hebrew and Arabic are languages "spoken" by God) or emanational, as in Neoplatonic linguistics. It can be "hermetic" (or occult, as in Kabbala), or even "meta"-linguistic (as in religious glossolalia, the "charism of tongues") - but in either case it saves language from utter relativity and opacity.

Against this traditional theory of language we moderns have developed a nihilistic linguistics in which words convey nothing of essence and in fact do not really communicate anything except language itself. I trace this current from Nietzsche, to Saussure and his nightmarish experience with the Latin anagrams 6, and eventually to Dada.

A leading exponent of hermetalinguistics today (oddly enough) is N. Chomsky, who (despite his anarchism) believes that language is somehow wired in, although he substitutes DNA for the Platonic archetypes! Whom might we pick as a leading exponent of nihilistic linguistics? How about William Burroughs? (In his honor we might call it "heavymetalinguistics".) Much as I admire the aesthetics of both schools I can "agree" with neither. I find myself wishing (as a "spiritual anarchist") for some language theory which might "save" language from the charge of mere re-presentationalism and alienation. However, I want a theory without teleological excrescences: - no "lord" of language, no categorical imperatives, no determinism, no revelation from "outside" or "above," no genetic coding, no absolute essence. I find it in two places, one "ancient" nicely balanced against one "modern:" - Chuang Tzu, and Chaos Theory.

In part our language troubles arise from the absolute quality assigned to the Word in all western hermetalinguist traditions. Although some western mystics already express distrust in words, they can never - on pain of heterodoxy - question the integrity or finality of God's Word. All western religious thought is based on a sort of sacred nominalism which goes unquestioned till "heresy" calls it momentarily into debate. "Orthodoxy" crushes the rebellion against the Word in its own ranks - and the war against the Word is an underground guerilla campaign carried out primarily within literature, in criticism, and in linguistics - against "religion."

We might learn something useful for our search by looking at a spiritual tradition which begins with a distrust of words and yet still manages to make language perform in a magical way [see Appendix E]. Taoism supplies us with precisely such a radical tradition. "The Tao which can be spoken is not the Tao," begins Lao Tzu. Why then did he write the book at all? Why not stick to the silence where all language eventually vanishes, right from the start? One might answer that such a project would amount to precisely the sort of refusal to go with the flow which Taoism most despises. Humans talk, so Taoists talk. This answer might suffice - but a much more interesting response is given by Chuang Tzu.

"Saying is not blowing breath, saying says something," Chuang Tzu asserts - but "the only trouble is that what it says is never fixed. Do we really say something? Or have we never said anything?" A writer of the School of Chuang Tzu discusses what he calls "ward and sector words" 7, by which he means the sorting and classifying functions of language. (The metaphor refers to the wards and sectors of the grid-arrangement of Chinese cities; and it's worth noting that the very earliest cities, such as Jericho and Catal Huyuk were laid out on strict grid-lines.) This aspect of language is not "the Way," and at worst can become a "chopping to bits and disputing over alternatives." But it is also not not-the-Way. Some paradoxical stance between saying and not-saying is called for, because "the man who perceives the Way does not pursue [names] to where they vanish or explore the source from which they arise," for "this is the point where discussion stops." "There is a name," but also "there is no name."

    In what is neither speech nor silence
    May discussion find its ultimate

Chuang Tzu distinguishes three kinds of speech. An appended commentary by one of the original editors of the book (whom A.C. Graham calls the "Syncretists") asserts that all three kinds are used by Chuang Tzu himself.

First there is "saying from a lodging-place" [see Appendix D]. Inasmuch as language is arbitrary one may occupy any position or use any definitions to expound the Way. The old editor says Chuang Tzu thought this kind of verbal situationism broadened the scope or "widened the range," i.e. that it could be used to open up ordinary mind to the non-ordinary and meta-verbal Tao. In fact, it works "nine times out of ten," says Chuang Tzu. "Weighted saying works seven times out of ten"; - this is the aphorism, the statement made on authority, spoken from a position "ahead of others" - and "to be a man without the resources to be ahead of others is to be without the Way of Man, and a man without the Way of Man is to be called an obsolete man." Both lodging-place and weighted language would appear to belong to the category of ward-and-sector words. Chuang Tzu's third category clearly interests him the most, since he describes it at the greatest length. He calls it "Spillover saying", and comments that it "is new every day. Smooth it out on the whetstone of Heaven. Use it to go by and let the stream find its own channels."

Since language is arbitrary, and the sage knows it, he (or she - for many Taoists were women, including Lao Tzu's legendary teacher) knows that "in saying he says nothing." And yet paradoxically by knowing this and in fact by "refusing to say," the sage "says without saying" and "refuses to say without ever failing to say." How can this be?

When Chuang Tzu says that "the myriad things [i.e. the signifieds] are all the seed from which they grow," I assume that "they" refers to words, to signs, and that he does assert some link between the two categories, despite his (paradoxical) counter-assertion that no such connection can be found. The connection cannot be found (expressed by words) because

    in unlike shapes they abdicate in turn,
    with ends and starts as in a ring

that is, "things" themselves are ontologically fluid and protean, unfixed. If you mark a wheel and then spin it,

    none grasps where to mark the grades,

and all becomes a blur. As for this flux-state of sign and signifies,

or "the whetstone of Heaven" on which the sage is advised to "smooth out" or polish his speech. Without this understanding, "who could ever keep going for long?" What decent Taoist could ever speak at all, much less meaningfully? But because language, by this understanding, becomes "new every day" 8, the sage is finally stunned or stultified by the arbitrariness and relativity of language, by its failure, but is refreshed and revivified by its freedom.

The most important clue to understanding this teaching about language is in the image, "Spillover". Graham says it refers to a vessel which tips over when filled to the brim, then rights itself, like one of those little oriental dolls which are legless and weighted at the bottom , so that they always pop back up when you try to knock them over. These dolls by the way are shaped like gourds and were probably originally made from gourds. The gourd is a symbol of Chaos, "Mr Hun-T'un," described in the famous passage of the Inner Chapters 9. Could the original "Spillover" vessel also have been a gourd, and thus associated in Chuang Tzu's mind with Chaos? In Chinese myth 10 Chaos is not a figure of Evil (as in most western mythology), but is instead full of potential, benevolent if somewhat eerie, the ultimate force and source of all creation, of the "myriad things" like the seeds in a gourd or the chopped-up goodies in a won-ton (hun-t'un), or the water in a spillover-vessel which flows out, letting each stream find its own channel, fertilizing the earth, bringing everything into becoming.

The vessel could refer to the Sage, who spontaneously "overflows" with words, illumined words. The words find their meanings (channels) spontaneously, according to the language-state of the listener, the reader. And then spontaneously the Sage pops upright and is filled again, and each day overflows again. A chaotic process - but one from which meaning comes into being. (Moreover, one can become practised at this conjuring-act, polished, "smooth".)

The vessel could refer not only to the sage but even more to the words themselves. A word, which in itself is arbitrary and meaningless, spontaneously fills up and overflows with meaning. The meaning is not fixed, but it is not mere "blowing breath," not just a semantic raspberry, bllllattt. The vessel fills up and empties again and again - save vessel, but potentially a new meaning each day. So the word contains more meaning that it appears to nominate or denominate. There is something more, something extra in the word. There are words beneath (or upon) the words, which flow out spontaneously and find their channels, their expression, their use in a given situation. "Taoist Poetics."

Thus, beginning with total linguistic relativism, Chuang Tzu ends with a sort of metalinguistics. Spillover words do not ward and sector, They play. They contain more than they contain - therefore, like the famous cleaver which never needs sharpening because the Taoist butcher can pass it between all tendons and joints, the Spillover word "finds its proper channel." The sage does not become trapped in semantics, does not mistake map for territory, but rather "opens things up to the light of Heaven" by flowing with the words, by playing with the words. Once attuned to this flow, the sage need make no special effort to "illumine," for language does it by itself, spontaneously. Language spills over.

Now recall that Saussure was studying the Latin anagrams, and that he found the key words of the poems spilling over into other words. Syllables of characters' names for example are echoed in the words describing those characters. At first the founder of modern linguistics considered these anagrams as conscious literary devices. Little by little however it became apparent that such a "reading" would not hold. Saussure began to find anagrammatc spillovers everywhere he looked - not only in all Latin poetry, but even in prose. He reached the point where he couldn't tell if he was experiencing a linguistic hallucination or a divine revelation. Anagrams everywhere! Language itself a net of jewels in which every gem reflects all others! He wrote a letter to a respected academic Latinist who had composed Latin odes - poems in which Saussure had detected anagrams. Tell me, he begged, are you the heir to secret tradition handed down from Classical antiquity - or are you doing it unconsciously? Needless to say, Saussure received no answer. He stopped his research abruptly with a sensation of vertigo, trembling on the abyss of pure nihilism, or pure magic, terrified by the implications of a language beyond language, beyond sign/content, langue/parole. He stopped, in short, precisely where Chuang Tzu begins.

    Words are like wind and water.
    (Burton Watson trans., p. 57)

The invisible/conceptual gourd which activates or circulates spillover language can also be compared with the strange attractor in modern chaos theory. The strange attractor is a real but non-material patterning that exists only in the action it informs. Think for example a swirl of smoke in the air. Who doesn't the smoke simply dissipate evenly, like a mathematical gas? Why are there patterns in it? Strange attractors are "attracting" the particles of smoke into those vegetal undulations, just as planets are attracted into orbits, or cells are attracted into a lizard's ass to replace a cut-off tail. Strange attractors activate "order out of chaos" (in Ilya Prigogine's phrase). Attractors animate "random" matter into coherent shapes - but in reality the attractor only "exists" in the material process itself. The attractor can serve not only as a model for morphogenesis but even for evolution itself. Prigogine's "creative evolution" depends neither on the blind "random mutations" of the neo-Darwinians, nor on the entelechy or vitalism of the Creationists. With chaos theory, the "Third Mind" has entered the equation, Michel Serres' "parasite." One might coin the term "Taoist dialectics" to describe the action of this tertium quid, which bears so uncanny a resemblance to the Strange Attractor, the "catastrophe machine." In the yin-yang disc the lozenge of dark contains a seed of light, and vice versa; moreover the areas are not separated by the straight line of Dualism, but rather by the snaky sinuous curved ambiguous line of dyadic movement. Western dialectics analyzes in order to synthesize, whereas Taoist dialectics begins with synthesis in order to analyze.

If words can be compared to matter - (and why not, given their equally dubious ontological status?!) - and "grammar" can be compared to the Strange Attractors (patterns which are "real" but only "come into existence" in the presence of words and are only "real" in the words), then we may also compare Chuang Tzu's Spillover Linguistics with the chaos theory of such mages as Progogine and Ralph Abraham, and launch the science (or pseudoscience) of chaos linguistics. This useful fiction will be born under the sign of what Feyerabend called "anarchist" (or dada) epistemology" - a kind of anti-Method already dreamed by Chuang Tzu, and central to our project.

In religious Taoism the deity of automatic or "spirit"-writing, Tzu-Ku-Shen, is also the goddess of the latrine 11 - thus calling up the image of magical language as a kind of caca-phony or defecatory chaos which somehow manages to convey meaning - (reminiscent of the paradox known to Information Theory in which "noise" can be "richer" in "information" than certain ordered codes). In time Tzu Ku came to preside over a panoply or Immortals who wield the magic inkbrush of "flying phoenix" through human mediums. Usually women, as in western spiritualism, they act as amanuensis to the spooks, and have transmitted to everything from garbage to canonical scripture. (Mao Shan Taoism was founded in this way, by two mediums channeling a dead woman sage under the influence of hemp incense.) An 11th century author named Shen Ku describes the process under the evocative title Dream Torrent Essays - a sweeping away of daylight consciousness in a wave of hypnogogia.

A great dead of Taoist scripture, both Canonical and heterodox, has been produced in this way. Some of it is "found," like the tantrik Tibetan "treasure"-text (terma), encased in solid rock or living wood, or under water, or in other impossible places. An entire order of Tibetan treasure-finders devotes itself to the lore and discovery of such text. Some Taoist texts are not composed in human language or writing, but in the "tadpole" or "cloud"-script of the spirits. An immense amount of language has spilled over from the Cinnabar Grottos of the Immortals into our world. While vulgar materialists may content themselves with scolding at the provenance of this huge indigestible heap of writing, we might prefer simply to marvel at the sheer overwhelming plentitude, superabundance, and generosity of reality itself, which seems to conspire with us in all our maddest japes. As Nietzsche and Bataille have suggested, the myth of scarcity is merely a means of control through immiseration, whereas the actual nature of the world is one of absolute fullness, indeed over-fullness, spilling over as constant excess. In language, this over-supply of meaning proves too big to be handles by human consciousness; hence the intervention of the spirits, the "muses" and other extra-conscious sources. Taoist writing serves as a monument to the "generosity of being" or the ever-flowing overflow of the cornucopious Tao. At its most chaotic and ambiguous peak of expression, it "saves" language itself - both from the tyranny of any "lord," and from the abyss of aloneness.


APPENDIX A - Kuo Hsiang

Pipes and flutes differ in length and the various notes differ in pitch. Hence the multiplicity and complexity of long and short, low and high, tones. Although tones vary in a thousand ways, the principle of their natural endowment is the same.

The music of Nature is not an entity existing outside of things. The different apertures, the pipes and flutes and the like, in combination with all living beings, together constitute Nature. Since non- being is non-being, it cannot produce being. Before being itself is produced, it cannot produce other beings. Then by whom are things produced? Thy spontaneously produce themselves, that is all. By this is not meant that there is an 'I.' The 'I' is-self-existent. Because it is so by itself, we call it natural. Everything is what is by nature, not through taking any action. Therefore [Chuang Tzu] speaks in terms of nature. The term Nature (literally 'Heaven') is used to explain that things are what they are spontaneously, and not to mean the blue sky. Now, Nature cannot even possess itself. How can it possess things? Nature is the general name for all things. Nature does not set its mind for or against anything. Who is the master to make things obey? Therefore all things exist by themselves and come from Nature. This is the Way of Heaven.

Everything is natural and does not know why it is so. The further things differ in physical form, the further they are alike in being natural... Heaven and Earth and the myriad things change and transform into something new every day and so proceed with time. What causes them? They do so spontaneously... What we call things are all what they are by themselves; they did not cause each other to become so. Let us then leave them alone and principle will be perfectly realized. The ten thousand things are in ten thousand different conditions, and move forward and backward differently, as if there is a True Lord to make them do so. But if we search for evidences for such a True Lord, we fail to find any. We should understand that things are all natural and not caused by something else.

'This' and 'that' oppose each other but the sage is in accord with both of them. Therefore he who has no deliberate mind of his own is silently harmonized with things and is never opposed to the world. This is the way to occupy the central position and to be in union with the profoundly mysterious ultimate in order to respond with things from any direction they may come.




Saying is not blowing breath, saying says something; the only trouble is that what it says is never fixed. Do we really say something? Or have we never said anything? If you think it different from the twitter of fledgelings, is there proof of the distinction? Or isn't there any proof? By what is the Way hidden, that there should be a genuine or a false? By what is saying darkened, that sometimes 'That's it' and sometimes 'That's not'? Wherever we walk how can the Way be absent? Whatever the standpoint how can saying be unallowable? The Way is hidden by formation of the lesser, saying is darkened by its foliage and flowers. And so we have the 'That's it, that's not' of Confucians and Mohists, by which what is it for one of them for the other is not, what is not for one of them for the other is? If you wish to affirm what they deny and deny what they affirm, the best means is illumination.

No thing is not 'other,' no thing is not 'it.' If you treat yourself too as 'other' they do not appear, if you know of yourself you know of them. Hence it is said:

the opinion that 'it' and 'other' are born simultaneously. However,

    simultaneously with being alive one dies,

and simultaneous with dying one is alive, simultaneously with being allowable something becomes unallowable and simultaneously with being unallowable it becomes allowable. If going by circumstance that's it then going by circumstance that's not, if going by circumstance that's not then going by circumstance that's it. This is why the sage does not take this course, but opens things up to the light of Heaven; his too is a 'That's it' which goes by circumstance.

What is It is also Other, what is Other is also It. There they say 'That's it, that's not' from one point of view, here we say 'That's it, that's not' from another point of view. Are there really It and Other? Or really no It and Other? Where neither It not Other finds its opposite is called the axis of the Way. When once the axis is found at the center of the circle there is no limit to responding with either, on the one hand no limit to what is it, on the other no limit to what is not. Therefore I say: 'The best means is Illumination.' Rather than use the meaning to show that

    the meaning is not the meaning,

use what is not the meaning. Rather than use a horse to show that

    a horse is not a horse

use what is not a horse. Heaven and earth are the one meaning, the myriad things are the one horse.

NOTE: There are extant essays by the Sophist Kung-sun Lung arguing that 'A white horse is not a horse' and 'When no thing is not the meaning the meaning is not the meaning.' Chuang Tzu thinks he was wasting his time; since all disputation starts from arbitrary acts of naming, he had only to pick something else as the meaning of the word, name something else 'horse,' and than for him what the rest of us call a horse would not be a horse.

(The same passage from Burton Watson's translation, Chuang Tzu: Basic Writings [New York, Columbia University Press, 1964], pp. 34-35)

Words are not just wind. Words have something to say. But if what they have to say is not fixed, then do they really say something? Or do they say nothing? People suppose that words are different from the peeps of baby birds, but is there any difference, or isn't there? What does the Way rely upon, that we have right and wrong? How can the Way go away and not exist? Haw can words exist and not be acceptable? When the Way relies on little accomplishments and words rely on vain show, then we have the rights and wrongs of the Confucians and Mo-ists. But if we want to right their wrongs and wrong their rights, the best thing to use is clarity.

Everything has its 'that,' everything has its 'this.' From the point of view of 'that' you cannot see it, but through understanding you can know it. So I say, 'that' comes out of 'this' and 'this' depends on 'that' - which is to say that 'this' and 'that' give birth to each other. But where there is birth there must be death; where there is death there must be birth. Where there is acceptability there must be unacceptability; where there is unacceptability there must be acceptability. Where there is recognition of right there must be recognition of wrong; where there is recognition of wrong there must be recognition of right. Therefore the sage does not proceed in such way, but illumines all in the light of Heaven. He too recognizes a 'this,' but a 'this' which is also a 'that,' a 'that' which is also a 'this.'



APPENDIX C - The "Know-little" Dialogue

Know-little asked the Grand Impartial Reconciler,

"What is meant by ward and sector words?"

"A ward and sector establishes it as customary to take ten surnames, a hundred given names together. It joins together the different and treats them as similar, disperses the similar and treats them as different. Now the fact that when you point out from each other the hundred parts of a horse you do not find the horse, yet there the horse is, tethered in front of you, is because you stand the hundred parts on another level to call them 'horse.' For the same reason, a hill or mountain accumulates the low to become the high, the Yangtse and the Yellow River join together the small to become the big, and the Great Man joins together the partial to become impartial. This is why for influences from outside he has an appropriator which makes them his own, and he does not cling to one or another; and for outgoings from within he has a regulator which sets them in the true direction, so that others do not resist them, The four seasons have weathers proper to them; Heaven does not favour one rather than another, and so the year completes its course. The Five Bureaux have tasks proper to them; the prince is not partial to one or another, and so the state is ordered. Peace and war have abilities proper to them; the Way is not partial to one or another, and so does not have the name of one rather than another, and so does not do one thing rather than another, and in doing nothing there is nothing it does not do.

"Times have an end and a start, ages have their alterations and transformations. Fortune and misfortune arrive mingled inextricably, and in flouting one thing they suit something else. Each thing pursues the direction proper to it, and on its true course from one viewpoint is deviant from another. Compare them to the wide woodland, where all the hundred timbers have their own measures; or take a full view of the great mountain, where trees and rocks share the same base. Such are what one means by ward and sector words."'

"If so, is it adequate to call that the 'Way'?"

"No. Suppose you were counting off the number of things you would not stop at one myriad, yet we specify them as the myriad things, for we use a high number as a label for what we are counting towards. Similarly, heaven and earth are the greatest of shapes, and Yin and Yang the greatest of energies, and 'Way' covers both of them impartially; if we are utilising the greatest of them to label what we continue towards, that is allowable, but once we have it, can we treat is as comparable with anything else? Then if we use it in chopping to bits and disputing over alternatives, and treat it as analogous with the logician's 'dog' or 'horse,' it will be much less adequate than they are."




Saying from a lodging-place works nine times out of ten, weighted saying works seven times out of ten. Spillover saying is new every day, smooth it out on the whetstone of Heaven.

"Saying from a lodging-place works nine times out of ten" - You borrow a standpoint outside in order to sort a matter out. A father does not act as marriage broker for his own son; a father praising his son does not impress as much as someone not the father. The blame for the standpoint is not on me, the blame is on the other man. If my standpoint is the same as his he responds, if it is not he turns the other way. What agrees with his standpoint he approves with a 'That's it' which deems, what disagrees he rejects with a 'That's not' which deems.

"Weighted saying works seven times out of ten" - It is what you say on your own authority. This is a matter of being venerable as a teacher. To be ahead in years, but without the warp and woof and root and tip of what is expected from the venerable in years, this isn't being ahead. To be a man without the resources to be ahead of others is to be without the Way of Man; and a man without the Way of Man is to be called an obsolete man.

"Spillover saying is new every day, smooth it out on the whetstone of Heaven" - Use it to go by and let the stream find its own channels, this is the way to last out for years. If you refrain from saying, everything is even; the even is uneven with saying, saying is uneven with the even. Hence the aphorism 'In saying he says nothing.' If in saying you say nothing, all your life you say without ever saying, all your life you refuse to say without ever failing to say.

What from somewhere is allowable from somewhere else is unallowable, what from somewhere is so from somewhere else is not so. Why so? By being so. Why not so? By being not so. Why allowable? By being allowable. Why unallowable? By being unallowable. It is inherent in the thing that somewhere that's so of it, that from somewhere that's allowable of it; of no thing that is not so, of no thing is it unallowable. Without "Spillover saying is new every day, smooth it out on the whetstone of Heaven," who could ever keep going for long? The myriad things are all the seed from which they grow:

The "Potter's Wheel of Heaven" is the whetstone of Heaven.

"The Way cannot be treated as Something, or as Nothing either. "Way" as a name is what we borrow to walk it. "Something causes it" and "Nothing does it" are at single corners of the realm of things; what have they to do with the Great Scope? If you use words adequately, however much you say it is all about the Way; if inadequately, however much you say it is all about the realm of things. The ultimate both of the Way and of things neither speech nor silence is adequate to convey.

    In what is neither speech nor silence
    May discussion find its ultimate.



Archer Yi was skilled in hitting a minute target but clumsy in stopping others from praising himself. The sage is skilled in what is Heaven's but clumsy in what is man's. To be skilled in what is Heaven's and deft in what is man's, only the perfect man is capable of that. Only the animal is able to be animal, only the animal is able to be Heaven's. The perfect man hates Heaven, hates what is from Heaven in man, and above all the question "Is it in me from Heaven or from man?"

NOTE: Chuang Tzu generally either exalts Heaven or denies the dichotomy of Heaven and man, and to find him siding with man is so extraordinary that many try to force another meaning out of the passage. But on closer consideration one sees that to get to grips with his last and most obstinate dichotomy in his thought Chuang Tzu would be driven to seed as angle from which Heaven is the wrong one of the pair, to balance the only too familiar angle from which it is the right one. One cannot in the last resort distinguish the work of Heaven and of the man in the skilled spontaneity of the Taoist of the craftsman; if one tries, what is left as Heaven's is the purely animal, and from this point of view it is wrong to prefer Heaven.



APPENDIX F (B. Watson trans., p. 95)

The emperor of the South Sea was called by Shu [Brief], the emperor of the North Sea was called Hu [Sudden], and the emperor of the central region was called Hun-tun [Chaos]. Shu and Hu from time to time came together for a meeting in the territory of Hun-tun, and Hun-tun treated them very generously. Shu and Hu discussed how they could repay his kindness. "All men," they said, "have seven openings so they can see, hear, eat, and breathe [presumably the original text adds, "and shit"]. But Hun-tun alone doesn't have any. Let's try boring him some!"

Every day they bored another hole, and on the seventh day Hun-tun died.




1 Once again I find myself at Dreamtime Village without my library, and so can supply only a few clues from a faulty memory concerning bibliography. J. Needham is the author of Science and Civilization in China; this reference is probably from Vol. 5. ^

2 Hence the endless and tedious "new" translations of the Tao Te Ching which pass for "Taoist studies" in the West, and as the late E. Schaffer lamented, take place of real research into the enormous and virtually untapped Taoist Canon. ^

3 The "Inner Chapters" of the Chuang Tzu, the portions supposedly written by Chuang Tzu himself, are considered canonical in Mao Shan Taoism, among other sects. ^

4 See Appendix A. ^

5 On modern ritual Taoism, see the marvellous works of M. Saso, especially The Taoist Teachings of Master Chuang, and Cosmic Rite. ^

6 See Words Beneath the Words, by Jean Starobinski. More on this later ^

7 See Appendix C. ^

8 Ezra Pound believed that "Make it new" was a Confucian slogan, but the sentimental is quintessentially Taoist. ^

9 See Appendix F. ^

10 See N.J. Giradot, Myth and Meaning in Early Taoism: The Theme of Chaos (hun-t'un). ^

11 This is from a book on Chinese spirit-writing called The Flying Phoenix; unfortunately I forget the author's name. ^



Mark Chao

Defining Chaos


Chaos, according to the Oxford English Dictionary means:

1. A gaping void, yawning gulf, chasm, or abyss.

2. The "formless void" of primordial matter, the "great deep" or "abyss" out of which the cosmos or order of the universe was evolved.

There are a couple of additional definitions, but they are irrelevant to this discussion. When chaos is used in magic, there is no place for confusion or disorder.

Chaos is the creative principle behind all magic. When a magical ritual is performed, regardless of "tradition" or other variables in the elements of performance, a magical energy is created and put into motion to cause something to happen. In his book, Sorcery as Virtual Mechanics, Stephen Mace cites a scientific precedent for this creative principle.

I quote:

    To keep it simple, let us confine our example to just two electrons, the pointlike carriers of negative charge. Let us say they are a part of the solar wind - beta particles, as it were - streaming out from the sun at thousands of miles a second. Say that these two came close enough that their negative charges interact, causing them to repel one another. How do they accomplish this change in momentum?

    According to quantum electrodynamics, they do it by exchanging a "virtual" photon. One electron spawns it, the other absorbs it, and so do they repel each other. The photon is "virtual" because it cannot be seen by an outside observer, being wholly contained in the interaction. But it is real enough, and the emission and absorbtion of virtual photons is how the electromagnetic interaction operates.

    The question which is relevant to our purpose here is where does the photon come from. It does not come out of one electron and lodge in the other, as if it were a bullet fired from one rock into another. The electrons themselves are unchanged, except for their momenta. Rather, the photon is created out of nothing by the strain of the interaction. According to current theory, when the two electrons come close their waveforms interact, either cancelling out or reinforcing one another. Waveforms are intimately tied to characteristics like electric charge, and we could thus expect the charges on the two electrons to change. But electron charge does not vary; it is always 1.602 x (-19) coulombs. Instead the virtual photons appear out of the vacuum and act to readjust the system. The stress spawns them and by their creation is the stress resolved.

Austin Spare understood this principle in regard to magical phenomena long before scientists discovered photons or began experiments in the area of chaos science.

Austin Osman Spare - some history

Austin Spare was born at midnight, Dec. 31st, 1886 in a London suburb called Snow Hill. His father was a London policeman, often on night duty.

Spare showed a natural talent for drawing at an early age, and in 1901-1904 left school to serve an apprenticeship in a stained-glass works, but continued his education at Art College in Lambeth. In 1904 he won a scholarship to the Royal College of Art. In that year he also exhibited a picture in the Royal Academy for the first time.

In 1905 he published his first book, Earth Inferno. It was primarily meant to be a book of drawings, but included commentaries that showed some of his insight and spiritual leanings. John Singer Sargent hailed him as a genius at age 17. At an unspecified time in his adolescence, Spare was initiated into a witch cult by a sorceress named Mrs. Patterson, whom Spare referred to as his "second mother". In 1908 he held an exhibition at Bruton Gallery. In 1910 he spent a short time as a member of the Golden Dawn. Becoming disenchanted with them, he later joined Crowley's Argentium Astrum. The association did not last long. Crowley was said to have considered Spare to be a Black Magician. In 1909 Spare began creation of the Book of Pleasure.

In 1912 his reputation was growing rapidly in the art world. In 1913 he published the Book of Pleasure. It is considered to be his most important magical work, and includes detailed instructions for his system of sigilization and the "death postures" that he is well known for. 1914-1918 he served as an official warartist. He was posted to Egypt which had a great effect on him. In 1921, he published Focus of Life, another book of drawings with his unique and magical commentaries. 1921-1924 Spare was at the height of his artistic success, then, in 1924 he published the Anathema of Zos, in which he effectively excommunicated himself from his false and trendy artistic "friends" and benefactors. He returned to South London and obscurity to find the freedom to develop his philosophy, art and magic.

In 1947 Spare met Kenneth Grant and became actively involved with other well-known occultists of the period. In 1948-1956 he began work on a definitive Grimoire of the Zos Kia Cultus, which is referred to in his various writings. This is unfinished and being synthesized from Spare's papers by Kenneth Grant, who inherited all of Spare's papers. Much of this information was included in Images and Oracles of Austin Osman Spare by Kenneth Grant, but there are some unpublished works which Grant plans to publish after completion of his Typhonian series.

References for this section are mostly from Christopher Bray's introduction to The Collected Works of Austin Osman Spare and from Excess Spare, which is a compilation by The Temple Ov Psychic Youth of photocopied articles about Spare from various sources.

The Magic of Austin Osman Spare

Spare's art and magic were closely related. It is reputed that there are messages in his drawings about his magical philosophy. One particular picture of Mrs. Patterson has reportedly been seen to move; the eyes opening and closing. Spare is best known for his system of using sigils. Being an artist, he was very visually oriented.

The system basically consists of writing down the desire, preferably in your own magical alphabet, eliminating all repeated letters, then forming a design of the remaining single letters. The sigil must then be charged. There is a variety of specific ways to do this, but the key element is to achieve a state of "vacuity" which can be done through exhaustion, sexual release or several other methods.

This creates a "vacuum" or "void" much like the condition described in the introduction to this discussion, and it is filled with the energy of the magician. The sigil, being now charged, must be forgotten so that the sub-conscious mind may work on it without the distractons and dissipation of energy that the conscious mind is subject to. Spare recognized that magic comes from the sub-conscious mind of the magician, not some outside "spirits" or "gods".

Christopher Bray has this to say about Spare's methods in his introduction to The Collected Works of Austin Osman Spare:

    So in his art and writing, Spare is putting us in the mood; or showing by example what attitude we need to adopt to approach the "angle of departure of consciousness" in order to enter the infinite. What pitch of consciousness we need to gain success.
One must beware making dogma, for Spare went to great pains to exclude it as much as possible to achieve success in his magic; however a number of basic assumptions underpin chaos magic.

Chaos is the universal potential of creative force, which is constantly engaged in trying to seep through the cracks of our personal and collective realities. It is the power of Evolution/Devolution.

Shamanism is innate within every one of us and can be tapped if we qualify by adjusting our perception/attitude and making our being ready to accept the spontaneous. Achieving Gnosis, or hitting the "angle of departure of consciousness and time", is a knack rather than a skill.

There are other methods to utilize the same concept that Spare explains for us. Magicians since Spare have written about their own methods and expantions of his method quite frequently in occult magazines, mostly in Great Britain. Spare is certainly not the first person in history to practice this sort of magic, but he is the one who has dubbed it (appropriately), Chaos.

Chaos since A.O.S.

Austin Spare died May 15, 1956, but his magic did not die with him. There have been select groups of magicians practicing versions of Chaos ever since, especially in Northern England and Germany. In the late 1970's, Ray Sherwin was editor and publisher of a magazine called The New Equinox. Pete Carroll was a regular contributor to the magazine, and together, due to dissatisfaction with the magical scene in Britain at the time, they formed the "Illuminatos Of Thanateros". They advertised in New Equinox and a group formed. Part of the intention of the group was to have an Order where degrees expressed attainment rather than authority, and hierarchy beyond just organizational requirements was non-existent.

At some point, about 1986, Ray Sherwin "excommunicated himself" because he felt that the Order was slipping into the power structure that he had intended to avoid with this group, and Pete Carroll became known as the leader of "The Pact". The IOT continues to thrive and is identified as the only international Chaos organization to date. The IOT has also spread to America, and has headquarters in Encino, California and Atlanta, Georgia.

There are smaller groups of Chaos practitioners, as well as individuals practicing alone. Chaos since Spare has taken on a life of its own. It will always continue to grow, that is its nature. It was only natural that eventually the world of science would begin to discover the physical principles underlying magic, although the scientists who are making these discoveries still do not realize that this is what they are doing. It is interesting that they have had the wisdom to call it chaos science...

Chaos Science

Modern chaos science began in the 1960's when a handful of open-minded scientists with an eye for pattern realized that simple mathematical equations fed into a computer could model patterns every bit as irregular and "chaotic" as a waterfall. They were able to apply this to weather patterns, coastlines, all sorts of natural phenomena. Particular equations would result in pictures resembling specific types of leaves, the possibilities were incredible. Centers and institutes were founded to specialize in "non-linear dynamics" and "complex systems." Natural phenomena, like the red spot of Jupiter, could now be understood. The common catch-terms that most people have heard by now; strange attractors, fractals, etc., are related to the study of turbulence in nature. There is not room to go into these subjects in depth here, and I recommend that those who are interested in this subject read Chaos: Making a New Science by James Gleick and Turbulent Mirror by John Briggs & F. David Peat.

What we are concerned with here is how all this relates to magic. Many magicians, especially Chaos Magicians, have begun using these terms, "fractal" and "strange attractor", in their everyday conversations. Most of those who do this have some understanding of the relationship between magic and this area of science. To put it very simply, a successful magical act causes an apparantly acausal result. In studying turbulence, chaos scientists have realized that apparantly acausal phenomena in nature are not only the norm, but are measurable by simple mathematical equations. Irregularity is the stuff life is made of. For example, in the study of heartbeat rhythms and brain-wave patterns, irregular patterns are measured from normally functioning organs, while steady, regular patterns are a direct symptom of a heart attack about to occur, or an epileptic fit. Referring back again to "virtual" photons, a properly executed magical release of energy creates a "wave form" (visible by Kirlian photography) around the magician causing turbulence in the aetheric space. This turbulence will likely cause a result, preferably as the magician has intended. Once the energy is released, control over the phenomena is out of the magician's hands, just as once the equation has been fed into the computer, the design follows the path set for it.

The scientists who are working in this area would scoff at this explanation, they have no idea that they are in the process of discovering the physics behind magic. But then, many common place sciences of today, chemistry for example, were once considered to be magic. Understanding this subject requires, besides some reading, a shift in thinking. We are trained from an early age to think in linear terms, but nature and the chaos within it are non-linear, and therefore require non-linear thinking to be understood. This sounds simple, yet it reminds me of a logic class I had in college. We were doing simple Aristotelian syllogisms. All we had to do was to put everyday language into equation form. It sounds simple, and it is. However, it requires a non-linear thought process. During that lesson over the space of a week, the class size dropped from 48 to 9 students. The computer programmers were the first to drop out. Those of us who survived that section went on to earn high grades in the class, but more importantly, found that we had achieved a permanent change in our thinking processes. Our lives were changed by that one simple shift of perspective.

Chaos science is still in the process of discovery, yet magicians have been applying its principles for at least as long as they have been writing about magic. Once the principles of this science begin to take hold on the thinking process, the magician begins to notice everything from the fractal patterns in smoke rising from a cigarette to the patterns of success and failure in magical workings, which leads to an understanding of why it has succeeded or failed.

Defining Chaos Magic

Chaos is not in itself, a system or philosophy. It is rather an attitude that one applies to one's magic and philosophy. It is the basis for all magic, as it is the primal creative force. A Chaos Magician learns a variety of magical techniques, usually as many as s/he can gain access to, but sees beyond the systems and dogmas to the physics behind the magical force and uses whatever methods are appealing to him/herself. Chaos does not come with a specific Grimoire or even a prescribed set of ethics. For this reason, it has been dubbed "left hand path" by some who choose not to understand that which is beyond their own chosen path. There is no set of specific spells that are considered to be "Chaos Magic spells". A Chaos Magician will use the same spells as those of other paths, or those of his/her own making. Any and all methods and information are valid, the only requirement is that it works. Mastering the role of the sub-conscious mind in magical operations is the crux of it, and the state called "vacuity" by Austin Osman Spare is the road to that end. Anyone who has participated in a successful ritual has experienced some degree of the "high" that this state induces.

An understanding of the scientific principles behind magic does not necessarily require a college degree in physics (although it wouldn't hurt much, if the linear attitude drilled into the student could be by-passed), experience in magical results will bring the necessary understanding.

This series is directed toward the increasing numbers of people who have been asking, "What is Chaos Magic?" It is very basic and by no means intended to be a complete explanation of any of the elements discussed. Many of the principles of magic must be self-discovered, my only intent here is to try to define and pull together the various elements associated with Chaos Magic into an intelligible whole. For those who wish to learn more about this subject I have prepared a suggested reading list for the last section, however, I must emphasize that there are always more sources than any one person knows about, so do not limit yourself to this list. Chaos has no limits...

For Further Reading:

The Book Of Pleasure by Austin Osman Spare
Anathema Of Zos by Austin Osman Spare
A Book Of Satyrs by Austin Osman Spare
Images and Oracles of Austin Osman Spare by Kenneth Grant

The Early Work of A.O.S.
Excess Spare
Stations In Time

These three are collections available through TOPY.

Available from most bookstores (at least by special order):
Chaos: making a new science by James Gleick
Turbulent Mirror by John Briggs & F. David Peat
Liber Null & Psychonaut by Peter J. Carroll
Practical Sigil Magick by Frater U.D.



Shozo Shimamoto Voted Chairman of the Japan Association of Art and Culture for the Disabled

In March this year, I was voted chairman of the Japan Association of Art and Culture for the Disabled, an organization founded by the "Tanpopo House", Japan's largest association for the disabled.

In 1994, I had a book called "From Gutai to Networking" published by Mainichi Shinbun. It was reviewed as "The Best Book of 1994" by Professor Muroi of Yokohama International University in the magazine Image Forum. He noted that my book and work have been greatly influenced by the paintings and poetry of children and the mentally and emotionally disabled. It was then proclaimed at the symposium held at the Pompidour Centre in Paris that I was "L'art Brut" of Japan and since then, I have been mentioned as "L'art Brut" of Japan on a number of occasions!

While continuing to exhibit my own work, I hope to use this opportunity as chairman to advance research in the art and work of the disabled. In this regard, I hope you will honour me with your advice, ideas and opinions.

April 1995, Shozo Shimamoto


Shozo Shimamoto, presently a professor at the Takarazuka University of Art and Design, receives an:

Honorary Professorship from Kyoto University of Special Education

June 1, 1995

Research and announcements during his tenure as professor at the Kyoto University of Special Education:

1983 - Plans the Ryujin International Art Village in Wakayama Prefecture, and presently continues to preside as head of the village.

1984 - Makes "NETWORKING DECLARATION" at Gifu Prefectural Art Museum.

1985 - Has head shaved by the head priest of Shitennoji during the Osaka Sister City Festival. The Italian Mail Artist, Cavellini, a guest of Mr. Shimamoto at the event, writes his messages on Mr. Shimamoto's shaved head. Mr. Shimamoto then begins his use of the shaved head concept for Mail Art.

Invited to the Japon Des Gardes at the Centre Georges Pompidou and labelled "Japan's L'art Brut" at the opening day symposium.

1987 - Philippine President Aquino sends a peace message written on a photograph of Mr. Shimamoto's shaved head.

Visits Mr. Bern Porter, one of the nuclear physicists who invented the bomb that was dropped on Hiroshima. Mr. Porter writes his peace message on Mr. Shimamoto's shaved head.

1990 - Goes on the 15,000 km "Sacred Run", across Europe, with Native American Dennis Banks.

Holds the post of Principal of the Kyoto University of Special Education Attached Campus (elementary, junior and senior high school for the disabled). Plans and holds a symposium and exhibition for the disabled at Osaka's Expo Park.

1991 - Plans and holds Japan's first "Art Festival for the Disabled" at the Osaka Sea Aquarium. Article written in the Mainichi Newspaper titled "Possibilities in Art for the Disabled", about Mr. Shimamoto's discussion with Jean Kennedy Smith (the sister of former U.S. President Kennedy) about the exhibition for the disabled.



Received publications


"NET-RUN-ACT II" The Sacred Run ď95 will be held this year to commemorate the 50th anniversary of the dropping of the Atomic Bomb, and AU will be participating through its art. They invite to send mail art to seven locations on the course of the Sacred Run, 3910 km across the islands of Japan: from Hokkaido to Hiroshima and Nakasaki. Other part of this issue documents AU's exhibition of contemporary art at Tofoa, Tonga.

1-1-10 Koshienguchi, Nishinomiya, Hyogo 663, Japan
Tel. 0798661893 / Fax. 0798645723


Poezine III / 8

Visual poetry magazine edited by Avelino de Araujo. This issue features work from Fernando Aguiar, bp nichol, Décio Pignatari, Spencer Selby, and others. Here's also a reprint of a text from the catalogue of Arthur Bispo do Rosário's exhibition, "O Inventario do Universo", and addresses of other publications.

R. Seridó, 486-Ap. 1106, CEP 59020-010, Natal, RN, Brasil
Tel. / Fax. (084) 222-5428


Something 3
June 1995

A single folded sheet of text and visual work from half a dozen authors. The high point is John Weller's visual treatment of Queen Elizabeth's face, like nine pocket-mirrors on the page.

T. Lorenc, 8 Dowding Road, Bath, Avon, BA1 6QJ, U.K.


een boomkruiper op het malieveld

Johan Everaer's writings about bird-watching. Also, article about Birds & Borders mail art project by Rod Summers and Ever Arts. They introduce Corvus monedula, Manx Shearwater, as a symbol of freedom. Very beautiful book.

EVER ARTS, Dr.W. 28, 4317 AB Noordgouwe, The Netherlands


Geoffrey Lavelle: An Expatriate's Sketchbook
Graffiti Petals/O!!Zone, 1994
ISBN 1-884185-05-3

    Tu Fu drifted through time
    on ancient China's mystical rivers and lakes
    that probably haven't changed, though history takes
    a woeful toll on culture,
    art and even the colorful building facades
    that decorate life. He survived, and I'll
    outlive my worst mistakes

Thoughts written down by the U.S. poet, fleeing to old Hyèges, in his attempt to escape the war and misery spread by America. Brooding views from a solitary hill, a solitary fortress (remembering "Yeats of yellow hair"), Lavelle's monologue reflects on daily news, modern world with its false love and false hate. He speaks of the silence of an approaching mistral in the air, like a latent nervous tension waiting to break out in a rage. He still believes in peace, a precious harmony of love and hate, and sees poets as the true minds to lead the world.

    Only creative hate (as a positive force)
    can free our bodies and minds to concentrate
    on real love.

O!!Zone, 1266 Fountain View Drive, Houston, TX 77057, USA


Guy R. Beining: 100 Haiku Selected from a Decade (1982-1991)
Codex Editions/O!!Zone, 1993
ISBN 1-884185-00-2

    A paler self
    under lens
    of rain.

A collection of (mostly) Autumn pictures; slow, melancholy pieces. The calm mood of the text is confused by the cover's collage design that suggests a prose work, but is well balanced by two ambiguous line drawings by Beining. Edition of 55.

    A butcher senses
    the wisdom
    of bones.

O!!Zone, 1266 Fountain View Drive, Houston, TX 77057, USA


Joh. W. Glaw / Serge Segay: Blut Poesie
Edition d'oro, 1992

Glaw's blood drawings and Segay's zaum poems.

Writes Glaw: "Die Arbeit mit Blut als Material hat für mich eine kultische, fast eine liturgische Dimension: das Erleben der Tötung des in die Schlachthalle geführten Tieres; das Auffangen des noch warmen Blutes in einem Gefäá aus Glas; die Vorbereitung auf den Malprozeá durch einen Akt innerer Konzentrierung auf Blut und Bild; die ersten Blutspuren auf wiáem Grund, gleichsam eine Transformation des Blutes als Lebens- und Leidenssubstanz durch den Tod hindurch zu einem neuen Leben."

Introduction by Prof. Gerald Janecek.


Paula Gabrielle Titterton: Fylgja

Xerox booklet of text illustrated with mandala-like circular collages of repeated faces and limbs, small monoprint Rorschach patterns, and portrait photographs. The slightly overdone graphic look is smoothed by the ingenious assembly of the booklet: it can be read as a double book. Maybe the result could have been more powerful, had she used just one graphic technique, as this combination is little too overdone and doesn't suit well with the mixed mood of aggression and melancholy of the text itself. "Torture me, exhortations in the making and out of her throat, screams, loaded with rapidity, shaking backwards and forwards - teeth between. Blood rushing down onto her hands."

Paula Gabrielle Titterton, 32, Vernon Avenue, Audley, Stoke-On-Trent, Staffordshire, ST7 8EF, England


State of Being Press, 1994

Material from an interactive fax project between John Fowler, Reid Wood, and Karl Young. Though this booklet reproduces only a small selection of fax works received and transmitted by Wood, one can sense the mutating process of the project itself, as the images and words are transformed and degenerated in continual transmissions

Reid Wood, State Of Being, 271 Elm St., Oberlin, OH 44074, USA


Guido Vermeulen: Greetings from Lewis & Harris / Carte de non-identité en visite...
Lingua & Littera Editions, 1994

Booklet documenting Vermeulen's visit to the Standing Stones of Callanish on isle of Lewis & Harris, Scotland. "Back in Stornoway, i did a serial of 11 sketches, one after the other, so profound was the impact of the landscape in my mind. The patterns of rocks, how i saw & read the signs in the scattered stones mixed themselves with the patterns of the wall paper in the room of the Thorleeguesthouse." Later, in Belgium, he reworked these sketches and added some text to them. Other part of this booklet reproduces 10 sound-drawings by rap poet Jacques Bernimolin. "He was a chemist & pharmacist and was not afraid to follow the same paths as Henri Michaud did (cfr. connaissance par les gouffres)."

Lingua & Littera Editions. Bld. Ad. Max 83/b4, 1000 Brussells, Belgium


Serge Segay: with help of Carla Bertola, Rea Nikonova, John M. Bennett, Alberto Vitacchio, Robin Crozier, J. Lehmus, Mark Corotto
Can editions of Serge Segay

A collection of Segay's visual "cellular poems" co-worked & mutated by his correspondence art friends. Rea Nikonova mixes Segay's cells with her architectural music, while other pages reproduce Crozier's cut-up drawings, and handwriting by Bertola and Bennett.

Serge Segay, Sverdlova 175, 353660 Yeisk, Russia



Edward Mortimer
Jan van Eyck Akademie
Maastricht, the Netherlands


Edward Mortimer, Quinton Hill, Mount Street, Cleckheaton, West Yorkshire, BD19 3QD, England


Máté Guyla Kiállítása
Tüautzzománcképek, elektrografikák
Szombathelyi Képtár
1993. Június 10 - Július 4.

Catalogue of an exhibition of Máté's graphic work, from 1969 to 1993. (Electrographics, enamelled pictures, photograms, wire brush and carbon ironing works.) "Some of my electrographic pictures can be seen in Spain (Cuenca) the only electrographic Museum existing in the world. In the same year in 1991, I organised and arranged for an International Electrographic Exhibition in Bonyhád. The electrographic pictures were sent through telefax from my friends and I enlarged, framed them and were hanging by the wall ready for the exhibition in the afternoon. ... I'm a person who is really interested in experiments and in newly introduced technics. I'm searching for and with my arts I would like to show what sort of natural relationships exist among different objects, shapes, and their occurrances - the appearance of material differs but their appearance forms are assimilated."

Máté Guyla, H-7150 Bonyhád, Alkotmány u. 39, Hungary


Juegos alrededor del libro - 23 obras para 7 artistas
Universidad de Granada et al., 1994

Catalogue from an exhibition of artist's books by group 7 Artistas 7 (Gabriel Ramos García, José Francisco González, Inmaculada López Vílchez, Maribel L. Perea Retamar, Luis Javier Sánchez Ruiz, José Miguel Fuentes Martin, and Ángel SanzMontero). Each artist's books are introduced with colour photographs. To mention some of the most interesting works: González's paintings in boxes ("De Ali-Bey a Bowles", seven overpainted photographs from Tanger); Vilchez's tiny domino books; Retamar's woven textile book scroll; Martín's totem-book; dreamy sequence of classical David as homunculus in a test tube, and "Libros de viajes", automobile-book installation by SanzMontero.

The scheme of the exhibition follows a curious numerological formula: one artist presents one work (consisting of one, three, and five books), four artists present three works, and two artists present five works, totalling 23 works by seven artists.

The catalogue includes also descriptions of book as an artistic medium, a long introduction by Ignacio Henares Cuéllar (he addresses artist's book as a post-Gutenbergian turn to handicraft and credits Marcel Duchamp as the initiator of artist's book in contemporary art), a brief bibliography and a list of artist's books exhibitions in Spain.

The general realization of this book is brilliant.

La Compania, c/. San Antonio, 13, Cogollos Vega, 18197, Granada, Spain


Sociedad Limitada
Exposicion de poesia visual
Julián Alonso, Nel Amaro, José Luis Campal, Rafael Marín, Yolanda Pérez Herreras, J. Seafree
Cafe Manuela, Madrid


Cafe Botilleria Manuela, c/ San Vicente Ferrer, 29, Madrid





Please send me the thread. (Tape, cord, rope, etc. ... everykind is ok.) The thread that you send me put decoration on myself body, take a photo and I shall send you the photo.

Reika Yamamoto, 4-7-7 Eirakuso Toyonaka, Osaka 560, Japan


Art of Swim Wear

Please send me an idea of Swim wear which you imagine, the swim wear that you want wear this summer, or of your favorite. Illustration, Photograph, Collage and any kind is OK. Documentation (with photo) to all. No deadline.

Junko Ohmae, 2-1-5-102 Hata Ikeda City, Osaka 563, Japan



200 anni fa, il 26 agosto, moriva il conte di Cagliostro, sigolare e controversa personalit… di primo piano nella sua epoca e tuttora figura di riferimento in ambiti di interesse esoterico. Rimase per quattro anni rinchiuso nella cella detta del "pozzetto" nel forte di S. Leo, allora carcere pontificio, senza mai uscirne fino alla morte. Nello stesso spazio, e nei locali attigui, gli artisti Alessandro Benfenati, Marcello Diotallevi, Ruggero Maggi, Paolo Pasetto, Gian Paolo Roffi, realizzeranno dal 26 agosto al 16 settembre un progetto di installazioni denominato "QUINTESSENZE".

E "quintessenziali" dovranno anche essere i messaggi del progetto fax-art collegato all'esposizione: sei infatti invitato a spedire via fax un tuo intervento poetico, visivo e/o verbale, che illustri la tua personale visione riguardo la vitale necessit… di liberarsi dalla "prigione" delle costrizioni al fine di raggiungere una verit… essenziale.

L'intervallo di tempo entro cui effettuare l'invio sar… dalle ore 9.00 alle ore 19.00 del giorno dell'inaugurazione, il 26 agosto 1995, al numero 0039 541/916164. Tutti i lavori verranno esposti in un locale all'interno del forte. A tutti une successiva documentazione.

Gli artisti



Art Department - Auburn University - Auburn, Alabama 36849 - U.S.A

Mono Production / a new mail art show based on artist response

The call: A new mail art show on issues of printmaking/painting exploring the multiple in terms of "gesture", monoprint, monotype and the "unique" in terms of content, relevance, value and worth.

All entries exhibited. No works returned. Format - 8 1/2" x 11" (20.3 cm x 25.4 cm). An additional 8 1/2" x 11" sheet of explanation, critique, written statement of word/words may accompany each entry (not necessary but invited/encouraged).

No fee. No work accepted after December 31, 1995.

Spring 1996 Exhibit in Auburn, Alabama, U.S.A. Precise dates for the exhibition, place and/or additional sponsors pending artist response. Documentation furnished to all exhibitors.


Conrad Ross, Art Department, Auburn University, Auburn, AL 26849, U.S.A.

by e-mail to: rosscon@mail.auburn.edu or fax: 334 844-4024



Thema: eine Pflanzensammlung

Grösse: A4; bei Objekten höhe max. 2 cm

Technik: frei

Material: frei (Grafik, Foto, Objekt, Poesie, Collage, Natur - alles ist möglich)

Sende: 100 Exemplare signiert & numeriert (1-100)

Nur Originale / keine Kopien (auáer bei Poesie)

Einsendeschluss: 31. Juli 1995

Jeder Teilnehmer erhält ein Portfolio in Form eines Herbariums mit allen Einsendungen und Dok.

Hans Hess, Neuanbau 5, 08340 Schwarzenberg, Germany



Magazine is an artist-magazine with original contributions for exchange and communication for all networker mail-artists and visual-poetry authors. Theme: il Diabolo. The works are to be sent to:

Ornella Garbin, viale Marche, 40, 30093 Cologno Monzese (MI), Italy

Please, 30 copies.


Those little arrows I invented in your minds for what is formally called a dipole, don't ignore each other. They align in reverse like a bunch of little soixante neufs and one can grab one partner and turn the arrow and the other partner will follow [not in lockstep but there will be fooling or following and one can use computational chemistry to model it] and it's not just plain old "69"'s but it more closely approximates menage a huit's or some such larger array and the partners of one daisy chain are trading with others and the group size is not fixed and the net result is that there is communication of orientation [where does YOUR arrow point?] from one molecule, through its nearest neighbors, to the far reaches of all things are connected to each other. So I can shout in one corner of the bottle [shout, twist an arrow, move a molecule of agave flavour essence [tch! we weren't talking about anything but water and ethanol, but little arrows, but numbers, but the number 10**24 and though everything is connected to everything, we [WE] can't predict tomorrow's weather too well or very well because of... well, we call it chaos, the intrusion of chaos into our life or we intrude our organizing principle, information want's to be free, I want to know everything, kill god and fuck Gaia or whatever, but we can predict that weather will not include tomorrow "Tornados with increasing incidence of volcanic eruptions and maybe even the sun will go supernova and it's a lot less likely that all will collapse back into a black hole from one side of our Milky Way Galaxy [wouldn't a bit of chocolate go great right now?] to the other so I'm selling black hole insurance, authorized by Courtney Love Gobain, for the absurdly [low] price of your soul signed here in your blood that you will obey the laws of nature and nature's god until you die or dei which ever comes first and for the first imaginary number of people to call me this morning or last night and take effect of this offer, I'm throwing in free insurance against collapse of our galactic cluster as well as a set of steak knives for those registered with the department of redundancy department as vegans or vegetarians and who are not simultaneously registered with the vendetta bureau as having a hard on to kill a vampire. And if you can remember all of that, then YOU DESERVE to know at least one more, clearly divergent place that these words can be at one time. And that is in the receptacle department. This is a place which has been created by satan, master of freezing change and fearer of anything he does not control, to keep a record of everything and so protect it that not even the next contraction [we're down to every second now and this document is nearly birthed] the next Gnab as it were, will erase it. Graven images, toenail clippings the home of lost keys and chances all those things you can't find, HE has them, safe and ready to spring out where they can do good do god, the coathangers that keep disappearing and then you find a bundle of a goodly mein at a yard sale for only a quarter, you can't resist them, they call out to you, YOU MUST RESIST, those coathangers contain the essence of evil, I want you to go to your closets and grasp all the coathangers firmly and in a clear voice say, SATAN GET THEE HENCE! and than proceed to your front yard and THROW not drop, THROW all of your EVIL COATHANGERS on the good earth where they will lose their charge of evil in the bosom of Gaia [still dripping from the Rogering I gave her back up there in the text] and you are then abjured and conjured to take a picture of these NO LONGER EVIL coathangers lying about your yard and send that picture to your local man of the cloth with a letter explaining that he can now retire and get a real job and carry some of the burden of supporting the welfare class and I FURTHER ABJURE YOU to send me also a picture of your product your CLEANED COATHANGERS in your yard or on the sidewalk outside of your apartment or in the hallway outside of your padded room or in the aisle separating your cell from the now very suspicious guard and that picture or other sending you will send me as a love offering shall be included in a commemorative object and it shall be called good and it shall be distributed to each and every alike of those good persons who send ME THEIR PICTUREDS and their loved COATHANGERS and the spiritual nature of his and her shall be pictured therein also and we wlll REJOYCE in the fulsomeness of the age and we shall crown the jewel in the loaf and the mule and the farmer's daughter shall lie down together and in time shall come a sign on ye, the blackguarding of a postle or in a trice, whosoever bleeveth in TRANSMOG shall be reborn in another age as the least of gnats buzzing a silurian's hemorrhoid as were created in great hot water, AMen and Hose Anna for me willya

950822 Ficus

        (. .)
 | strangulensis Research Labs          language poetry
 | Ficus strangulensis, prop           Otherstream art
 | Rt 6 Box 138                       objet's d'mail arte
 | Charleston, WV 25311 USA          recorded words/noize
 | far@medinah.atc.ucarb.com        ludic spirits served
 | TRANSMOG- a ZaumDaDa, found, surreal, poetry/aRT 'zine
 | sample for your snailAddress & $1 or 3-stamp, long SASE


"Cyberstamps" Mail Art's First World Wide Web Mail Art Show

Here's your opportunity to become part of the new media realm of "cyberstamps." The Artistamp Gallery website


at Dartmouth College is hosting a mail art show. Theme is "cyberstamps"

Deadline: November 1, 1995. Work Size: Exactly 1 1/2" wide by 2" length. No Fees.

All work in color, preferably bold design. Text must be bold. No rejections (except imposed deadline) No work returned. Will accept all mail art and emailart cyberstamps. NO, YOU DON'T HAVE TO OWN A PC TO PARTICIPATE. If sending via email, encode visual images in GIF Format Only and send to:


If sending via snail mail address to:

Cyberstamps, PO Box 370, Etna, NH 03750-0370.

Documentation will appear on the World Wide Web.




Hakim Bey
c/o Dreamtime Village
Rt 1 Box 133
WI 54639

Guy Bleus
Administration Centre
P.O.Box 43
3830 Wellen

Crackerjack Kid (Chuck Welch)
P.O.Box 978
NH 03755

Ficus strangulensis
Rt 6 Box 138
WV 25311

Patrick Mullins
231 Elizabeth St.
GA 30601

Guido Vermeulen
rue Dupont 38
1210 Bruxelles

Karl Young
7112 27th Ave.
WI 53143