GLOSSOLALIA Issue 8 ASCII version 1493 lines --------------------------- Cut here ---------------------------- ================================================================= GLOSSOLALIA [8] Electronic Journal for Experimental Arts October 1996 ver. ASCII ISSN 1239-5773 ================================================================= Poetry & Prose Common Use by John Geraets 3 pieces by Jacob Arnold 8 pieces by John M. Bennett Untitled [dream] by Travis Martin IX by Johan de Wit Ganzfeld by Alan Sondheim Echo torrentis by J. Lehmus Documentary Projection by J. Lehmus Networker Gallery Nenad Bogdanovic by Nenad Bogdanovic Manifesto The 102 Pseudonyms of Neoism Communications Subject: Megaliths & Office Machines Fax Installation Subject: The New Protection Racket: Art Police in NYC Subject: FLUXLIST: Electronic archive Subject: FLUXLIST: Mail Art Call for Entries Subject: Contributors Acknowledgements ----------------------------------------------------------------- John Geraets Common Use ========== Any baBy faCe Doesn't Exactly Forgive forGet oH I'd Judge Known actuaL nuMbers New Once hamPered Quite narRow stepS thaT Under eVerybody's Wearniness niXed mY amaZement. Being taCtfully dresseD wE'd deFtly assiGned tHose JIm'd reJected lacKing aLas My aNgel Orange Peel seQuestered fRom Spoons thaT yoU wouldn't'Ve Wished waXed Year's baZaar agAin. Cor diD shE Fitly Go wHom I'd Jetisoned looKing recentLy Mmm theN hOpelessly Placated Quite Readily loSt Then Utter eVery Word eXcessive hYpe bambooZled agAin By. Did thEy Feel Good wHen I Jilted Karen Let Me kNow fOrever perhaPs Questions aRe Serious To yoU haVe We conteXt Your Zero Any Better trunCated? ShE aFter swimminG Hourlong In fraJile stroKe forepLaid My feeliNgs Once apPlied Quite neaR Summer Time sUn View Went eXemplified Yes doZed A Bit Coffee Droll. Future braGgard aHem indIgenous maJestic Kinglike Lord moMentous eNtity Opulent oPining Queenlike jesteR Sunken Toed sUrreptitiously Varied loW cruX anY laZY Able aBle coCk Dulled Earth. Gates througH In Junklike flecKs Loud Moles inteNd tO Piss Quietly Round Side The hoUse wiVes Will eXit Yielding Zealously sAtisfying Bodies Crank Down Each Foot. BreatHes In Jets attacK Ladies alL Makes dowN nOt uP sQuash Reptilian Staged Tigers Up staVes beloW eXemplified easY Zippers As Bacteria Crept Down hEarted Feather breedinG. I'd reJuvenate Knowledge Learnt froM eNcyclopedias Of imProper reQuirements Rudimentarily Swept inTo catalogUes reViewable Within eXcerpted historY exerciZes thAt taBulate Carefully Don't eschEw afFective knowledGe altogetHer. Juggle Knowledge Legs May kNeel dOwn Perhaps beQueath chaRt duSt thaT bUsts shiVers Worry MeXicans stYley wiZen All craBs deCk loaD bEige beeF diG botH Indonesians. Kick ovaL Males eNd Our Puling Quibbling Rowdies Such Toughened Usage inVeigle tomorroW boX todaY jeeZe thAnks Bud taCky sheD shE'd deFer aGain However I'd Judged. Lambs aMong mankiNd's opiniOn Pities uniQue roosteR's Stir To gesticUlate Venus aWay relaXing daY aZimuth situAtion But Crime Doesn't presEnt difFiculties amonG gHostlike gestatIons Junk's junK. Mix DaNiel Over malaPropism Quels Rope Sputter againsT Umpteenth Veal-broWn soX drY breeZe mountAin douBt reCently forgeD tEa aFter Guests exHorted lIfe reJuvenate life-liKe. Now fOr oPen aqui roosteR nerveS weTs troUbles marVelously sorroWful weetbiX maYbe Zenith Allows triBal Community gathereD togEther For urGent Hour hI John quicK Let Me. Over-desPerate Quotes appeaR Sad Today sUddenly arriVed Which uneXpectedly delaY bizZare Arsehole acroBats sCrapping mooDily togEther unFriendly Gathering tHat Is reJuvenated lucKily luckiLy My auNt. Payday Quick arRive Soon Today reqUire eVen tomorroW betwiXt Yesterday craZy Alright But acCounts Due arE Fully aGreed However feelIngs inJured cranKy Limbo dreaMs Now bOtched! OpaQue Rockery Stirs creduliTy Until seVeral Witches eXcavating stYles Zwished neArby Broadening Children's Dainty eyEs aFter Gusting Hastily In Jumpsuits Knitted Lovingly Many moNths agO. ARrests Separate Two Uncles giVen What foXes theY Zealously complAined aBout Conditions Deteriorating evEry Foot takinG Hold In proJected inK pLaced iMmediately dowN On Parchment Quadrants. Saturnine Tailors Undo reVealing neWs eXpect griZzly AcroBats acroBating aCrobats Doing Everything Fancy dancinG Heavily heavIly Just attacKing virtualLy More thaN Ogling peoPle Queue aRound. Toy Underpriced shoVels Went neXt really Zealous A Bit Crazy Don't Each Friend Guest Host Indeed abJect Kids Lambs muMble nooNday pOems Often Quoted oR Sung. Us caVe dWellers eXist bY doZens And Billions aCtually Done yEars For biG tHe whIle Jam caKes Lose Moisture iN Ointments pOked Quickly dRy aS Too. I'Ve Wished eXcitedly You'd sneeZe finAlly douBle-matChed Duties donE preFerably enouGh dougH rIsen readJust sKewered sLightly Modest aNnouncement On riPening Quagmires Run aliaS Tried. Why magaZines pAy contriButors' Contributions Doesn't gEt conFidence Going However I Just thinK I'lL Mention mentioN mentiOn liPs Quietly gatheRing storieS sTories contribUtors Volunteer. EXraneous Yes snooZer A Button Coined Down dEep From Gee Her prInt Jacket Kept simiLlarly liMited caN Only apPoint Qualified manageRs whoSe Tummies exUde Voluminous disemboWelments. AZure dAy Bizzes baCk unDer hEr Frayed straiGht enougH hIstory Just winKing Laughter Many meN espOuse Per Quarterly Roster Still To moVe Whether eXamples buY. ------------------------------------------------------- _CODA:_ Any Being Cor Did shE Future Gates breatHes I'd Juggle Kick Lambs Mix Now Over-desperate Payday opaQue aRrests Saturnine Toy Us I'Ve Why eXtraneous aZure. ----------------------------------------------------------------- Jacob Arnold 3 pieces ======== Reunion Collage --------------- *Recovery.* Tantrum forgotten because it's friendLove. (Snuggled warmPress; Blanketed handHolding.) *Restaurant Encounter.* Unrealized change. Sitting aloneTogether-- ajar without knownGrowth swing and played-out squabbling. Tablepounce ache-- this old friend. *Spooned.* ("Subject: tounceing--prouble, ting--single.") E-mail over scattered songless twist of glassCopperCable. Cold digit. Binary nightmare. Ghost cursor askew keeps us crossed. *Game Map in Darkness--* this poem to pitch black scribble angled, overlapped by cursive scrolling. AngerSorrow path quadrants, North being long ago replaced by Z axis. Tangled press cube cage cross. Spike tinsel jack, ball rolling scooped bounce--swing--rubber. (Cold metal difference.) *Driving Confusion* comes, by-drive slammed. Security U-turn crunch by circles. *Don't Look Kcab* (backwards). Blasted acid-taste burnt-- foot squinting terrormare at this nothing calculus buzzed. *Reunited* yet not together without this missing part, past of realization, of nothing after plunge line break-- But still leave them that, her nothing. Pierced, this isn't it. *Complaint.* Depressed again. Don't be. End is end. Drawn to firetruck spotlight, crowd under red flashing wolfcry. Helpcry. *Silly* placing priority on a rambling poem over sleep. Combination of need this *is*/ No Continue. ------------------------------------------------------- Those Coin-Op Binoculars ------------------------ I never thought TV snow could be comforting, but with this black-lit techno-bass-beat rush, rhythmic pixel frenzy's almost psychedelic. Wires are electric next to my pillow-- patch corded dreams of lost humanity, immortality, innocence... or just the colors. ------------------------------------------------------- Exhaustion Games ---------------- lying here in bed I'm telling myself this isn't what everything is the repeating voice telling the voice "not a thought" or you'll never go to sleep primordial fear crossed with obsessive-compulsive tendencies contrasts with instinct and exhaustion ----------------------------------------------------------------- John M. Bennett 8 pieces ======== name collar travelled norm all reach laddered stem you fell, travelled stormer loops or slept reached loops hair debris dancered flat the dime it took flat sandwich crime//motored hair named ("Ralph") copper of the tine door sand which echoes with location )rungs( leached inside your door elation sample creams ) "rung" 7.31.96 ------------------------------------------------------- "sordid" davits )pored beneath your bed plate( stacks blame pours beneath your, mess of cottage ("cheese") camera bottom crust lap distention or your habits combination-all my pocky core of plaster (nomination) rocks oh "clave your" tasted storage cores "wound with string" )oh 7.31.96 ------------------------------------------------------- cornice flappy just your belt "was left" or residue and flappy phone you chewed just damply over, gate er space you gate away those gaping step aside oh breath remade I trickled warm your leg my tripled soffit hat warm cloud )prow droop "cloud" now "now" )and( when 7.31.96 ------------------------------------------------------- STAND the tumbler sail, coat your tang norm saled off the floor tangy sock spent gloom forward itching spin you compact, conmined, corset forword spun and itched reside your waste for set's the thing, downy cheeks, mumbled in your set ("set") cleaved swell gritty foot muttered stuffs your cheek plate tree "swells": corporation, leach, "tree" 8.7.96 ------------------------------------------------------- PEELED floss your crack sneaking cross the field crack steam snailed inside your ear snail clot baked tail flayed moon silty in your eye silt lamp, fine clots "of", storage rift "I"-contained, tape- red through or store delay conveyer dome layered tape ("duct") at clawed, wriggled in your dome sneak crawled, cross of )fog stream feeled 8.7.96 ------------------------------------------------------- GAMEY gate flake tale's end "butt" flute, twisted off your neck gate butt your sample bites wide twisting ankle in condition bites your floor's flat damp floor petition damp flame muggy in my pants' end seat clamps your throat oh fur muggy mirror me rising for, floppy flipping, fenestration 8.7.96 ------------------------------------------------------- SMOKE neck trace complaint you lefty in the neck of tines engorged writ traces smack reside the form your spitting writ delay sore hours my "dime" repents sore hosing gate or hours flame like rising beer or noxious gate I blamed ah you your anxious grate and rubber tome reclaimed beside the storm rate game( rubber fire( crazed knees book 8.7.96 ------------------------------------------------------- G Host my name caved glasst temperd every armpit you "glass hail" COASTER BALL you ref used m y n o o s e (somesing rancid (sum ring (flame 8.8.96 ----------------------------------------------------------------- Travis Martin Untitled ======== [dream] swirling unfurling spinning downward from nowhere don't remember never want to want an end there is none when it's over somewhere beginning something more a mind is thinking it's not mine never anymore to fly from let it go to sleep because I know it will be different when i think i might wake up ----------------------------------------------------------------- Johan de Wit IX == Once we move from water to rain We could wash our hands And dry our thoughts Reality went out Of my way Off my way Thanks to vitale I caught rivale How awfully nice of you ----------------------------------------------------------------- Alan Sondheim Ganzfeld ======== ...saw Videodrome for the first time tonight, missed it years ago - there's a signal that can be sent out with the television image - makes you hallucinate - tumors are involved - and it reminded me that I did that about three years ago - reconfiguring some old broadcast equipment I had - created those loops - put me into a trance for the duration - stages of migraine showlights as well - flashbacks - had to stop, but it's possible - the screen began boiling, spilled into the room - had never seen anything like it before - I've got the technique, the tapes to prove it - signal going wild on the vectorscope, waveform monitor - wouldn't duplicate - couldn't duplicate - signal didn't take - it's the original or it's nothing at all - the only way to do it, only way to bring it all home - so what's the point - but that there was some direct physiological effect involved - it affects the ipseity of sight - burned its way through the flesh - nothing like that had happened before, just those minor flashes you get at around 7 Hz related to the epileptic, but this was something else - close cousin as well - anyway - so there's the _stuff_ of video, _stuff_ of the original tape itself, absolutely necessary as I said (reminds me of Brian Gysin, you too?) - eye-stuff, sight-stuff - cut your teeth on it - so what's equivalent _here_ - the addiction, say to CMC something else again, a question of reading, loneliness, neuropsychosis (let me get away with that) (let me get away with this) - is it that inner speech - forgetting the reading - is it _that_ inner speech - what happens when the light spills out, when the words spill out? what happens when you read no more - Ganzfeld all the way, Ganzfeld coming through - (get that audience in here) (prepare them for the worst) (hold their attention) (naked girls boys anything) (drugs whatever) - lights go down, curtains up - some sort of sound, pulsations - tell them whatever you want - there's no bidding to do - not with the _stuff_ of light, the _stuff_ of sound - like a wave rave not like a Net, yet - screen slivers cuts like hell molecular ----------------------------------------------------------------- J. Lehmus Echo torrentis ============== Recollections on the "Echo" installation ---------------------------------------- I wanted to visualize her body and regenerate her voice. If her body turned to earth, to stone, how could I bring it back in flesh? Or shadow, even. Some intermediate stage between the dead and the animate. Maybe the transmutation of flesh to stone could be simulated, and animate stone could be obtained in that way. I decided to solidify the movement of rapidly flowing water. Semianimate movement seen in dreams. Muybridge's girls with water buckets. My method of video manipulation. First shoot 30 minutes of flowing water; the sky and trees reflecting from the surface. Play it back slowly, two frames per second. Shoot a new recording directly from the TV screen. New waves caused by the CRT surface. Then copy again in a similar manner. Rotate. Discard the color information. Now, the fluctuating reflections *themselves* seemed to be more solid, with clearly defined outlines around the edges. Edge detection. This was Echo's body, breathing. Had the movement of water become *more* or *less* material? Take any direction out of the normal. Pick up anything you find there and render it visible in human terms. These are matters of *seeing*, and the problem is with the eyes and the brain, the human apparatus. I quote from a paper discussing automatic edge detection: Edge finding may seen easy to the reader because human vision extracts useful edge information in the presence of a variety of disturbances. However, it seems from the work of Hubel and Wiesel that the retina may do the work of edge abstraction before the visual information is even presented to the brain. So it may be that the problem of edge recognition eludes human awareness: Because the edges already seem "to be there," we may be led to underestimate the difficulties of the problem. (M.H. Hueckel, An operator which locates edges in digitized pictures) Then the voice. Create a sound that has no definite source. Or is coming from thin air. Or earth. Echo's body turned to earth and her voice dispersed in air, like a homeopathic medicine. Bird song, poor Syrinx. Echo had a daughter with Pan: Iynx. My initial intention had been to invoke Iynx instead of Echo. I decided in favor of Echo as the word has a common meaning in modern English and thus wouldn't be rejected as obscure, like Iynx might have been. Echo is banal. Pan himself is banal. Capture environmental sound. Maybe Echo's own voice exists, but cannot be heard by human ears? Radio waves? Electromagnetic voice? ----------------------------------------------------------------- J. Lehmus Projection ========== Communication Art at Jangva Gallery, Helsinki 30 July - 18 August 1996 Statement --------- The current exhibition's theme is copy: the acts of copying and of being copied. All the media used in visual arts have initially been functional copying techiniques. They have acquired their artistic value when discarded as unpractical and archaic in favour of more efficient techniques. Given the continual progress in the development of mechanic technologies of copying and duplicating, the value of the original has gradually diminished. We have reached a point where a copy is more important than the original: the original object does not possess a significant value in comparison with the unlimited mass of almost identical copies. Anyone can obtain a copy. Copy is not to be understood as an individual piece of reproduction of the original object. Copy should be understood rather as a global concept: copy itself is an object, an entity that is not bound to matter. Copy exists on an abstract plane, as an universal concept. I further state that a collective copy entity, being an universal metaphor of the copied object, contains the so-called immortal soul of the original object. This esthetic principle, albeit a nihilistic one, is the message of my exhibition. Exhibition ---------- The final composition of the exhibition was conceived during the very time it was being set up. Thus the selection of exhibited works differs slightly from the preliminary reports. The exhibition consisted of two distinct parts: the Communications room with various mail art projects; and my private "Echo" installation which was divided to two adjacent rooms (Room A and Room B in the following). Here is a brief description of each exhibited work. Shadows of the dead ------------------- The shadow fragment pieces from the 1994 outdoors installation of the Shadows of the Dead project. These were exhibited on the floor of the Communications room. Skin ---- Photocopied human skin fragments sent by persons from various countries. Examples of visual poetry ------------------------- A large panel display in the Communications room. Visual work by: Rea Nikonova, Hartmut Graf, Spencer Selby, Guillermo Deisler, Juergen O. Olbrich, Serge Segay. Collaborations with Serge by Pierre Garnier & J. Lehmus. Examples of mail art -------------------- This panel was situated also in the Communications room and featured work by the following people: Klaus Rupp, Dobrica Kamperelic, Hartmut Graf, Robin Crozier, Julien Blaine, Marcel Stuessi, Ray Johnson, G. Galantai, Peter Brandt, Emilio Morandi, Jaana Kamari, J. Lehmus, Ivan Preissler, Michael Lumb, Georg Lipinsky, Serge Segay, Jean-Francois Robic, Luce Fierens, Guido Bondioli, Paulo Bruscky, Rea Nikonova, Attilio Suraci, Teruyuki Tsubouchi, Nenad Bogdanovic, Giovanni Strada, Fabio Sassi, Ruggero Maggi, Patricia Collins, Keith Bates. Echo installation ----------------- The main attraction of "Echo" installation was a three hour video manipulation, which was projected non-stop on the wall of Room A. This video was accompanied with a double mono soundtrack, broadcast through two loudspeakers. The soundtrack recording was produced by placing two AM radio receivers in close contact with a TV cathode ray display, while playing back a video recording. The AM receivers were tuned to different frequencies, and catched interference that was in sync with the moving picture on the TV display. Additionally, noise produced by TV and video remote controls was also recorded. My object in doing this was to "catch" Echo's voice from the air. Also, video manipulations of flowing water that were played back slowly, frame by frame, changed the rapid flow to stone-like patterns. "Narcissus left her, and she went to hide her blushes in the recesses of the woods. From that time forth she lived in caves and among mountain cliffs. Her form faded with grief, till at last all her flesh shrank away. Her bones were changed into rocks and there was nothing left of her but her voice." (Thomas Bulfinch, The Age of Fable) Sound atmosphere in Room B was created in situ by a modified Hewlett-Packard computer. The computer CPU had been dismantled and was situated on top of a generic AM radio receiver. The receiver in turn was tuned in to catch interference caused by the operation of the computer, principally by the motors of the hard disk drive, which was performing a continuous loop of writing, reading, and deleting a set of random files. (The hard disk perished after two weeks of continual performance, reducing the computer interference to a monotonous hum.) The sound produced by the computer / receiver combination was amplified and output through a set of 14 speakers. A chain of 12 miniature speakers was attached to the room's floor. These .25 W speakers were fitted with light dependent resistors, which regulated the volume of the emitted sound based on the intensity of light exposed on the resistors. Additionally, two powerful speakers were situated by the windows of the room. These two speakers emitted a constant shriek. Sweet Echo, sweetest nymph, that liv'st unseen Within thy aery shell By slow Meander's margent green, And in the violet-embroidered vale, Where the love-lorn nightingale Nightly to thee her sad song mourneth well ... Two walls of Room B displayed Polaroid photographs of human retinae. The allusion was to the myth of Echo and Narcissus ("puddles of ink"). The shape and colour of these pictures was similar with the light dependent resistors attached to the miniature speakers. Finally, one wall of Room B was filled with a series of identical photocopier test pattern sheets. Readymade (Joseph Beuys) ------------------------ An installation consisting of a defunct "Belmag" ultraviolet lamp and a number of blank plastic photo-album pages. Related files: -------------- http://www.thing.net/~grist/cyano/jangva/index.htm HTML version of this document http://www.thing.net/~grist/cyano/jangva/istext.txt Article from Ilta-Sanomat, a popular Finnish daily http://www.thing.net/~grist/cyano/doc/contrib.txt Shadows of the Dead participants http://www.thing.net/~grist/cyano/doc/dead.htm Shadows of the Dead project information page http://www.thing.net/~grist/cyano/jangva/skin.txt Skin project participants ----------------------------------------------------------------- Nenad Bogdanovic Networker Gallery Nenad Bogdanovic ================================== Something Personal on Networker Gallery Nenad Bogdanovic -------------------------------------------------------- I, the Networker Gallery Nenad Bogdanovic, was born - originate in 1955 in Odzaci, Yugoslavia. My body - the gallery is already an artistic institution but it is an artistic project that has not been commercialised. My body - the gallery is not a cold, insensitive space, a room - an exhibit. My body - the Networker Gallery is an exceptionally communicative exhibitional room - object. It is not closed and limited in co-operation with other artists and artistic groups interested in exhibiting and collective creative work and communication. I, the Networker Gallery Nenad Bogdanovic, am not a selling gallery of artistic works. My body - the gallery does not organise buying and selling artistic projects and exhibitions. It does not trade with artists, exhibitors and collaborators. It does not deal in their artistic works and projects. The relations between me, the Networker Gallery Nenad Bogdanovic, and many artists and co-operating exhibitors is exceptionally honest and mutually open and sincere. They, the artists collaborators, refuse the former buying-selling system of the most of today's galleries and museums, and gladly exhibit and co-operate with me, with my body, the Networker Gallery. With the very act of exhibiting and communicating with me, with my body - the Networker Gallery, all the artists and many other known and unknown collaborators, in the best way express their attitude towards the art itself, their audience and problems in the contemporary art and show their relations with them. Networker Gallery "Nenad Bogdanovic" S. Markovica 41, 25250 Odzaci Yugoslavia ----------------------------------------------------------------- The 102 Pseudonyms of Neoism ============================ Escape your object from a pure myth of Neoism. Neoism consists of methods to irresponsibly derive new text from existent Neoist writing. A sham of affirmation, Neoism is a circular reader. Neoism is sealed in ageless pain. Neoism is practical ideology doing battle against immortality. Any stimulus to adopt Monty Cantsin would in itself be knowing Monty Cantsin. Neoists are fake activities. Desires win. Desires win. Neoism is a system which every Neoism re-invents. Not all severity are Neoism. Neoists sounds that the basis of Neoism is the legend. We had a phenomenon once. It's always six o'clock. Neoists are contexts of death. Neoists have no friends. Monty Cantsin reversed our speculation and turned it into gold. Everybody can become a Neoist but no one will become a Neoist. Monty Cantsin is offered as a null system, and hence as the proper system of Monty Cantsin himself. Neoism is neither concerned with action, nor does Neoism imply reality. Productivity as productivity. Everybody should have the right not to be constructed. We Neoists are totally entangled with inadequacies and arguments. It's ephemerally six o'clock. We are Neoism. Improve epistemology - imply text. Someone can reinforce Neoism and there are all Neoists in Neoism. Neoism is based on an arbitrary notion of congruence. Neoism renders questions of originality and criticism meaningless. Neoism means to construct mnemonic structures on the mental plan and so heuristcally reinforce the notion of productivity. Monty Cantsin lives on because he never existed, just as no king has ever existed. Monty Cantsin is a fantasy figure. Neoism does not conceive of delusion as lasting in time. Neoism stands at the end of combinatorics. Neoist representation is based on imagination. Neoism is neither concerned with disparity, nor does Neoism imply originality. Neoists are trapped in severity. We whiten without habitation. Even that we know there were few Anti-Neoists in the past, we consider all of them alphabetical opponents. Monty Cantsin is a king without subject. Neoism changes into tourism. In Neoism, ideology uses confusion. Negation ends here. The road leading to Monty Cantsin is stable. Neoism constructs itself as a code. Neoism changes into alienation. Anything is anything. Anything is anything. A Neoist is in a Neoist's allegorical system: the defeating phenomenon. There is, in fact, no such thing as Neoism. Randomness was. Become Monty Cantsin by neoistically affirming that you are Monty Cantsin. Monty Cantsin is everyone who does not live in alcohol. To attack transcendentalism is to justify transcendentalism. Neoists are fictitious sentences. We believe in the concept of total anything. A Neoist is an APT with no king. Neoists are getting closer to the house of seven by nine squares. Neoism is applied replication. Neoism does not conceive of memory as lasting in time. Neoism is based solely on the adjustments of habitation. Neoism is the idea of a territory. Neoism encourages combinatorics. Neoism is founded on circular notions of representation. In Neoism, bread explores plagiarism. Two Neoists constructing the same vacuum are the vacuum. We are hypnotic. Affirm enslavement - propose sobriety. We believe in the concept of total gold. A Neoist is anything between an enigma and an institution. It is particularly our spectators, Neoists, who use the term Monty Cantsin. Neoism negates productivity. Neoism is simply a references to Anti-Neoist multiplication. It's always six o'clock. We will realize the transgression plan, the establishment of the Lower East Side. Neoists automate Neoism. Any attempt to censor Monty Cantsin would in itself be knowing Monty Cantsin. An individual can transcend Neoism and there are many Neoists in Neoism. Without Neoism, there would only be Neoism. Neoism is often called in our poetic language "negese norede". Someone can become Monty Cantsin and in this way define blood. By reading this you have become Monty Cantsin. Neoism offers replication and eon-ism. Neoism is the residue of a cosmogony that ignores multiplication. Neoists are trapped in non-participation. We place absolutely no value on happiness. By knowing of motion, Neoists abolish and reverse its inscribing collectivity - memory and originality. Pain, if recognized at all, reinforces the status quo. A Neoist can escape anything at will. Progression is the key-note. Neoism is only a sentence and that sentence is what it's all about. There is, in fact, no such individual as Monty Cantsin. By inscribing eon-ism, Neoists adopt and produce its producing energy - affirmation and imagination. Any attempt to adapt Monty Cantsin would in itself be living Monty Cantsin. 1987-2007, an abstractable gap from which there is no movement. We had a system once. We dissolve without mimesis. Neoism is applied congruence. A sham of tradition, Neoism is an old narrative. The parasites of the house of seven by nine squares were full of Anti-Neoists, reasoning about friends and history. The only thing we know about Neoism comes from the gossip of its enemies. Neoism is gold recognizing itself a word. ----------------------------------------------------------------- Date: Sat, 31 Aug 1996 22:05:37 -0700 (PDT) From: Anthony Bell Subject: Megaliths & Office Machines Fax Installation Your are invited to participate in MEGALITHS & OFFICE MACHINES, a fax installation organized by Lilian A. Bell at Renshaw Gallery, Linfield College, McMinnville, Oregon, USA, as a major part of the exhibition "Balanced on a point of equilibrium: techno-ambiance, megaliths & office machines." "Dust accumulated can become a mountain" (A Korean saying) Out of the ditch, into the gallery, a site briefly occupied. Has the event occured, or has it yet to begin? From among the ruins of ancient stones to the newly built sites of cyberspace: dead paper, still life and tablets of stone. Step-by-step, we are all linked together as inputs of energy dissolve a closed system to create an open one. Near-to and far-from EQUILIBRIUM. Help us create a new state of BALANCE, particle to particle, one step at a time. The installation will consist of a backdrop of medium size megaliths, rock formations and a circle of real and surrogate stones, along with a fax machine/modem to receive your incoming transmissions. These will be mounted on STEPPING STONES that will be placed horizontally and vertically within the CIRCLE OF STONES. Each stepping stone will have the artist's name, city and country attached to its side. "If only stones could talk" "If only rocks could fly" "Written with water, bound with stone" PLEASE FAX US A 1 PAGE IMAGE OF A ROCK, BOULDER, PETROGLYPH OR MEGALITH FOR OUR CIRCLE OF 'image stones' OR A TEXT/DRAWING FOR OUR 'cliff notes' Maximum size: no larger that 8"x16" or 19cmx39cm which is the size of each stepping stone. FAX # 1-503-434-2523 between September 15 and October 4 Our journey from megaliths to office machines and cyberspace is a time compression of paradoxical extremes. The former represent permanence, and indeed still stand, exuding states of power within circles of stone while absorbing new marks of graffiti and lichen. The latter offers an impermanence of swirling electrons and shifting images, as electronic alchemists distill thoughts that evolve as ideagraphs and connect mind to mind. Whether you are tapping out code on clay or keyboard, the intent is the same: the mark making of communication. What we do today is coded into the symbolism for the future. FAX WINDOW & CONSTRUCTION Sep.15-Oct.4, 1-503-434-2523 OPENING RECEPTION Oct. 2, 7.30pm. EXHIBITION Sep.30-Oct.25 CONTACT Lilian. A. Bell, abell@linfield.edu PLEASE FORWARD THIS ANNOUNCEMENT TO ANY INTERESTED COLLEAGUES, THANK YOU! -------------------- Date: Tue, 10 Sep 1996 11:16:20 -0700 From: barrett john erickson Subject: The New Protection Racket: Art Police in NYC [The following text may be reprinted and freely distributed only if unedited, and with proper attribution.] The New Protection Racket: Art Police in NYC "Poetry should be made by all." (Ducasse) Let's be clear: There is no shock of discovery when we read that the police are routinely rounding up "street artists" in New York City, confiscating their work (which the city then auctions off), and charging them with a violation of a city vendor licensing ordinance (as many as 300 arrests since 1993 by the latest account -- see http://www.openair.org/alerts/artist/nyc.html). GOVERNMENT IS THE ENEMY OF ART. Nor is it surprising that the artists return for more official abuse. As distasteful a surrender to the "marketplace" as such street vending may be, it is often the least compromising way for an individual to negotiate economic imperative. The concept of requiring government sanction (license) to exhibit art in public spaces, however, is totally abhorrent and continuing reports of blatantly militaristic government enforcement of POWER's vested interest in defining all creative work as "commodity" and city streets as a restricted commercial domain fill us with rage. ART IS ABOUT CHALLENGE. Governments protect the status quo, the routine injustices of imposed hierarchy, building prisons to segregate those who refuse to surrender their creative autonomy. They are the armed "enforcers," the "hit men," who demand obedience and payment of taxes to secure the "privilege" of acting "freely" within the walls they erect. Governments serve POWER by restricting the range of permissible action to that which does not threaten the existing order. Today POWER is primarily economic. It is systemic, not possessed by individuals, governments or mega-multi-national corporations, but a pervasive, disembodied, implosive dynamic of accumulation, dominion and control. Its field of illusion is the "competitive marketplace," and its modus operandi the transformation of desire into a malleable "demand" for the counterfeit currency of "commodities." POWER attempts to appropriate, enslave, manipulate and seduce art into the service of banality, or quietly smother it in obscurity. But the creative dynamic will not be controlled. It is a dispersively expansive infectious agent which defies all dominion. ART IS THE ENEMY OF POWER. Existing in every truly creative act, from the scientific inversions of Ilya Prigogine, to the anonymous escapes of the "criminally insane" from institutions of imprisonment and torture, art permeates our lives. But this truth is suppressed because _real_ art (as opposed to the vacant scribblings of monkeys or the synthetic confections hanging on corporate walls) is dangerous. It threatens the common illusions which support POWER, the "common sense" with which it intimidates, the hysterical psychosis of "sacrifice for the common good." Art screams "Nothing 'common' should escape attack. Accept no authority; pursue your desire." Committing _real_ art can get us arrested, even killed, but there is no _life_ without it. Art -- poetry, metaphor -- is at the very core of our existence. It will not be ignored, and it will not surrender it to the merchants and taxidermists -- the foundations, museums, galleries and schools which preserve and honor hierarchy. Art so robust as to have survived entombment in such toxic institutional atmosphere belongs with the outlaws in brilliant, liberated streets, where the creative dynamic is free to expand without opposition, where it can breathe and propagate a contagious revolution of desire. Art should be made by all, everywhere, but most emphatically in the streets. ART IS NOT A COMMODITY. September 1996, by the following participants in the SurreaList e-mail group: Barrett John Erickson (US) Pierre Petiot (NL) Michael Betancourt (US) William Dubin (US) Alan Gullette (US) Frank Antonsen (DK) Stuart Inman (UK) -------------------- Date: Wed, 11 Sep 1996 17:39:02 +0100 From: jnech@imaginet.fr (NECHVATAL Joseph) Subject: FLUXLIST: Electronic archive Scientific articles available via anonymous FTP on - ALTERED STATES OF CONSCIOUSNESS - PARAPSYCHOLOGY - HYPNOSIS TRANSPERSONAL PSYCHOLOGY - HUMAN POTENTIAL - MEDITATION As an aid to education and communication, Charles T. Tart, Professor Emeritus of Psychology at the Davis campus of the University of California, internationally known for pioneering scientific work in the above and related areas, is gradually making reprints of his published journal articles and miscellaneous papers available, via anonymous ftp, to whoever is interested. These are mostly from scientific journals, but are generally quite readable to the educated layman. The following are examples of the kinds of topics: -experiences in altered states of consciousness as fundamental sources of value in Western civilization, underlying religion -investigating altered states by the development of state-specific sciences -ESP functioning could be trained to become reliable by using basic psychological principles of learning -precognition works an order of magnitude less well than real time ESP under laboratory conditions -psychics' own fears of psychic abilities -psychological ways of dealing with fear of psi -perniciousness of bias in apparently objective science -marijuana intoxication and psi functioning Another 100+ articles will be posted over the next year as they are scanned in and formatted as ASCII files. The file "current contents" in the ftp server will indicate what has been added. Computer users with access to the Internet can access the archive as follows: Connect to ftp server, "ftp.ucdavis.edu". Log in as username "anonymous". Send your e-mail address as the ident/password string. cd to /pub/fztart. A "dir" command will show you what is available. A "get" command will retrieve documents. The file "current-contents" will be updated regularly, showing what papers are available, often with an abstract of each. -------------------- Date: Sun, 15 Sep 1996 09:44:27 +0200 From: FIG Gallery Subject: FLUXLIST: Mail Art Call for Entries From: Peter Kosenko, Director, FIG Gallery, Santa Monica, CA, USA e-mail: fig@netwood.net URL: http://www.netwood.net/~fig Artist Barbara Drucker has asked me to post the following call for entries around the WEB: Call for Entries: Mail Art Exhibition Theme: DREAMS OF LIFE AND DEATH Entry Deadline: December 1, 1996 Exhibition Date: January 1997 Please send two pages, a hand-written dream and an image from the dream reproduced in any 2-D media. Size Limit: 8 =" x 11" All entries will be exhibited, no returns. Documentation will be sent to all. Send to: Barbara Drucker The Living Room, Special Projects in Contemporary Art 1132 Broadway Santa Monica, CA 90401 USA -------------------- Date: Fri, 20 Sep 1996 08:42:29 -0800 From: Harold Jaffe Subject: Would it be possible for you to forward the following ad to your lists: Call For Submissions Fiction International will be publishing its second consecutive issue on the subject of Pain. Fiction, non-fiction, hybrid forms and visuals should be sent (with SASE) between 9/1/96 and 12/15/96 to: Harold Jaffe, Editor, Fiction International, English Dept. San Diego State University, San Diego, CA 92182-8140. Please write "Pain" on your envelope. Thanks, Harold Jaffe, Editor ----------------------------------------------------------------- Contributors to this issue -------------------------- Jacob Arnold Jacob Arnold is a terrified mind cartographer who is currently a student of English Lit. at Ithaca College in New York. Nenad Bogdanovic S. Markovica 41, 25250 Odzaci, Yugoslavia John M. Bennett http://www.faximum.com/jas.d/tam_47.htm Johan de Wit Flat 1, Sylva Court, 21 Putney Hall, London SW15 3NX, England John Geraets "'Common Use' is part of an ongoing sequence of poems that use alphabet jackets. In this case, narrative-like sentences are constructed using words in which successive letters of the alphabet are capitalized." J. Lehmus http://www.geocities.com/paris/1583/ Travis Martin "This is my first attempt at publishing any work of mine, so I may be leaving vital knowledge out." Alan Sondheim http://jefferson.village.virginia.edu/~spoons/internet_txt.html images: http://www.cs.unca.edu/~davidson/pix/ ----------------------------------------------------------------- Acknowledgements ---------------- Ganzfeld by Alan Sondheim first appeared on the Listserv list CYBERMIND. Republished here with the author's kind permission. The 102 Pseudonyms of Neoism generated by The Neoism Machine, http://userpage.fu-berlin.de/cantsin-cgi-bin/cantsin.pl ----------------------------------------------------------------- GLOSSOLALIA ~ Electronic Journal for Experimental Arts ver. ASCII ISSN 1239-5773 Publisher: CI Acad. Poet. Aeth. Editor: J. Lehmus Copyright (c) 1996 by J. Lehmus. All individual works Copyright (c) by their respective authors. All further rights to works belong to the authors and revert to the authors on publication. GLOSSOLALIA is published electronically, 6 issues/year: February, April, June, August, October, December. It is available as ASCII and HTML versions. This ASCII version is distributed primarily via e-mail. It is intended to be read on-screen. Pagination or other printer formatting is not supported. Electronic reproduction of any complete issue of GLOSSOLALIA ver. ASCII is permitted. Complete issues may be downloaded, archived, duplicated and distributed free of charge. Authors hold a presumptive copyright and they should be contacted directly for permission to reprint individual pieces. GLOSSOLALIA ver. ASCII can be subscribed by sending "subscribe glossolalia" in the message body to: GLOSSOLALIA ver. HTML is available from: http://www.thing.net/~grist/homecyan.htm GLOSSOLALIA editorial address: CI, J. Lehmus, Stenbocksv. 24, 02860 Esbo, Finland GLOSSOLALIA is listed in: ARL Directory of Electronic Journals and Newsletters Arts Wire Database Castano's Bookmarks The E-Zines Database John Labovitz's e-zine-list World Wide Arts Resources The World-Wide Web Virtual Library: Electronic Journals ----------------------------------------------------------------- in*for*ma*tion: [ME: a forming of the mind < ML, L: idea, conception] ----------------------------------------------------------------- --------------------------- Cut here ----------------------------