Thus Heard Sophia Harmonia

Thus Heard Sophia Harmonya

by

Few Many

“W hy cannot the Ear be closed to its own destruction?”

Index “Without the imperialism of concept music would have substituted philosophy.�

Offering These Pages Silence, Please!

The Book of Cochlea Scream First Listeneating What Does Listen Wants?

Philosonies Musician's Reveries Research Commitments Auragenesis Acouspoiesis Metadiorama Bioeco Psychophony Acoutecture Proera Cyber phony in the Boudoir Haiku Musical Pollution Stagearchy Danses Noisecracy Taom Fandom Hymn Operations Mothern Voice

Praise to Plagiary Sonarium Seductions of Listening Ovo Daily Listenings Astronausea Censorship as Fine Art Sacrofice Improvider Gaethics Maieutics The Burglar of Birds Metawards The Proverbs of Noise Gnoise Schizolistening Museum Music Museum of Listenings Tonering On Dialog ue Copyduties' Genealogy Auriculture Fields The Marriage of Music & Noise Acousation Sphinx's Reasonance Saga Samizdat Sophia Harmonia

Σ=ƒ.[(ॐ.φ)÷ψ]

Offering

“A Gong sacrifices to the Song of Heaven.

Small people are not able to.�

Entre thy seed shell hive labyrinth Down the pavilions of staircases Honeyless wax trumps' grass fields Hammering skins sinks them vases Valve moon, a diamond well keeps Lair inside shining brane fell agong Lighthunderstorms of infinite seas Grainmars' fondness share of songs Stars break pyramids to tides pieces Blossoming tissues into frames o'arc Unveil achaos and wave it all behind Take no music nor leave of mythlyric Nor sounds or gestures of mime desir That only thou thou must offer give

‌ and listen

these pages...

{score for an opera made with scores from 123 operas}

Silence, please! “To listen is to forget.�

Speak! O thou profane gesture!

Break the intricate weaving in between Giveth thy temple sacred for it's not for sale Tremble interposing the statues on the paintings Explain the unexpainable, paradox's first passion Dance that sien of time so we recall them Unveil the egg of signs in ears' lens Abound, around about tacit, let us forge't at too Poetry! Rest in sigh!

Verbicolexigrammarethoringuistics!

Taketh me paths, we moralized beauty!

Whims and vagaries mute, Harmony devours names and faces Synergy of potencies holding the prisoners of the bridge Lost anthropocosmic ties lost in the sensual deafness g'race Semiontics blind k'not of the movie scent Stutter! Broken lake thou epistemathemas lover!

Cross the abyss of absurd deapfth Scoring your halters of axioms Limit the senses! Giveth thy good laws of aesthesical bounties Every procession has its own ritualistic pragmatics Every mass comes for not to leave, symphonically they claim Destroying all hearings of fancy with fences and rhymes The wonderful orchestra of the world Keeps hanging the unforgettable sound of crushers and cars For the children crying a duet with the saw Always be in construction to avoid humanities Cease the radioactive sewage of chansons' mating ball Of laword and sound power that breed Would laugh no more of fluctuation and free-control horns Hawkers stop usury of screaming selling sales Sonic booms drawn no deathlines Fume in fugue on the orbitals geophasy Silented electrics, burnt anechoic chambers Still the most delicate concrete subtlety Would plead the fortissimo furioso of baroque

{engage and organize silent walks}

{question the usages of sound and music in daily life}

T he Book of Cochlea

“Information is not knowledge, knowledge is not wisdom, wisdom is not beauty, beauty is not love, love is not music, and music musics something to far beyond our reach.�

Digits on the plot of fibres, eyelids viscus, metacarpus and pupil inflation, orbicular stretch the lachrymal obfuscation. Rugged vertebrate papyrus, consistency and breaks, ploughing eyelash, radial jitter, pages in the air. Flashes, phalanx in one hundred and eighty degrees of a bounded body. Tonal plexus, blank page, page turning. Rashes, signs under nails in the skin, the pores controversy coagulates in ink types. Printed penetration of papillary ditches, taste text. The hairs bristle, rebel gone gene explosion, noise.

All tongues dead receiving poems, last sentence before dreams swallow us, we have a body to de-construct, we have a vocabulary to birth, vain gap molecules. Alone, noise knows itself nothing, of wrinkles knowledge. Pulse! Pulse unmeasured cells! Crimson sap, first river's singing branching vveinarteries, these margins. Netween, soulmachines, what we know of love but memories of wombs we filled with our absences? Empty sound of acoustic boxes, how to seek your fake resonant silence, made among the scarlet forgotten?

Netween breath and foz, deaf drum of the funeral march, red tender beat, summer phonophagy, still oceanic fet'us, the is never fits itself and never wants to end. Disappointed destruct in this humour approved to be expelled, placient acidity in spine scapula one, shelter earkind. Coccyx named atlas, flexion of the extension to the orbit of the satellites, ossea tabula rasa, dor, so it is. Archs lift your feets, give you in czimax, the vultures passion. Vernal cortex, the rose of the dog, painful and thermic way. Being is beauty, in it self halos.

The phage diafracture pan, creats. Discipline the straight to the curved at the garden of his many skins, plough 's iris, humus anus of the soil. Nuts voices of germs, tectonicape, egg crack, yells lands. Spinners glands, soften thee. Bittersweet subcutaneous tear knoting, bile and viscera design hunger, braind. Calcified sun tail, the lonely sounds of vertebrate flutes in cervical fantasies solidifies stratas in depressions. From the living tissue, muscles. Enrage the nerve framework tie, sulcus of the temporal pit. Chews jaws, not all ribs are true, teeths seeds against the efemura flatters sacral promontory, transverse ridge. Go old, life will be beared.

{score for bird songs made with native trees}

Scream First “Sighs. Sufers? Breathe.

T here is no other lyre.�

Deadborn obsoletepremature, gestate. Insomniac hollow blindsight tenderly harvesting worms, plowed corpse museid hearth it, that only knows what feels, this hunger of bigger hungers digested in names in name of the fruitful wound of the viruses, beingborn surrounded by dust bodies in silent agony and always shouting reticent... and... and... and... only... when our hearts beat for the first time, we understand each dissonance. Inhale hatred to the chest aspiring voice, there is ove until there is nurtured wrath, embers calling the wings, pulmonary chimeras of homoplata, gray mist floating roots, vital elĂĄn of puppets in sensus mundi. Legacy to the stones that chalk against each other, rotten exhaling toxins spitting scorn above lairfaring memoir here instant. Yet already rough waitings, fumes of whenwhere, whittle the hourglass. Fleugma chewing order germinow, deserters being deserted, cartographies of nada quicksand, catharsis in cartilage, grains eat durating shiting gingival idleness. Accident carpets, arid canopies mutilated, skull dome under dy leaves tears in their terse trends to neturn that fall in chronic decline, tenuous gravity, tapeworm and pregnancy.

Ineverything absolute emptiness, absurd abyss: todark, onlychoice of zygomatic mazes, dive in the surface imagery to the accuracy of death, to the deep background of the world where deep down there's no limit. Peeled onion, left the crying tear, the blade, the empty core. Faith roar: is! A'wakening the reveiled fury. The rope! The rope! All nodes are on us, reverted to reflect in the eyes of the ass, demons that are stain, crushed by our own guts. Insurmountable force between virtue and meat erecting temples in the ruins of our temples to ruin. Adoneous feet worshiping, setting the edge of the square roots thirstysire to the secret cut, metameta of entity. Logopathic way vertigo sounds under the skin. Warlike harmony of the spheres beyond the overfield lurking for an appendix, between between and between with their stardust dusky mists swirling monads to infinite tissue of it spiral series, transmetrogonic multiplunique of mnemomania musichaos...

Listeneating "T hose that listen don't want to defend their own ideas, deal with voices of others as their own." ♓ Transitorialities How do listen here now and Which the tongues of ears Twelve experiences proposals In search of our daily epic ♈ Diaestethic Auraphagy Axis labyrinth dance incense Beat the dust, moisten its Soul nutrition, coffee bread Teophany of editions, fume Sulfur, then fresh water ♉ Hedonestoic Bloom Curiosity transforms greed Ambientself passagescapes Inhabit habiting the knots Installation of instauration Topophilic washed yard Calcasian shalk circle Flying carpets, nanocosmo ♊ Laic Link Cognosis Open the lotus of eyes Whispering slownesness Moving track of there Find a word for the search Hollow poem, fire's focus Conceptual understorm Hypercrisis of gestations ♋ Histeoaury Egregore The temporal margin tribe Tea'rs, offer a legend The summaries of each opera Gravitating intercharacters Melonemes' sympathiology ♌ Persense and Preformance Praise of praises in morfosynthesis Atmdecoupage, sculpt the intense Mustness, dignity and honor of morals Aesics, aesthetetics of entic instances Subego, perspective and timbre crome

♍ Cyberphonic Presenscor e Exhaustion, complexification of empties Organizational metaorthodoxies Body drawing of emanations And to impregnate the word with voice Rearrange space by the orbits Decarve with pauses and vigil Entrain subjectless desires Stretch the cold rhyme nerves ♎ Gaetic, Cosmoparturition Auratic econology of topontologies Breathe deep in the deep altogether Structure of ontologicscapes Oschestrate common temporalities Rehearse the improvisation, morbidity of the work Ritournelle netween fugue and deafness ♏ Cyberpathy Collective ayurvedic auricular massage Ear is the whole body, listening is absent How to cover the others' works in our Yet others emerging dealing with gaps decatorgraphies of unpaths ♐ Nocturne Forty three minutos in silence Concentrated in what we proposed Then realize a firs common sketch ♑ Trance in Transit Autoanalysis and metacritics of the being Epic for metanarrative ages Daily struggles and subrelisiences Produce pollinating documentation Forumla, multiplying methodologies ♒ Templar Metadiorama Restage the whole meeting With maximum scienic precision Start from the methodprocesses Admit transparent limits, publish

W hat Does Listening Wants and Needs?

“Hearing is a physiological constant, listening is a psychological variable.”

To multiply hearing possibilities to increase diversity , maximize freedom/choices, expanding the space of possibility. To increase sounding efficiencies to increase specialization / uniqueness , increase power density and density of meaning , to engage all medias and meanings , reach ubiquity and free-ness of instruments and become beautiful . To harmonize complexity in simpler ways to increase social co-dependency in better interlistening, to increase the self-referential nature of listening aligning with nature in its stochastic recursive form . To ponder the flows of rythmic evolvability. To play the infinite transphony.

In general the long-term bias of listening technology is to increase the diversity of sound artifacts, musical methods, acoustic techniques. More ways, more choices. Over time listening advances invent more energy efficient cultural methods, and gravitate to sounds which compress the most information and knowledge into a given space or weight. Also over time, more of more of sound on the planet will be touched by metalistening processes. Also, sounds tend toward ubiquity and cheapness. They also tend towards new levels of complexity (though many will get simpler, too).

Over time sounds require more surrounding technologies in order to be discovered and to operate; some bioacoustical technologies become eusocial – a distributed existence – in which they are inert when solitary (anoise). In the long run, listenability increases the speed at which it evolves and encourages its own means of invention to change. It aims to keep the transphony of change going. What this means is that when the future trajectory of a particular field of listening is in doubt, "all things being equal" you can guess several things about where it is headed: • The varieties of whatever ways of sounding will increase. Those varieties that give humans more free choices will prevail.

• Ways of sounding (and listening) will start out general in their first version, and specialize over time. Going niche will always be going with the flow. There is almost no end to how specialized (and tiny) some niches can get.

• You can safely anticipate higher energy efficiency, more compact tools and everything getting smarter towards their means, although which will be these wiill keep being ethical discussion.

• All are headed to ubiquity and free. What flips when everyone has one? What happens when it is free?

• Any highly evolved form becomes beautiful, which can be its own attraction.

• Over time the fastest moving listening will become more social, more co-dependent, more ecological, more deeply entwined with other listenings. Many technologies require scaffolding tech to be born first.

• The trend is toward enabling technologies which become tools for inventing new ways of sounding easiest, fittest, cheaper.

• Listening needs the health of its hosts.

{listening abstract cell procreation scheme}

Philosonies

“Practice music, Socrates.�

Sounds don't make sense, they get lost. Phonopathies turn into sensations that through crossbreeding in the sea of memories philicly elutriate in glances of feelings shocking against each other forming geometric tensions of humours in mathematical structurability. Logically, every musical feeling is a pathology, sound passion of an inner image attached to the listener. A philosonical inquiry is guided at the threshold of hearing: musical logics and its dynamics being used in broader ampitudes to work on listening, sound composition of psychoacoustic environments. Seeking an approximation to sound in all instances of life it touches, philosony multiplies listening toward an panphonic overview of any given sound subject, from the hedonistic and challenge-research oriented affection to forms of logical connections that composers drew from these harmonic relationships with other aspects of life aparently decontextulized.

Prehistoric pulsional sound crating mythological tones in tribal monody modelling imperial harmonic fields for nacionalizing hymns, harmonic implosive scales monadic renaissance quarrel between romanticism ultrarealism, scale of scales rise the baroque to a fractal surrealism of harmonic fields scales from micro to macrophonic serialism, sonology dismantle acoustics purity and antroposonics give birth to listening machines.

A contextual harmony of listenings with all the figures, myths, scales and ways of sounding from the past cohexisting in a series of experiments and possibilities of acoustics, faculty of a fundamental unfold in the forms of language perception. Namely, if until now we had an autonomous musical code of transcendental tonality based on a diachronic harmony of luthier practicality law enforcement, with the advent of serial matrix cacophony and the wavelenght nano post-perception digitalization, music is in question at the position of civilized listening auratic legislation. From this subtle noisy dissent between Mnemosyne and Sonia appeared philosony in the auriculture. But from that none Orfeo would remember years later when he faced Hade for the third time, lyre in hand.

Musicians' Reveries “Talking about music is like fishing about architecture.�

The sounds that preceded our existence and are yet to cease are inseparable of our sentimental utopia of silence, they are the substance, the background emotion, of our harmonic arbitrariness. Through music, attempt to appease the torment of this transconscient listening to the too complex harmony of the world, one reduces the auditory focus to a comprehensible, and preferably comfortable, spectrum of the neuropsychological faculties of the listenercomposer. This ambiguous relation of aesthetic as a complexity organization allow us to experiment two ways of meaning the transformations of audition: one orbiting the symmetrical ideal under the sensible-rational gravity of music and another from the body and its noises overflow the corners in the closed angle of singing recognition the infinitesimal edges frequencies of our spherical listening.

We are a musical controlled listening culture, in which the image of harmony in all our relationships with sound tend to divide gestures of creative intuition from the ones of representation of three-dimensional scenes and standardized interpretation on standard instruments to fit the movement in space, we score music as we make improvisation an appointment. Because we want to control the beautiful and the sublime we end up destroying both. Sustaining this great musical spectacle of institutionalization of intuition , compressed sound in three dimensions serves mass for pseudo baroque architecturization of asceptic staircases of imaginary symbolic musical hierarchies. Music is profane. The musician reduced to an actor of music advocates his knowledge of his masturbatory instrument law, virtuoso he relays the ludic to a mistake. Bullfight the audiences noises, overwhelm them with volume, uses the technical veil devices to shut them all and this specialist system wears his idolatry.

The formal disciplines of styles in front of which prostrate these copyists later interpreters, mask in the logimythic march of histheoaury to scienia their religious para'doxes feedbacking between the lost paradise of form and hope in the final judgment of criticism, comforting dimensional narrowness of the spectrum sensitivity in a linearity of progress, to at last, in the nostalgia of present make of their very existence rehearsal of their idol. gregarious product of their work. Musicians are workers. So reduced them musics to the music, consummation object, repetition of sure outcomes in a marketed listening culture instead of processes of reverie through the impossibilities of certainties, the full effectiveness of socio- economic management of enjoyment in a fetishized cultural refinement takes hold of the musicians.

Music, however, just like the body is something far beyond delight. What prison is the most appropriate for the musical intuition, number or word? The monody would murmur, gregorians would whisper and the symphony in fortissimo would make it clear: Both! The undeniable triumph of opera and songs are intimatly connected to the creation of a docile social audition according to the law of number and the strategic logics on the agriculture of sounds. In this sense jazz really ws the continuation of eruditist music, adding to it the imagery o emancipation as a rythmic calculus for a cattle syncope when the vaccine comes, theme and variations of a language which denies linguistics. How to free music from us, send the maestro inside? How to reinvent scores as a tattoo and the stage ritualize listenings again? Will the jailmaster be defeated and the panphonic intensity metronome silent in search for the lost times of a renaissance of music in the spirit of tragic philosophy?

Philosonic Research Commitments “W hat! So the listener has pretensions? Must words be understood?�

Competence 1. Who can make sounds/music, and who can interpret/use them?

2. What is the pattern of musical acquisition and learning?

3. Are there stratifications of skill and knowledge? What types? How are they sanctioned, recognized, and maintained?

4 . Is musical acquisition assumed to be unproblematic? A necessity?

5. Do ideologies of "talent" determine or constrain acquisition and competence?

6. What is the relationship between competence, skill, and desire for music?

7. What are the differences between production and reception skills, for individuals, across social groups?

Form 1. What are the material musical means and how are they organized into recognizable codes?

2. How are musical means distributed across settings and participants?

3. What are the preferred aesthetic orderings?

4 . What are the boundaries of perceived forms? What does it mean to be wrong, incorrect, or otherwise marginal from the standpoint of code flexibility and use?

5. How flexible, arbitrary, elastic, adaptable, open is the a-musical form? How resistant to changes, internal or external pressures, or other historical forces?

Performance 1. What are the relationships between makers and materials?

2. What is the relationship between individual and collective expressive forms and performance settings?

3. How are forms coordinated in performance? How adaptable and elastic is musical form when manipulated by different performers at a single moment in time or over time?

4 . How do cooperative and competitive social relations emerge in performance?

What meanings do these have for performers and audience?

5. Do and how performances achieve pragmatic (evocative, persuasive, manipulative) ends?

T heory 1. What are the sources of authority, wisdom, and legitimacy about sounds and music? Who can know about sound?

2. Is musical knowledge public, private, ritual, esoteric? What dimensions of musical thought are verbalized? Taught verbally? Non-verbally?

3. Is theory necessary? How detached can theory be from practice? What varieties of knowledge and activity count as musical or aesthetic theory'? How is music rationalized?

Environment 1. What resources does the environment provide? How are they exploited'? What relationships exist between resources, exploitation, and the material means and social occasions for performance?

2. Are there co-evolutionary patterns, ecological and aesthetic, linking the environment and sound patterns, materials, situations'?

3. What are the visual-auditory-sensate relationships between people and environment, and how is this pattern related to expressive means and ends'?

4 . What myths or models scaffold the perception of the environment? Are these related or complimentary to conceptions of person, society, expressive resources?

5. What mystical or cosmological associations with the environment support, contradict, or otherwise relate to the socioeconomic context of musical beliefs and occasions?

Value and Equality 1. Who values and evaluates sounds'? Who can be valued and evaluated as a maker of sounds?

2. How are expressive resources distributed, specifically among men and women, young and old? How do stratifications emerge? How do balances and imbalances manifest themselves in expressive ideology and performance?

3. Do sounds deceive? Mystify? Who? Why? Are sounds secret? Powerful? For whom? Why? 4 . How do musical materials mark or maintain social differences? How are such differences interpreted? How are they sustained, broken or ruptured, accepted or resisted?

Auragenesis “Every thing in the world has a spirit which is released by sound.�

Silence, music's sound Silence, space's time Silence, light's density Music, time's velocity Sound, weight of space Tone, wait for silence's return Music, precedes sound As dance before voice Music, time's dance Sound, sublimates bodies In frequencies of vibration Throughout airy in the same way That light is sublime of energy Through colours lenses Music, light's light Synthony waves and activities The sound of sound Eletric magna substance Advances irrestibly In all directions dimensions Listen, love's colours Listen, dance of music and sound Listen, deliverance's silence

Acouspoiesis “Talk about music is nonsense, perform it a madness, listening is sublime."

One doesn't learn to listen, but may listen to learning. The social pedagogy of music puts musicianship as a natural continuation o speech, confluation of mathematics' exactitude and the gimnastics of mechanical repetition, but how does this alter what is to listen today? How the psychogeographical specificities alter singular productions of styles of sounding?

Post-alphabetical waves with the return of nodal pulse as a foothold of language in the body.

Morphopoetic metamimicry and processual valorization drives on a work based meritocracy instead of one centered on talent, made a mere product. We like to say we invest on creativity, but the opposite is closer to reality. I know that I’m working very hard, as you are working very hard to know what I’m working on. Flow in which everthing mixes forming a synaesthesic mass at the same time kitsch and sacred, music became an ideal product, untouchable and unquestionable idol. The espectacles when condensed become music, coin of the cognitive capitalism in the information situationism. With fading importance given to authorship since what is listened are the listeners themselves. Such transfigured listening of aural series demand an anonymity if we want to nurture the collective subjectivity empowering noisecracy, without distincting listening from composing nor the standardized gaps between sound products. The end of the soundtrack for a philosonic field lies in the inefable silence which we gave up of listening. Listening poetry, music as a verb rather than a noun: To music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), serving tea, cleaning the place or by dancing. Everyone has the best place, and it doesn't need to be a sit, all contributing to the nature of the listenhappening that is a musicing. Listening poetry is an activity in which all those present are involved and for whose nature and quality, success or failure, everyone present bears some responsibility. It is not just a matter of composers, or even performers, actively doing something to, or for, passive listeners. It's not just about musicing, since there are many other ways of sounding.

Whatever it is we are doing, we are all doing it togethe: performers, listeners (should there be any apart from the performers), composer (should there be one apart from the performers), dancers, ticket collectors, piano movers, roadies, cleaners and all. No one imagines that a symphony is supposed to improve as it goes along, or that the whole object of playing is to reach the finale. The point of listening is discovered in every moment of playing and listening to it. It is the same with the greater part of our lives, and if we are unduly absorbed in improving them we may forget altogether to live them. How may we create this interactive sound art concert where participants share their listening ways in a transcompositional workshop and experience all the stages of soundcraft, from poetic inception to multimedia presentation, from ambientation to production, using analog and digital techniques to open the ears to the daily music?

Metadiorama “Diorama is a natural imagination. Mixed recursive interactions. " Project: A recursive creation process of a museum diorama inside any of your museum's

room, with a specific interactive schedule intending to create artmaking meetings with the local community and recognize socially the museum itself as an artwork. ...

Objectives: The making of an open transcurated space to be occupied during the exhibition period where museum pragmatics will be openly discussed and the audience joins the artists in the creation of their own museologies.

Exchange: Meeting visitors and collaborators of your museum to nurture their relation with subjective production and create a work on process with them.

Local Specificity: Being present and available to endorse the local creative works of art through continuous workflows of knowledges and practices.

Research Orientation: A daily search for the local symbolical aesthetics and cultural environment to produce artworks activating it even more.

Open Documentation: A multimedia documentation of the poetic gestures in the process, that may be used as raw material, shared under an open license.

Process: The work is a metaprocessual enquiry based on serendipity, the following complementary logistics schedule may work as tools in the establishment of a transcuratorial dialogue and stablishes common ground for collective artworks: Routine Programming: Maintainance of a collaborative space of operations, socialization and knowlege exchanges needed for the ongoing core processes of an art museum. We believe the museum cleaners make art and vice-versa.

Presentation Progression: Everyone who wishes to participate collectively or individually, has to create its own museology and artworks, from the ideaization of the piece, to its metavernisage with the other works. ...

Methodologies: Based on your offered budget for the exhibition, we will study your museum rules and procedures. We wil get to a open co-created institutional transcuratorial museological mission acknowledgement statement. This statement and this project should be translated to your local language(s) and made available for visitors use and online open inquiring. Apart from that, the environment itself is the mutable art piece.

Neutrality: The artists shall remain neutral in the curatorial process, delivering popular demandings, proposals and criticisms to the musseum staff, wich will decide what may or not be done.

Do It With Less: We envision the minimal production of waste. We use what we get, recycling both the garbage and the processes.

Open Structures: All the methods may be multiplied and repeated, we actually ask you to, please, contribute on its code, recognize it as a collective cultural achievement rather then any individual showcase.

Open Accountance: The artists will only use the budget money, so that the accountance of it remains collective and open. The participants must help to decide if we buy tea or ink, for instance.

Schedule: The artists will occupy the provided space according to the activities and demands pointed by the agenda, pre-structured with the museum's staff, based on the following criteria: ...

Periodic Routines: A first sketch on a routine mantainance for the keeping of the space and the people inhabiting it. The project itself is the trigger art piece in the opening event: Daily Routines: Comunitary foodmaking, enviromental cleansings, aesthetical spatial organization, recitals and readings, workshops, resolution of bureocratic matters, meditation, dances and walks, urban research, artistic activities and encounters, strategies of the unpredictable.

Weekly Routines: Each day in the week will be devoted to specific themes, in order to generate a collective focus on the common creation. We have expertise in many artistic fields (to be mentioned further) and would be very pleased to listen and share possibilities of artistic endeavours together. ...

Process(es) Progression: The general project and its presentations and social connections guideline are presented in the following order, but their intensity and duration may vary according to local specificities.

Preproduction: Research (including visits to specialists, talks, discussions), rehearsals and self created exercises, strategical plannings for acquiring data, material and poetic ways of dealing with it.

Production: The physical structuralization of the artworks, which begins with the opening of the concerning exhibition and proceeds until the end of the presentation.

Presentation: One or more exhibitions may occur during the, ever in process, construction of this piece, which may embody diverse medias.

Key Concepts: In order to reflect on the processes of artcrafting and enrich the local political subjective economy we find necessary to inquiry the project procedures and how they mold the poetic gesture through its projectification, allowing the dialogue about these sociomuseologic questions with involved workers, from the cleaning staff to the curators. Here are some ideas and conceptual references that serve as an axiom for the start of this endeavour: ...

Diorama: Maquete that shows human figures, animals or even imaginary beings as focal points of a scenic composition, presented inside a particular surrounding with the aim of representing a story, theater without movement.

Miniature: Science works through experimentation, documenting the experiments, analysing them for the creation of abstract models: imaginary simplified landscapes, static or dynamic. Cybernetics is deeply entrained with cyberkynetics, from cognitive webs of imagery we create models of movement.

Recursion: See Recursion. Metapoethical recursive autopoiesis during its fractal selfproduction of quasi-similar reproduction care.

Serendipity: That which may only be found when one is not looking for it. Profound serenity.

{opera composition process}

Bioeco “You can kill people with sound.

And if you can kill, then maybe there is also the sound that is opposite of killing.�

Bioacoustic: Everything sounds, but what does music? Sound is a living being and a form of vital entrainment with subtle resonances over life itself, that very little empirical experiments had time enough to happen on the issue of summoning enchantments, gene in the bottle. A simple definition of life is of a phenomenon that animates matter. Any material entity to be excited in air medium produces pressure modulation, perceived as sound by the listener. Traditionally it is considered that an entity is a living being when exhibits all of the following at least once: - Growth, production of new cells. Sounds resonate listenings through their human hosts, multiplying both physically and abstractly . Hence the audio ( speakers and recorders) tooltems are born, ways of life centered on sound rites and the common places of language, phonemes.

- Metabolism, consumption, processing and storage of energy and mass, growth by absorption and reorganization of mass; excretion of waste. Animal listening are metabolic apparatus of sound. Musical geometric structures (melodies, rhythms, harmonies) are enzymes that manage the set of transformations that chemical flows entrainment experience inside the wire.

Unintended noise (rusic) is its excrescences .

- Motion, be it's own motion or internal movement. Sound itself is the crossing between these two modes of movement. We do not know to distinguish the pitch of the world from our nervous system and blood.

- Reproduction, the ability to generate similar to itself entities. Just playback and note the reproducibility of singings and and roars in animals, the harmonic changes of timbre of a sheet according to your drawing.

- Response to stimuli, the ability to assess the properties of the environment that surrounds it and act in response to certain conditions. Human is the nervous system of sound and because of its ephemeral existence (the different refresh rates of listening as the lifetime of a sound) we could also say that its space and song. Through us, it echoes like subjectivity. Sound is a living autopoietic system in constant evolution, both molecular (music) as especimal (aura) that maximizes the range of its possible futures.

To listen to the audible (abstract beyond our hearing totality of sounds) is a vital composition focus of listening. Listen is a symbiotic infection, also alive, in us. This microecological system which locally reduces the entropy by a flow of creative energy and focused palette of impulses. Yet, there is no consensual model for the working of this hyperstructure of symbolical connections. Against all physicalizator dogma, we don't know the origins of life as we don't know the origins of music and sound. But most o the models accepted in biology are based in some of these assumptions: Plausible prebiotic conditions result in the creation of the simplest organic molecules, for we have a non-musical drive to start singing. Phospholipids spontaneously form bilayers, the basic structure of the cell membrane, two cypresses in the entrance of hell in orphic tradition. Process for the production of random RNA molecules can produce ribozymes capable of replication under certain conditions. Crystal of smoke, living music in the ergonomy between geofanic physiophonies.

Music, sound flower of contextual harmonic molecularities, transgender aura unnatachable to laws.

Zooacoustics: Musics are always artificial. Cultural processed pseudo-natural tracks, minority culture band with playback drums. Musical tourism, sound landscape. Confinement of the inner listening to muzak-jingle and the external alienated to noises. Segregation as the model of control of auditory instinct. Mushrooms in and we all locked outside the cage, toegether in the stylistic specimal xenophobia that doesn't garantee auratic privacy.

Ecoacoustic: There is a thunder that precedes the lighting. Listening to the sounder. The cry of the Echo to Narcissus. Although the light is faster than sound in astronomical proportions, on human perception it occurs in reverse manner and we perceive sounds as imediate to which the images follow. Listen proposes, vision features. From the sound environments of public spaces to the soundsphere, we have the problem of merging democracy and its consequent noise and rise of loudness without having to resort to laws and obligatory measures, ways are beggining to appear in the opening of wave spectrum for public use to acoustic urbanism. Bioeco is the composition of a vital resonance through sound. First perceived spectral being living in psychoelectromechanical osmosis with animals who perceive the primary acousmatic of the vital principle metarecycling listenings through improvisation, structural base of the machineisms and orgasmonisms of aura, sounding belief and civil resistance of listening.

Psychophony “Do not wonder if at present it does not reason well; a fly is buzzing in its ears; that is enough to render it incapable of good judgment.�

The act of sound-ing is music's metatherapy. Music is self-analytical, its material are not sounds at all, but the effect, the volitive tension of the author's subjectivity. What rests of the voice is a bunch of resonances, that make part of the room's acoustic body. Performance, statement of interpersonal experience is the statement of this passage of the vibrating material to the immaterial vibration that ressounds afections and ideas. Soundlandart mixes two aesthetical movements: one created from the listening situation, that demands paticipation, walking through the fields mixing different musics, and other that is the intallation of therapy in the noise gestures to be contemplated as a landsoundart.

We paint, sculpt, compose, write with sensations. Then why s it almost impossible to paint music? Sensations are not perceptions that refer to an object, they are a weave of similarities produced by its own means, the finger playing an impossible chord on the violin are only colours traced to contrast shadows and lights. If the similarity can impregnate the artwork is because musics are a closed language. Sad, the musicians listen to noise.

Desire for the omniously senoidal divinity. Music is a desire diminish listen. Laments, sobs and screams attack us for a long time before they receive these names that come with meanings; we have to compose music every second s贸 that our soul may survive and we may be present.

Musicology is a resentment over the feelings of guilty of having played music.

Sounds are sowed with memories, an incomplete live echoes humanity. Without the background noise, there wouldn't be no ned for music, in which music cohoborates with the maintanence of the status quo being a reactionary concept. Philosophy came to be from music, one can't dedidcate to the later without consorting to the issues of the other. In the unconditional affirmation of music nothing can ever change from changing though. Without noise nothing can be unified, not the things in the world, nor the persons in collectives, nor the senses in synaesthesy, nor the art faculties, nor the parts of the body into an organism.

As happened with photography, sound recording was developed consistently in search of a refinement of its major perceptible virtue: the hability in recreate, even more precisely, an event taken from its original time and place. Both medias were created to preserve an effect of real-time, but both were manipulated by artists to create new temporal and spatial experiences that can only be experimented through reproduction.

What listening allow to perceive is the existing difference between a meaningles silence and an other silence, a quiet moment as a container of depths. Silence that carries the potency of all sonorities in it. Silence that is not a denial of production or meaning. The distinction of readymade and abandonment. Go there and listen. Listen when it shakes, when it rotates.

Listen when you touch it here. What terror invades his head when he listens to sunflowers?

Listen to light in its ink body.

Sound is captured, recorded, readed, listened. What happens? What is finally listened in the place of what was merely heard? How taking this process in account alters our ways of listening? Morfomicrophoning puts the space dancing inside the listening ear. Bodyless dancer and wordless poet, symmetry is the lack of information that breeds. Non-intentional sounds, foundsounds, unveil the ontology of acousmatic in the alterity of real mediacy, nonlocality changing music from action to listening, from all sounds to a situation of allways sounds. Sound radiation, reflection, difraction, resonance, 78 stationary waves, feedbacks. Musa civ natura.

Aural autonomy ontogenesis, the complexification caused by noise and its cognifiable stochastic resonances generate a signifier enlargement between distinct levels and natuers of the linguistic sensations. Because of this tensioning of a listening field such as music, the whole listening may relax other areas of synaesthesical that could revel other faces of the aura, bridge between vital resonance and musical geophany.

Aural nutrition. Noise is a biodigestor of listening, the same way that biology is the stomach of language. Music: metatherapeutic psychophony. Between listening, aural collective unconscious in a relation. Ressignifies all the listenings field of a party with a precise insertion, molotov cocktail effect. Recycling and samplerology perpetrate the cultural production of thrash (subjective and physical), but how could we have a sound innercare and a intersustainability of listenings?

{“Brisalia”, a scrambled map of Brasília.}

Acoutecture “We lack people who perform silence that which has no future.�

Planialtimetry: Architectural practice (sound acoustic): Planialtimetrics (audiometry), program (programming), creation (transcreation), party (orchestra), project (sheet music), approval (critic), executive (sounding), cronogram(rehearsal) , construction (recording), action (performance), azimuths (tones), coordinates (scales), quotas (arrangement), desires (listenings), needs (noises), sensitive (sound), cognition (melody), organogram (harmony), flowchart (harmonic progressions), orientation (leitmotiv), anthropology (musicology), perception (audition), proportion (radiation and propagation), harmony (stochastics), rhythm (pulse), function (music), fashion (transmeter), scale (point of listening), drawing (soundscape), approval (duration). First nausea: the wait (pause). Development (research), printing (allure), copies (fractals), bureaucracies (methods). Second nausea: restrictions (limits of audible).

Permits (styles) and steps (fashions). Third nausea: the choreography of possibilities (choreographicless dance). Mastery (aura) , teams (operations) , forecasting (becoming), duration (improvisation), outsourcing (samples and quotations), cleaning (decoupage), construction (betweenlistening), management (cybernetics), zero spot (silence), stakes (axioms), infrastructure (contextual harmonies), structures (partials), slabs (spectral resonances), seal (reverb). Nausea fourth: the delay (delays). Openings (unexpected noises), electric (static), hydraulics (musical passions), frames (phonomy, the name of the sound), floor (public auriculture), painting (phonotics), ceramics (modulations), metals (connections), finishes (librettos and videos), social landscapes (audible), ocupaction (bioeco in interference).

Inhabiting listening. If architecture is frozen music, we are the noises.

Periphony: Urban environments change not only sounds, but the way we listen. The meeting of social landscapes create acoustic urbanisms from the distinct auratic groups that make it. Contextual harmonies resonate creating net works that activate different local listening focuses. But even with this strenght of local connections in the formation of listening, what is heard worldwide is, from a certain point, very uniform. Spontaneous sounding is musicized through analysis and its rituals of meeting are nulled in the representation of folklore, parties based on psychedelic substances and hypnotic pulses take a part of youth and concerts in stages gives listeners social status of intelligence and the impression of novelty.

Overturns crosses the axis of towns, neighbours fight over loudness, basses explodes backs of cars, but where is the sound that isn't in the statistical predicability? Hundreds of electronic crickets moved by sunlight are hidden in the city. To understand how the many ways of listening happen, and entrain among themselves, we need to verify how harmony generates a cumplicity to similarity designing its own minimalization. All different styles have stylization as a tonal gravity center. How people are listening there? How their diferent ways create symbols and rituals of identification? How these symbols and rituals sound? How the different soundings rearrange the sound environment? A listening walk is the installment of a musical gesture even without sounds, altought the most usual is to compose some piece with recordings or instruments with objects found during the process. We may listen to meat and water as archiacoustics (listening principles), but beyond humanhood listening is spatial, sensitive and temporal. Listening allow us to know the characteristics of an area and is therefore a primal architectural form (as an abstract construction of environmental infrastructure), its flowing present.

Picket Landmarks: Acoustic space is not the real or logical environment in which sounds are arranged, but the means whereby the position of things become possible, listening of their connections. An African adobe builder entitled curator of spaces (environmentalist) wants spaces to become, instead of being occupied: spatializing spaces of instantaneous events. Sonic space is a wet media where information overlaps the reality of events at a rate in exponential growth. Coexistence space with all its incoveniences. Similarly, the sound flow of noise and stationary waves adhere to the architecture of acoustic spaces based on how a-rhythmic are their forms. Sound space (audible) generates this modification from a planned experience to an immersive environment, and the consequent lost of control. Besides structuring machineisms of phenomenology of perception's abstractified interconnections, which are the local flavours?

How do the sounds connect with it, how the lilstening feel about it and create new sounds?

Workings, trenches and revolts of health, postures erected by formal designs. Ergophony, how each instrument has a specific disease related to it. Where space ends and ambiance of senses begin? Synesthesias imposed by striations of motion, the choice of the angles of the rooms design movements (sounds, seismic reverberations winding currents of feelings and senses) and as the larger trees makes the curve of the track (perplexed surfaces of accumulated history) the temporal fall on the semaphore. How to reverse the medusa effect over music through cities, petrified to see themselves in the mirror? What is this dormant charm that desires designed architecture (music-listening) that prevent the flow of possibilities on human experience? As we left the urban centers (noisy and powerful poetry) do we become another form of incarcerated bodies? Does the tourzoo ends somewhere?

Traffic and Movement, Deserts: There are no exits, only bridges, roads and avenues.

Movements fractures prior structuring of experience, one is ready to leave a music before it started. You listening to those recordings is still you and not the pure noise of the concrete deserts, the cities, listening to them is still dreaming chance. The deserts (the wasteland) as soundscape of idleness. But between us and this silence, a city ruminates: decaying walls, pipes, circuits, sweat, feces, machinery, combustion engines. The body, resonance in the midst of bureaucratic structuring of massificating engines, dances: all working to maintain the electrical circuits, hydraulic piping, the disposal of waste without recycling to some distant place. Segregatory luxurious housing and the new position power struggle in urban niches, mostly trying to keep moving in the middle of the impossibility that human taffic trafficking generates in this movement. The circus is armed, you can call the plow that walks alone.

Create a style that say what they want in a hypnotic way. The drum break of the samba school is an orchestra entering the pit of the concert hall, as the beat of a heart moving to the center of the cortex and there waiting for the moving of the swing between the two collective ears, that which have seen the procession and that which did not. With thirty garbage bags wearing the composer's statue. The acoustical conches and the game of shells, hobbies that every average city has, are empty, properly policed so there is no heavy metal band destroying the peace of a passersby. Public transport is a wasteland surrounded by logos on all sides, the body is a waste crossing between the flow of cars, and the car is forged in the image of a temple to the individualistic lonesome, hybrid space of the desert icon. The roar of engines and their predatory metaphors, smell of flowers and gasoline. The cluster flows into cacophonous drone of sculpted noises and industrial miniaturization. Your so expensive car does not move, your muted argos doesn't change, the wheel is just another gear in this assembly line, behold the curse of car. After walking in the woods the public who is boosting the city, the transformers, who moves (besides the religious myth of financial capital), desires which raise the rafters.

Hear the nomads places created by beggars, by hawkers, by artistic occupations, transexuals, street performers, the significance is in the subject, the created relationship, not in the monument. Listening space is something that one carries with oneself, it's the possibility of creation, it's the purposeful creativity of subject that streamlines the space itself. Nomad places in transit spaces, places of affection, new ways of musicing, other stages. The toponomad with its intangible nuances of musicalities and delicate and intense noises: topographies, over-layers, network of cinemas, network of art groups, festivals, urban meritocracy for places of contemplation, demonstrations, of emptiness and silence. A wire that connects sonorities, and further, that connects other listenings in an almost hydraulic way, the ear as the heart is, after all, a steam valve. If the human body is more water than animal, the snail is more shell than it's pearl. Accumulation of significant actions, decantation of flows, impregnation of gestures in the crust. Cross the half-court, old building, singing in the ascent of the hill is different, courtyard, hallways, pointed arches, ante-chambers, ressounding ceiling, garden of volts, quietude. Zound of flasher lights off season. cales, traffic between the public and the private. Space is a port and the time an accordion. They never stay, there's no space or time for strolling. What is the sensitive spot that physical architecture takes us?

Instant, Time and Event: Grafitti is an architectural print of time. A garage that is a laboratory, a dance floor, a chapel and a gift shop. So too, a sound enters the listening environment by separating the sounds that compose it, timbres in entrainment tones.

Sampling is the musical grafitti. Calendars of ages, seasons of the year in train stations, monthly agendas and diaries, hourglasses, minutes clepsydras, pulse marking metronomes.

Noisic is the grafitti of acoutecture. The bell is the first watch of the cities that after times will become the polyphony of factories whistles, music is a discontinuity of space in its continuous metamorphosis. Noise presentifies meanwhile music alienates from the urban experience that is transformed so as to be perceived as being integrated into everyday archic practice. Nobody sits on that bench. Transits of accidents that break the psychophysical structures of bodies in environments. She decides to dance in full rush hour on the central avenue, her vibrating body generates an experimental architecture (anarchitexture) not only for herself, but also for whoever meets that experience. Territoriality of possibilities, non-built space, unconstructable places, autonomous time zones of a fluid sort of self-managed complexity. Onto-latitudes and onto-longitudes for the transit and creation of new multifaced landscapes (alterealities), interconnected and active, where the search is to realize, wether a picnic or an unexplainable music. Composition of space as a series of lines of fugue and ritournelles. Within this plurality climb scales of new aural cognitive geologies. Layers of memory pelleted grain by grain in the cult of musical forms. Nova-nausea in the chapel. Sacred tones in the marginal. Time, lying between the moving landscape and what is heard, is the presentation of the fluid continuity of sound construction and yet another transformation of the territory between listenings in the audible. Pass the airplane, the city is the tuning of intonarrumori. The future has passed. Noise control is a sort of noise itself.

Urban Misanthropy, Decartography and Cryptoflorestry: City is a romance of the stone. Because of the confinement of bodies, the increasing flow control of transits, the added value of the avatars instead of subjectivities, we see an increasing process of selfish individuation that is perceptible in a vast part of sound productions. The enclosed gardens, the caged squares, surrounded fields, private sites, babylonic allotment's lottery. Living on the streets is prohibited, no more natural goods that are not treated as commercial-touristicly attraction, there is always less free meeting places, wellfare as a commodity, and speculation making housing impossible. And when everyone wants to meet the sanctuaries, who will collect soda bottles? How architecture can promote space and time perception of the here and now stripped of a previous programmatic agenda? How can we promote sound listening without mandatory hierarchies of speech, authorities of stage, administrators of score? Fluid musicality accepting the noise as part of the natural evolution of acoustic system. What are the bases of a submidiatic activity in daily life? Unite people you have never met in a city to which neither belongs. Rent a house in ruins. Reform it and inhabit it for a closed period of time.

Generate activities that serve as a trigger for the local culture. Leave a culture spot public house where this meeting happened as the basis of poetic mythology there. Headlights, red, green, everyday urban choreography, week ends, how to orchestrate after the rehearsal ended in an industriating chaos? Chaoscity as to subvert its codes. Singing, waiting, crossroads, driveways squares, we do not stay, we pass. Dance! Body jigsaw puzzle. What can occupy the street and access their subjective body? I think now about carnival, turning white nights into culture. What remains of the bohemian gesture? The magician in front of the subway, the singing of the palm reader. Crack the concrete and plant the seed.

Slum, the City's Crystal: When will the city become a major center of research to find the things about the universe and life, to know the human soul? A cognoslum in the waking dream of samba in the bar table, crystallized space by the habits of people, neighborly relationships blossom in intimate public squares. In this, the transparency of the crystal tipped the walls between the rooms. Affective organization of locations through mechanisms of fluidity.

Panacoustics of precarity. One of the most interesting qualities of crystals is their ability to encapsulate foreign particles, geophagic space. Crystals are ancestral example, in several cultures (such as crystalpunk), fractal symmetry of both visible and molecular organization.

Formally, the slum does not denote such symmetry, but their psicogeonomic structures (relations of active micro-power and religious nano-power) underlie this crystallinity. Life between crystal and the smoke, paralyzing order and gas evanescence. Trafficking is the smoke in its dreams, all trafficking. Mainly trafficking trafficking, capital. Crystals are large producers of vibrational noise. Noise, this first gear that moves in the precision of the quartz's clock.

Which acoustic resonances and protections of transparency should be thought of for a city of slums without incurring the very hygienism of predatory contemporary architecture? When the architect asks the samba laughs and throws the clock on the ground. Dancing with its hourglass waist and sings in one loud voice sieve on the works and the day. A slum, as an example of self-management and organization is a catalyst model. Gambiarra is the core noise of slums listening. For the construction of Brasilia, we needed a periferial camping town of cement bags (Sacol창ndia). What is implicit in this statement is the scale, the scale of closeness and distance, synesthesia of the lizard in the sun to design the processor macrochip of a nation over the myth of quartzs' that underlies the capital. The tree on which I played years ago is the same that now received the boy. The wood bench where I sat has asked me how do we approach, what tone do we use, how do we access? What is this literary anarchitexture? The cop hits the street artist, forbidden to act, a mere affections peddler.

Ubiquitous Listening, Music and Information Architecture: The transarchitecture of the argos was built to adapt to different situations while navigating connecte to the crossing of the steamer over the hill pulled by indians hired to do the movie, opera wins its bet.

Reformed area acess according to the current speculation, movement of commodities accommodated in the chair under each spectator citizen. The sofaseater music lover gets up and goes to the laundry room (sound of hot air ducts - scorching breath), the engine room where the generator, sewerage maintenance and electrical conduit. Phagic listening molecular filaments of intracontextual harmonies, the way we eat the gargoyles and rococo folds with avid eyes. Queue for the exit, crosswalk. Water and people, energy and work flow.

Log-a-rhythm, time card, sound, sky, bell. Sometimes I have the impression that there are more cars than people here. Machines on perpetual motion. If a certain type of music can bring together so many people in a public space, consuming pleasure that became that architecture shapes the ways of this meeting to carry out this acoustic halter? What is the concert hall's contemporaneity? Is it even possible to have such thing as a contemporary music? Didn't we reach the saturation of the musical code as well as the architecture has reached a limit of materials and geometric forms and urbanism came across the spatial end of the world? How would be produced a popular listening complex enough to accept noise as a form of musical composition of aural spaces and subjective acoustics?

Laconic spaces, synesthetic gap between deserts: Neither the concert hall nor the temples inspire more the devotion of silence, cars rape your aural space. To think singing to walk dreaming, reasoning images in motion.

Acausal small holes of disruption on the temporal structures of archistrategic use.

Ritualize and impregnate the city with poetry.

Give yourself time. The urban organism as the human body has an imense unknown, abandoned, unnoticed space, the empty lot lives within melencolia and its mystery, the mangling of the fabric and its discontinuities. Polyphony of subjective formations and scalar architectures. The program in architecture is the manifestation of the desire of the other. The party, streamlining the creation from the program.

Sincrotecture of archicronics.

Nauseating artechture of those who dream the city in themselves, delicate noise in the time of the earth, the temporality of fragile silence awaits, averse to snapshots and the musical flow.

Proera “Opera is the only place where the stabbed man sings.�

Like the resonant transmutation unrolled of tone to spectrum through the process of dodecaphonic piling of notes and frequencies (clusters) to the collective composition of drones, programmatic systems of representative musiations suffered some dynamic and dramatic changes, from acting to interventional interaction, from seasonal representativeness into activism in everyday networks on the contextual harmony. The voices were all identified by voice synthesis software, the chastity of divas is to be found elsewhere. Codes of political intervention by the distinct poetic transmediatic religions merged cryptocracies into noisecracy. Resonance is the condition whereby a tiny input autonomously cascades into a much larger output. It occurs when a small vibration interacts with the internal structure of a material and greatly increases in intensity, threatening to destroy the object if pushed beyond a certain limit. Chaos is the point at which order breaks down, when elements in an organized system start acting randomly and autonomously, creating a situation where it is impossible to predict exactly what will happen next or in what order. Both involve limits and thresholds that have been crossed, organization that breaks down, actions that go out of control, systems that collapse—creating something new and unexpected in the process. There is a social aspect in music of both resonance and chaos. Sound spectrum is being reduced to a sensory field of music for far too long, and as a representative faculty of listening, proera isn1t attached to any given historical method. A truly compassionate listener must handle all the listening modes (one life, one listening), and even more: the whole human audible and their logical and sensible limitations. Every new science demands a new language as every new language emerges advanced enough to resemble code. To change the wind only alters some variables of the sound of the wind chimes. The sinaephonia, twilight of the types, occurred over the smooth waving where surf the cuts of programmatic gestures, the sinusoid of cognition fluidified notes and with it also diluted the boundaries between styles, modes of aural composition. The typological evening sees the gravitational fields of allures being coordinated by fluctuations in their stelae-media , operations are encased in personas that synthesize sentimental verves guided by the supposed subjectivity of those who one would like to influence. Sonathemas, sinaesthetic types focused on the listening of operistic edges, conecting other possibilitis of concatenation of sounds and ideas (philosonies) and even of sound dinamization as rythms that becomes arythmetics giving birth to a metamatemusic, auria. This range of actions are aimed at dealing with the contemporary sensitive saturation, recycling the concept of Gesamtkunstwerk (total artwork) to Gesamtkunstwelt (artistic ecosystem) in the ideal of operatic production. The shift from both the means of production and the social role of art included to the fetish object the valorization of the process. Proera hypermedia is a work that weaves together a plurality of procedural, technical, and artistic self-contained references to the operatic production, while weave an opera with the museological lines of musicology, to create a network of interlocking ways in the same poetic bringing surfaced archetypal infralogical of artistic practice in general and in its various specificities (arranged here without classification or hierarchy): poetry, drawing, painting, collage, sculpture, architecture, landscape, scenery, economy, dyeing, gardening, music, dance , theater, gastronomy, perfumery, philosophy, weaving, tailoring, movies, programming, performance, intervention, production, museology, lighting, curation, administration, cleaning, installation.

Cyberphony in the Boudoir “How to cook on a wax caldron, if when it's heated it melts?"

Lovers of unknown number lie on the anechoic floor. In between silences some of them whisper: T hree times of the wax: Grains, fabrics and masses sculpt earthly intensities of the beehive. Flower dances in senses prisms gestating the dust that adheres relations priming for betweeness. Integer sacral connected strife, what the organomic machineisms of what mute muse? The planet on which we music also resonates in its ionosphere during its rotation and translation. The reverberations of its waveforms instabilities, reflections of the relation of strengths between all the harmonic complexity of sounds present in it and the other celestial bodies. Earth and human bodies are in a relationship that classical harmony would establish as dominant dissonance and work, not coincidentally, largely in the same frequency band.

Pornophony: A study on studios reveal that all bands are making auratic orgies for labels, letters of masochistic commitment to play until a certain pain is touched, critical discourses propagate pornophony. Imaginary landscapes close the bodies as guinea pigs in the lab room to propagate cathartic complains, praises or researchs, that outside of there wil probably be only listened by people who previously agree with them. We hate nails scraping on a blackboard because it simulates the sound of a baby crying, but way better. When dissonance is unresolved, it is perceived as unpleasant. Even the worst noise will lose its unpleasantness with time. Lick their ears or spank them with noise, it's still more conivent thant silence.

Timberdeaf ness: Nothing was lost in the palette when the conch shell and the round dasein met. The body is the house is the world. All is activated when contradictions accumulate, the riddle of the ox is the labyrinth of the minotaur. At the jam one communicates as when to the concerto partitas, the energies that reverberate the very structures of a environmental body (aura). To make the magnetism of speakers and structural metals rediscover their ancestors on earth, subjectify the objects. All technologies are nothing more than a myth, and in this a libretto would be written ad infinitum.

Skinscore: Tattoo is a sensible sheet, where one becomes responsible for its own symbolism.

The ambient sound reverberates in itself and plays in the parallax where the infinite particularities of the bodies between the certainty of death and the impossibility of silence intertwine releasing the act in probability, randomization and improvisation with the elements previously tested by sound performers while releasing the sound of immanent frequencist cromatism by creating stochastic masses, meaning clouds, poetic galaxies, affective harmonic fields multipolarity atonal, tonal and modal; misrepresenting the absolute character of chromatic structures shifting between minimalism and frequential hyperserialisms.

Subsequent agreements between the various faculties of a symbol relate to the harmony between sense data arranged in the wheels of steering wheels, and these never eternal navigations of movement abyss consistency between belief and bring out the impossibility of the spheres in the phenomenon aparted from arbitrarity. Mind in front of the boggling beauty, made multidimensional circle, molder of molder of logomud, finds its limit in knowing its limits and can despair not waiting, managing the netween of steering networks, cyberepistemetics.

物の哀れ

初心 侘寂 幽玄

Haiku "One chord is fine. Two chords are pushing it. T hree chords and you’re into jazz."

Propose yourself 33 minutes of pause to: 0 . Silence as much as possible .

1. Perceive yourself in your emotional- rational contradictions to know your character on the opera. What has been giving you silence and made you scream lately? When have you put music to play?

2 . Sublimate. Provide maximum beauty and pleasure, try to only pay attention to perfection and taste something that is unusual you.

3 . Synthesize your quest in life now in only one word and reflect on things around it.

Idontification of morfosynthesis.

4 . Listen the bodies, hearts and guts of others, listen to their words and silence interpretations.

5 . Fight yourself , hear yourself grunting and ruminating inside, write a line based on the word of the proposal number 3 What have you been silent about? For what reasons ?

6 . Organize. Hear all possible perfections in your word, feel its possible stories and organize a silent narrative.

7 . Take a deep breath. Silence the narrative. Whispering truth to the wind, fears evaporate, adjust your silence to the others.

8 . Try not hear anything . Whenever something prevent it, you can note, it might be important. Where this attempt leads you? Write a second line.

9. Massaging others thinking of their ears and voices. Massage yourself thinking of your word and your two lines of poetry.

10 . Strategizing a solitary action befitting your personal quest that ingrained another conference that is happening. Write a third line.

11 . Teach something to someone silently. Repeat everything you did since you decided to come , including rereading the poems and write your own twelve proposals.

12 . Dancing . Choose a song for everyone to hear you in silence, dancing or not. When it finishes read the poem, in silence or not.

Musical Pollution

"T he larger the river, the less noise it does."

It's used to be said that a severe fight on noise pollution is needed almost everywhere in the world, but very little is said about musical pollution. Recorded plastic products sold in the street markets, musics are composed and sold as cultural assets. Technofetishism sounds in a plasticity formation gesture of working (fire tunes the guitars hanging around it), sounding art expands through the cartographed monsters in the direction of the listening comedy.

Duration, stability and resistence to desintegration are properties that made of plastic (music) one of the products with more appications and uses to the final consumer (hedonistic listener).

One hundred million tons of plastic (superficial phonoponies) are produced anually, and around ten percent of them ends up in the oceans (of subconscious collective listening) and eighty percent of it coming from dry land (of cultural market). In the pacific ocean (delicate noisescape) there's a huge layer of floating plastic (dynamical structures of artificial ways of listening) that already is considered the largest concentration of garbage in the world (internet music). There is in this vortex all sort of plastic materials (classification typology of tags): pieces of nets (samples), bottles (sound poetry), bottle caps and covers (jingles), balls (acronon), dolls (operistic spectres), tires (aural rubbers), tenis, sofas (muzak), lighters (musicalizing rituals), plastic bags (vinyls, cds and cassetes), bags and musical instruments (soundesign). From the moment everywhere is sound designed, music becomes a plague of meaningless continuous meaningness. When noise is a environmental constant, silence becomes an asset. Musical speculations are a parasitary animal (viralization). The day after public celebrations show very clearly both sides of musical pollution, an empty earworm and the filled with garbage beach. All plastic pieces (samples) that were manifactured since the discovery of this material, and that haven't been recycled, are still somewhere. And yet there is the problem of decomposed particles of these pieces, in some areas of the ocean you may find a immense concentration of polymers (harmonies and melodies) six times bigger than that of phytoplanktons (spontaneous sounding), base of the oceanic food chain (contextual harmony).

Noise abatement feeds utopies of a noiseless world, this ideophony moves the fetishization of music that forges the rise curve of the music making, enlarging the market for selling silence and music. Birds singing like motors and motors that sound like birds, but also chimps that scream like soup opera characters. This delicious plastic soup may work as a sponge (synaesthetic capture apparatus) that concentrates all kinds of persistent pollution (semiontic guerilla), any animal that feeds in it is swallowing high levels of poison (ideologic propaganda), that may be introduced through fishing (composition) to our lives, closing the cycle knowing what we sound to the contextual harmony will return to us, listeners.

Stagearchy Danses “An experimental music demands an experimental life.�

Beyond musical forms of thoughts in their melodies of synapses harmonizing sensations and memories in the rhythms of will. Beyond the hum of our brains and stomach ruminating entraining blood songs and cracks of bones and nerves, beyond to sweating and mild rumors of this underworld that comforts from the noises that are the city motor machine in combustion of asynphonies, trances in transits and trafficking trades. Beyond crushers petit jete trenches ripping, metal sprouting flowers which reads under construction. Beyond saws that keep dodos' vinyl circular erecting new stage for old scenes. Beyond keys falling, closing of doors, the graffiti of le parkour marking timespace. Beyond earthling acousphere, the stars dance a broad harmony, territory of abysmal forces in our fall upward. Dynamics of subtle strenghts and too big for our sensibilities immersed in them, where electromagnetic radiation curls its self-propagation through spacetime and dance can not be separated from bodies. As the listening decodes no more than a minimal range of the electromagnetic spectrum, active life generator of kinetic movement as we know it only works well in a small area of known magnitudes.As sound is to light, life is for the physical movement. A time varying magnetic field generates an electric field, a changing electric field in time generates a magnetic field, and thus we arrive at a self-sustaining between electric and magnetic fields. Sound and touch are variations of the same energy, dance and music are one and the same art in different dimensions. How would we feel silence without all the noise? The body is a star that the eyes, other galaxies, devour because the eyes are mouths dancing tastes of light, its colors. Salt, mercury and sulfur. Three sound signals and starts the passion play, the theater is an egg and its initial darkness speaks of void and its potencies. We are a timbre , instruments tuned by gravities clamoring for our weights. Our bodies differs from the lamp because they are constantly perceived , as a timbre is distinguished from a melody because the violin is still there after the end of the cadenza. Egg seen from outside is stone. Tension to the strings make the pawn rotate on its axis. The posture of the egg is the mechanical reaction of the body to its own actions, many gadgeties possess the bodies. How much from the text is not in the fingertips that juggle types? All space obscured. Fat brings together beef to cartilage. If there was any light we could hear the heating of the lamp and each dance would emerge as an enunciation of the passions-chroma, but the scenic area itself is a discourse of delusion. Walls dance their fall. Many walls look alike, but every crack is unique. We probe the breaks as we break down the soundings and abandon the types of dance. Won't there be anything to see?

The dancer wants us to hear the body this time, naked quasar? Its activity generates an imperceptible movement as such. Drives everything that moves in space, streams of consciousness and sources of nutrition for the imagination. It is energy sound that makes itself light, desire carefully concentrated and the paradox. Ah! The paradox! Puts us face to face with the double nature: unity and syzygy. Ivory tower, the body. Dance accept all sounds and listens but does not itself seeks any music. The linoleum twists rubbing the wood that bends the structures until the ceiling is creaking, these sounds pinch the wax in the ear of the young woman in the audience who feels a trembling in the spine ranging from the hairs to the red foam seat where it spreads throughout the whole row to be felt in the tailbone of a man who coughs. Maybe now it is stopped on the stage, tensing paused to create this awkward silence, a finger pointing to the ceiling that will drop and the other to the framework under our feet.

Passion not only elevates us above ourselves, but also below the limits of our mortal and worldly condition, and when it elevate us, it destroys us.

This ascent that music imposes on dance lies in the construction of the linguistic tower your, its logomythic expression: we take the most difficult path to the common adaptation, the linguistifiction of acts and work's perseverance. The soil knows how to fall in ny direction.

Grains have all joints: flexors and extensors as fingers, abductors and rotators like thighs, pronators, projectors and constricting. The person with a wounded self-esteem reacts as someone who was pushed and contracts not to fall, or open the arms and embrace the fall of the land. Nothingness swims in protein pool within the sea of love. Notice how the philosopher falls in between the text and your voice. There is an emanation that arises from the darkened stage, a sounds phanopoeia or imagery melopoeia, that when impregnated in the audience makes all the theater house emanates an tacitologopoeia, dance of intellects through the unspoken words. We still cloth the bodies with words to make dance a book. Dance intuits the control processes of desire aiming only at this same intuition. Each dance school is a discourse on a set of utterances. Aurora consurgens. Turns the pages of paints with fashion. Sweat trickle down the skin, muscles twitch, maybe a groan. The lucidity of listening lies in the seeds darkened silences that crack noises, born plants inside eggs. Media means between, neither this nor that, something in the middle, general, neutral, agent , a transport. A listening is immersed in ambient noise and musical noise, spirit of its time. Listening is absorbed and shaped by these, sometimes even by itself. It then captures 'what is in the air', what the environment can not or will not admit, but is nevertheless a part of it. Something is being woven at the back of the stage. Body dialogue with the body, the noise turns back to music and says: "Do not expect me nor follow, dance." Peaceful erotism god of bullfighting, an animation in stop-motion of pitch darkness, the value of a gesture in the dance on the stage is in the fact

that such acts are filled with the idea that have been worked. And who will get off the stage? A spark is heard without being viewed. The nerve of the big toe connects to the cortex as a cello.

The mechanical evolution always tending toward entropy and waste of material energy, leaves no gaps on the final outcome of the dance. It is necessary to be born and this of being born was always a sexual problem and continues to be. At the same time chaste and sensual , dance abounds also unsatisfied desires of the body and seduces the body with the temptation of sublimity. The dancer is fighting for biopower misrepresenting the truth of its body, erotically manipulating audiences unfairly in its own interest. Inflexible builder who insists on keeping what built despite of (and with) her conflicting aspects that cause displeasure, disgust, fear, and in general clutter and disrupt the life and self-image of the public, the dancer obviously redeems us from old patterns adjusting to life and the personalities that become increasingly cold and stiff with time, becoming self-limiting and oppressive. Pressure inside a vulva swelling aiming to moist. The beginning of a body compromise , of structuring of the skin and nervous organizer, the stability of the blood pulse and mental focus, confidence gestation, and a serene smile. The composition of a tuning of composition itself. The dancer is the rickety bodywork.

Apart from any theoretical aspects, it will have to find a tool in itself to give account of the poetry that it may not even want to tell, but it can no longer contain. Need to be touched by all audiences: existential prostitute, body philosopher that it is. We hear the pipes. Tune is one of the arts of purification, where through different filters retires the superfluous for a certain focus of listening. The molar magnetic processes - and music is one - work with sympathy and antipathy of forces, such that musical instruments are tuned in view of several recurrences of energy meeting between the timbral properties of sounds. Chemical molecular processes - and listening is one - works through solution, dissolution in the concrete sense, but also solution of a problem by concatenating harmonic voltages for fluid consistency. The dancer structures an harmonic tuning between the sounds and listenings, it is a battlefield where music calls for a representation and a pure eroticism towards all at the same time. Hear heartbeat. The stage is also an eye and ears that have balanced us our own feet, remember? Sounds three ossicles the size of rice grains, blood pulsing fluttering nerves that translate phonemes. The theater is a discussion of the relationship between the productive body and the recipient organism. Dance is the form of sex. A dance without theater is ontological pornography, a theater without dance is logical psychoanalysis. The assembly of the scenic area is close to raising the child at the beginning of proprioception, a discovery of the possibilities of the organism, of discourses already instilled in the meat of space and poetic interrelations in politics. Still resonate the harmonics of the pitch that was made here. The space seduces us with intimacy to act, moving the room of place, the centers of solitudes, the boredoms. Pay particular attention to how the whole arcade restructures on your rearranging on the chair, the world. The dancer in the world interferes embodying the harmony to it yet unrecognized. The denial of knowledge is precisely the reason for its enunciation. Every human movement sets and opposes gravity.

Only one side of the sound can be heard, the silent other awaits us for the dance. Dancers like stars can not get too close to each other or they end up swallowing each other tunings generating a collective neutrality, nor departing too much as they would collapse exploding the timbre stage in the middle ears with inharmonious brutality. A dance company is a constellation tuned for some common bodily desire, most of the time monetary. The theater is a rubik's cube that contains a darkroom. The stage is a square simulacrum of society describing the dead, for indeed, at all they resemble us living - except for the fact that they have no vitality, forming a unfeasible village. The corpse is no longer. Dance, tend us to truth, thinkers, now and at the hour of our music and do not let us fall into trompe l'oeil, as well.

The conductor of the orchestra is dancing at the exact point between master and deception.

Dance is also a teacher's performance. Could we shut our wills enough to listen to our bodies so much, but time? Dance teaches us to act modelarmente sacrificing ourselves to the sensitive pedagogy, this gravitational center next to the genitals. Could we shut our wills enough to listen to all our bodies? Dance teaches us to act exemplarly sacrificing ourselves to the sensitive pedagogy, this gravitational center next to the genitals. The most superficial form of consciousness is the verbal one. The tension (or intentional) scheme is that which gives form, organizes, expresses and makes present affective consciousness. In a scenic space of dance, the dancers are what matters least. The theater is the cultural counterpart of the church and the bank, in it happens the culture cult worship and the value of exchange trade in objects of consumption maintain acting roles (subjective stock market) of social economy. The theater works with the illusion of an enclosed space and still wider than reality. Where to watch the play is to accept the destiny provided by an ex-machina god and usury kinetic wisdom. As dancing is against fate, the noise of an audience is against the script. The architecture that separated concert hall and noise pollution also equaled the spatial acoustics of hospitals, schools, public offices, asylums, prisons and later buildings and shopping centers. The camera is hidden in the art room. Notice how the philosopher does not realize its own body, but itself becomes nothing more than voice changes of the ballerina. Its flesh is swollen in poetry that ignores, is a nervous system of nature. Sounds ratchets, air conditioning. One doesn't need a choreography to respond to an insect bite. Choreography is an asset in the abstract market of movements. depends on how you listen the sounds of science, mating dances of peacocks are technical or chemical dynamics? Pole ballet of gumboots. The most fundamental error that representation brought to dancing was to treat the living as if it were only mechanical, making gestures of love as if your loved one was the image of the beloved, gestures of appeal as if the person to whom it calls was a twig to which we cling. Tickets being printed, stamped, thrown away. The most admirable thing in the machine, this magic that we deny that fascinate us so much, is its constancy, the repetition of their movements tested several times before. There's no rehearsal for life, but rehearsals are the perfect environment for improvising new machines. The first and last stand of painting is the skin, all other materials are but extensions of it. Body percussion understands few of the subtleties of the skin, literature exists to resist theater. Only when a text can not be represented as theater it is productive to the scene. The fixed stars in the firmament delimit the eye. The most fundamental in the commodification of the living is the constance of relationship. As an instrument was made to play songs within the current system of cultural listening, we never do with it other than that. And that consistency is what is expected of emotionally mature people: that we can trust people and rely on them. If it were not so we would have to invent new instruments and scales of listening continuously.

And music would be just another noise on stochastic resonance of the sound track from the electro-magnetic spectrum. But maybe there's not even anyone on stage but only machines firing sounds that print their presence. Unifying life and art is as difficult as to balance a libra with a body just jumping between its two plates. Hypothetical statement, argumentative debate, intuitive decision. What is the impartiality of listening when placed in the issues between agencies? Why listening? The scales fall, a body rolls and everything is silent. Dance based an instrumentalisation of bodies for codes of control over acts. We don't see people dance in the streets (even those that call themselves dancers), they march. Art being the most dangerous and useless social tasks and dance being the most useless and dangerous arts. In fact the musical minimalism demand not only a radical change in the way of listening and sound, but a change of speed of life. The door is opened on the movie, but it sounds like an egg

cracking. Simplicity demands the acceptance of yourself and your listening modes. Me editating, dance is a body prayer of abstracted rites. Immanence of material faith. Spiritual surrender to the mundane that embodies the concept of what animates. Choreography, dance metaphysics ended up seeking reality of things beyond the time of moving and changing bodies, where terminate our senses and our senses consciousness realize themselves. Thus it could not be a more than an artificial arrangement of concepts, a hypothetical construction.

Intended to overcome dance with a detached sort of musical listening (geometric order without sounds), but only replaced the experience of noise for a detainee extract, dry, empty, for a system of abstract general ideas, plucked these same experiences or, worse, its more superficial peel. Music is the dance without a body. The center of the planet, buried star. When I was the environment, you took refuge in time. The social dances draw the movements of herds of different styles of micro drive. The disc jockey at a party does not create music but dance directly. The hierarchical geometries of victorian viennese salons are all expressed in the peculiarities of this gaff. Cards' chess. More than beautiful, the dancer is beauty. An ideal dancer would go through all the choreographic schools with praise without ever actually holding the body to any of the proposed forms, but this would lead it inevitably to found another school. Dance can be the pure delight of autopoiesis and also the certainty that this is precisely done in the pleasure of being taken. But the maestro conducting the orchestra enjoys the duty already done. The dilettante composer is as a composer that does no dilettate, but few manage to reach one of the extremes. Dance made speech of surplus enjoyment (think of the dancers working in talk shows) becomes the asset of body ready-made goods as defined by the aggregation of work to the dancer and its assembly line. Our actions follow a rhythm and a right-left or left-right symmetry. I believe that this psychological factor develop an important role in binaural stereophonic listening cognition, as much as the spectacle has symmetry in anima figures and musical compositions of harmonies and melodies. If the symmetry is usually horizontal and rhythmic (gestalt and syncope) and rarely vertical and harmonic, it is undoubtedly due the distinction of use of feet and hands. The choreotemporary hierarchies have a decidedly dynamic conception of the symmetrical shapes on the ornamental art of dance, seen not as themes or inert entities, but as operative transformations: movements in abstract spaces, structural combinations of concepts and procedures, metamorphoses of code to subdue the obedient body of worker dancers as well as listeners and performers from the maestro composer. A tree planted in the neck, a stellar wind will blow it all away in a litte sound. Notice how the philosopher is the dancer, how they both dance like making love. In the center of the body is the blazing fire of existence, whose brightness softly illuminates the skin envelope. I can hear the bodies of the dancers, still hesitant, seeking support in words and sounds, not poems, but discourses of dance: dynamic anatomical fitting of microflows, cognitive utterances of sensitive body systems, experiential control of procedures, biohistorical psychosomatization of autopoiesis, disciplinary grammar and social pedagogy through sign coding, relational relativism and body as medium, diet and selfcare, faith in the physical secular religion of intermediation, posture exercises. Imagine waking up one starry morning and music disappeared. All musical instruments, all forms of recorded sounds, scores, all gone.

A world without music. Plus, nobody even remembers that music is made or how it sounds. Just remember it once was, in ancient time. That it was important for someone and its civilization, may have given them usurious profits and served as the control of the erotic and political conduct. And then you long to finally hear it, to the music. And then people gather to make music with nothing but their voices and bodies and without any knowledge of how music should sound. To this we call dance. Notice how the philosopher dance inside the dancer.

Noisecracy “To ask for silence I yell, to make noise I'd do it myself.

In the democracy of signs there is no listening space for noise, reduced to signal interference in the aurallscape, dirty in the purity of musical listening (cultural patterns of sounding) narrowing the listenable to a pleasure-suffering axis.

Noise sign is the core of technicology on the two extreme controls of the listening demons{greek for majorities}: The semiotic relink of the arsthetics religion which throws sound in the deafness of iteraction (timbristic redundance progressions), eternal return of the differentiation scale to the paradise lost of subjective harmony (cage loking for bird). And the simbolic politics which generates the borders of the material interactions of the sound objects, through imanence heuristics transmorping of noise into soundem or through the musical systems linguistic homeostasis which prints the gravital tonal focus to the sound redundance accordng to the entropic dynamics of the network.

We can sing three ways of listening of noise inside the compositional nature, as we can think a meaning and a sense as noise (impregnation) of the others. The musical score is a stone in the way of the listenercomposer. Multimedia is a strategy of capturing all of the tendency waves (vainguard, hype, cool, obsolete) at the same time in the economic circles of all the different ecological territories of the aura (from pure ancestral mineral noisescapes to folk lore song-compacting of emotions).

Cientific noise: Noise organized as observed in the mathematic icon of the analizeable spectrum of white noise. The chrome shades made pale through the log-a-rythmic, composes the synthesis of an afective rational spectrum. Sambalab.

Sacred noise: The index of possible silences, the soundscapes in their implosions of colors and subtle contrasts. The temple is sacred because it is not opened for sale to any cult, tempo is sacred because time can’t ever be mapped without losing time. Body is the temple of the hear.

‘Here’ is color noises.

Comercial noise: Noise is the ideal consumption product. It doesn’t differ productors and consummers, keeps the listening work in the prototypical level of sounding without ever losing anything of the typological geometry of music. What is not shinny noise in the cultural market of technical reproduction of the singularization, restricts itself to a sistematic generated margin to the previous listening of the environment. Retrosabotage of every musical revolt, i.e. metanoise of punk.

Noisescapes unify a place soundscape with its aurallscape, musical mythology {hystheoaury of sound} is all about this. Stochastic as a dogma of arscientific religion, the concrete composition of the deserts in the digital dilaethics of memory. The ideal of a noiseless world, or privileges a nostalgia of innocent musicality and natural silence or throw us in the imoveable image of futuristic complexification of synthony (everpast of soundart): Sketch's Kitsch.

Taom

“Sound is a fury told by a signifier, full of life and nothing, a fool's tale.”

Taom comes from the fusion of the greek Ta (to be) and the sanscrit Õm (sound) and may be translated as a soundbeing. It is a sound orientated tarot deck, or paper sybollical music score machine made of 78 grayscale plastic printed cards divised in a Major Arcana of 22 cards with 7 visual terrains each & a minor arcana of 4 focuses modes [timbre (pentagrams), h'armony (s'words) , mel'ode (c'ups) & rythms (wands)]. An archetypical language of sounding interacting with listening merges into a symbolically codified music sheet. A modular score where the definition of the parts do not determine the way of their docking. Sounds' data work as an emotional programming language from which any listening is only one form of assembly.

Music's programming, as a second layer language next to acoustic, entangle elementary symbolisms (such as astrology, chirology, kabbalah, iching, etc.) to mathematics translated through personal affections in a due situation to sound proccesses.

0 ♣♥♠♦ \ Arcane Earth Air Water Fire

Arcanes

Earths

Music inefable Psycoacoustics Dance

Energy

[physical hearing]

[vibrateable body]

Opera

Auriculture

<archetypical timbre>

(psyché focus)

Semiontics (relations form)

Intension

{magnetic moral}

Airs

Waters

Chromia

Audiomancy

<timbre analysis>

Heareable Harmony

Contextual Harmony Orquestration Arrangement

Fires Intensity {instint electricity}

Rythmic Pulsation

Dynamics

Musicing

Philosony

Melody

Ethics

Noisecracy

Musicology

Aesthetics

Body Desire

{Taom card model.}

Noisier Experimen .A:Sound Desired .2:Undesired Noise .3:Soundeable .4:Setlist .5:Playing

Therapeut Operist .6:Scoring .7:Hearing Share .8:Recording .9:Sound Politics .10:Sounding Share

Roadie Engineer A .:Sound Recorded 2.:Disk Jockey 3.:Taom 4 .:Discography 5.:Sound Pricing

Singer Researcher 6.:Unrecordable 7.:The Label 8.:Editing 9.:Master Record 10.:Top Ten

:A .Sound Concept :2.Archetypes :3.Sound Dialetics :4 .Music :5.Equalization

:6.Propagation :7.Sound Seduction :8.Musicology :9.Criticism :10.Audiomancy

A:.Sound Feeling 2:.Co-listening 3:.Power Trio 4:.Band 5:.Musicing

6:.Sound desire 7:.Noisepathy 8:.Opera Cia. 9:.Orchestra 10:.Cyberphony

Ecletic

Improviser

Critic

Soundist

Choirboy

Songwriter

Diva

Maestro

I. Mage , T he Sounder II. Sourceress, The Listener III. Imperatrice, T he Composition IIII. Emperor, The Composer V. Hierofant, T he Maestro VI. Lovers, T he Collectors VII. Chariot, The Improvisation VIII. Justice, T he Score VIIII. Hermit, T he Silent X. Wheel, The Fashion XI. Strenght, T he Virtuose

XII. Hanging Man, T he Performer XIII. Death, Noise XIIII.Temperance, Tuning XV. Devil, T he Producer XVI. Tower, The Vanguard School XVII. Stars, The Dancers XVIII. Moon, T he Aura XVIIII. Sun, The Tone XX. Judgement, The Critic XXI. Fool, The Dilettante XXII. World, The Acoustic

Fandom Hymn "None of my heros appear in no rhyme."

It is not nor will be enough to dance the orbits delirium Eating your own tissues like drinking the deads Banquets of theoretical loves or the knowledge of begging Peoploctopus fall the pentacle with vessels marked in post From chalice they raise dams called doors and roads T- flag, this face of narcyssus raw imargins drip Of trues every kiss, moves in love and smells like six Skin is through cuts of digits. Touch's low god of objects Fills the hollow clay with the purity of mud, retroboast Cancer hands, priority proavitae not private property No waiting no longer, but insomniac search Thou art, carnival itself Hazes the valleys, render the veils of branches Night brightness at the earis, liquidate us Flygth of chances to clepsydras of fetus The waters in us that die of thirsty Drink gasoline and vomit asphalt Jumps windmill nets on the mouth's oil Dummy guide between guts of the soft machout At last filled with aquariums sea, Howl to distinguish transpairessence limit Crystall heart and the unnamed flow

{The S達o Paulo Mvnicipal Theater and the workers that made it.}

O perations "W ho composes opera are the workers that build its house."

A collective composition process of an opera demands an ambiental, institutional and intersubjective listening to base the creation of a space focused in research, formation, production and transdisciplinar artistic proliferation connected to national and internationl networks o sensible knowledge dedicated to the reflexion and difusion of socioambiental consciousness in arts. The souding process can't be pre made ready in a score, but are sustained in two complementary axis: a collaborative space o operatios, sociabilization and experiences exchanges concearning to the continuous processes of care for an opera house as an environment, and the research and rehearsals of a new work to entrain collective creations. As everyone in the stage of an opera is an actor, all must be considered members of the orchestra and participate as much as they may and want in the composition. A series of processes maintains the daily operations of a collaborative space thatt converges from research of possibilities of symbolic action to distribution of aesthetic knowledge. Some of these processes continually follow, while others sporadically according to demand. It is important to note that opera is only one point of their operation, ie , it can occur sparsely in time or a festival, being interspersed with compositions and performances of each member of the collective. Their internal processes must be assimilated in the productions.

Continuous processes of opera house care : An opera house, from its architecture to its methods of artistic dissemination, serves as an experimental model to new forms of production, thus having ethical and social responsibility as a core in all its activities, taking into account the latest research in the field of sustainability and ecology of knowledge. Some processes to be taken into account to maintain an environment of cognitive and experiential enrichment are: Creation and maintenance of virtual spaces for communication with the region and with global cognitive networks, blogs containing its participants, a TV and radio online, a social network itself. Establishment of a film club with themed community awareness in order to open further dialog presentation, such as the environment, human relations, art history, current science, international independent productions, gender and sexuality, technology, etc. Organization of lectures and classes open to professionals from various fields.

For example, the ice cream man who invented the poetry of regional palates, the philosopher or the neighboring city the artist from another country. Propose a real exchange of this knowledge with the members of the orchestra. The preservation of a collection of abandoned or found in the trash, to be reused objects. Here enter processes ranging from dealing household cleaning task as conductor until the metareciclagem of junk into functional devices.

Transparency of processes and products generated by the opera house, leaving programs, texts, songs and even the budget open to the use, improvement and public criticism. This same design is open and we encourage you to spread it to their implementation in various locations.

Establishment of a telecentre research and a joint library. When possible a free university. A garden cultivated collaboratively to sustainable when, to manage a process of seedlings for urban gardening. A space for exchange, with residences for artists and thinkers from around the world in the city as well as the professionalization and integration of local artists in these networks. Opening the operatic process at any interessadx that participate in the process and enabling payment for all the parcipants.

Preliminary tuning processes of the orchestra's listenings: Concurrently with the maintenance of a collaborative space operations, the creation of the assembly of an opera requires a gradual process that involves a series of steps, a term to be programmed in advance through a detailed schedule. To this end, we envisage the need for some initial processes of refining listening to each other, the environment surrounding the opera house and work: Research personal poetic stakeholder relations and form a core group. Study of local mythologies, their connections with other forms of world folklore, ancient and contemporary.

Insight into the history of art in order to expand references concerning the proposal. Check the technical and legal actions to implement the requirements. Experiential practices, and experiences that amplify bodily contact with the research focus of each one, finding connections between different poetics among the group. Creating a project from the decoupage of information and experiences. Formatting of this specific project which may include: poems, stage and lighting design, score, script, storyboard, choreography, costume design, mock up scenarios. This process should be accompanied by a series of practical and theoretical classes that base it, including its pre-production with a partnerships mapping, schedule and budget. Production of operations proposals, which depend entirely on what was decided by the research and creation, and may include a creation that merge all the other end.

Editing and formatting of printings such as books and magazines , artisanal and industrial fabrication of customs and costumes, and the scenic expographic production with materials and techniques of sculpture mixed collage of references, composition of soundscapes and music, creating the necessary tools, capture audiovisual, publishing and harmonic treatment of all the elements together. This process adds the executive production of the same, including: fundraising, contact with employees, the creation and dissemination of a virtual site to the project itself. Presentation of works by a variety of means according to the specific demands of each project, which may include: theater, immersive installation, sculptures , videos, performances, films, exhibitions, speeches, dances, festivals, meetings, lectures, roundtables, books, radio, virtual sites, record labels, fashion collections, and the mixture of all processes in opera programs. Only after this initial realization of creative harmonization, which also allows time for those involved read carefully the project and libretto, the orchestra can begin to discuss the possibility of mounting a collective subjective operation. It is necessary that any part of this assembly to be incentivated whatever form it takes, a group of separate performances, a minimal expressionist assembly or even a folk fanfare, but the desire of the composers and the authors is that this piece to be a space for deeper complex listening with the greatest amount possible of listening modes occurring at the same time.

Mothern Voice (and T he Children Of Noise) “Last sound, the world going out without a breath.”

Sea, who was a mother horse as thee, called the animals for a springtime pruning. Some tried to flee in a waltz reverie toward dawn with their clay eared idols. Since the lunar pierrot fiddled, in front of the stallion sacrifice, trembled the village of the wolves with its puppets made-up of inflows digging silences in the gaps of deliriums. To the inner solar harlequins glam, then tanks fueled by blood and gas, glitter machines, with no purpuse outside of noise, arosed the vanity of the golems. These when fed by algorithms shine little puzzles that made them children to come by and wonder: “Where is the honey of such a hive?” Sea, bubbly old one, calls for the flowers and extend to them the stalk of winter white, there where no character breathes, and music forsaken us seeking itself the light. Notes stretch the ear to the mold of an endless caldron, that boils petals to a fragrance that makes children come and wonder: “Where is the sun of such a magma.” Sea, patient symphony, calls for the minerals for the fall. They dettached each other and deny union, craved singularity and throwed against each other, bringing to the stage new forces. Space distort and acousmas brew in strange caves of all sort of dew. Amidst this resort of fancies all reduced to grains, could no longer rejoyce the games or dance the balls, heir time between silence and silence was taken. Sea sighed. Then came the children and they asked Sea: “Why are you so quiet? Please, tell us one of those old tales our ancestors said you knew.” And Sea bestowed the history that follows.

Do you hear my voice? No. You do not hear my voice. You eat it in the fishes blood. Necessity thou calls me, when many names woudn't be enough to entell this. Necessity, who was a mother elephant as thee, called the listeners for a silent moment. All of them were busy with some ting alink soundlings and couldn't come. She then roared: “You and your toys shall forget the very desire that brought you to play.” and despitefully the kids snorted: “Old semantic wound, empty womb, who needs you when there are spectacles of a thousand dreams that shine more music and delight that your weary tremblings might? We are tired of your old melisms, will run to find a nation of our own, with only music noises, no boring silences and much fun.” and they sailed away till an island was their wall. There they noisied day and night in every sense possible, when food was over they began piracy and, although they didn't want, they also grew old and deaf due to all that ado. Their noises became liturgies, laws, spectacles of every kind that no one really heard at all. At that moment, a girl decided to make a noise of her own deafness, she called it music. Music became the noise of noises and all the old piracy laws and spectacles were inputed in music, so that, slowly, music became also deaf. And that is how you came to hink what you do is pleasurable and can no longer understand my voice.

Praise To Plagiary â&#x20AC;&#x153;You can't steal a gift.â&#x20AC;?

Proem In name of hyenas that laugh of what devour Let us sing of the crooner crows Breviary of existential decomposition where Exegete vultures in front of the senseless cathedral Imitate the ruminate of bookseler worms In an odd ode to all carrion devourers Gravediggers, corpses violators, Rats of literary trawlers, The null ass of Luther Blisset, Alchemical scribbles over the indexes lists, Letters shufflers, shit eaters, Canibals and all ilk disprovided of face or origeniality Metagenesis That original perhaps bigbang And it's far more then we Curved mirror in a portless sea Blind knots in Ouroboros Can deal to give it reflection Accept the burdens of facts Let grow thy livers For the meta beaks Thirsty for flowing futurity As promissed the so called democracy dressed as freedom Turning us in the annals of continuous but faeces Ethos There's no author authored Art Ord Indeed, deceased!

In translation of the psychographic metempsychotic Tradition in the guts: "Alas! Despotic pseudopurist prohibition!

What would be of your saints martyrs and virgens Godmas, myths rites, origins weren't the mistake of scribes?"

Sonarium "Music is the exercise of unconscious psychoanalysis by the subject who is unaware that he is enjoying the deciphering"

A absentialistical process we propose a composition to be unfolded from inside the hearing, between the listening of the interpreter's performed acts, audiences interactions and environmental here and now. It's a meditation that deals with the interactions morphology between sound acts and ways of listening. At the same time it is a study on religion of entertainment science and chance's limitations on sound perception due to the multitude of listening and sounding modes, a transacousmodality.

The sensorial reception is opened to 3m while the action space is of 2m, as an Fibonnacci's expansion of the vitruvian human. A microphone for feedback and feedfoward control may be used. Some proposals demand the complete absence of tool aid. The dances are to be kynetic & cinematically studied in order to compose with the specific proposal

Start the research on the sound phenomenons energetic harmony trespassing the bodies.

First Week: Day 01: A Sound. Day 02: Two Sounds( polar counterpoint)[2nd ]. Day 03: Three Sounds( just triad chord )[5th][4th][8th]. Day 04: Four Sounds(modulation tetrátkys)[3rd ][7th] [6th]. Day 05: Five Sounds(harmonic field )[augmented+]. Day 06: Six Sounds(harmonic progression) [diminished0]. Day 07: Seven Sounds(timbre){sound object}.

Second Week: Day 08: Eight Sounds(timbre chord field ){sound subjectivity}. Day 09: Nine Sounds(timbre progression){sound relations }. Day 10: Ten Sounds(Sounds Not Sound ). Day 11: Recorded or Not Sounds. Day 12: Mixed Sounds. Day 13: Begginning Final Cuts. Day 14: A Master Recording.

Then, listen to the rythms of the created sound pallette reverberating the space.

T hird Week: Day 15: A Recording. Day 16: Two Recording(rythm)[sinoidal pulse polarities]<2/2><2/4>. Day 17: Three Recordings(transrythm)[ pulse triangle] <3/4><4/5>< 4/12>.

Day 18: Four Recordings( polyrythm)[square pulse]<2/3><4/5><3/2><5/4>. Day 19: Five Recordings(rythmfield )[ascendent saw]<4/3><4/5><5/6><5/7><5/8>. Day 20: Six Recordings(rythm progression)[modulation]<6/7><7/6><7/8><7/9><7/4><7/3>. Day 21: Seven Recordings[wave mass]<0/8> Fourth Week: Day 22: Eight Recordings[mass wave]<8/0>. Day 23: Nine Recordings(bandstop).

Day 24: Ten Recordings(bandpass). Day 25: Sound or Listen. Day 26: Soundation. Day 27: Listening. Day 28: Listen and Sound.

So, we can later(perhaps) think sounds as a compressible movement flow.

Fifth Week: Day 29: A Phonéme.[consonance]. Day 30: Two Phonémes(sound or music) [dissonance]. Day 31: Three Phonémes(sound and music)[consonance-consonance] [dissonance-dissonance].

Day 32: Four Phonémes(structure)[consonance-dissonance] [dissonance-consonance]. Day 33: Five Phonémes(sound dynamics)[sound mass-musical logic][logical music-mass sound ]. Day 34: Six Phonémes(silence dynamics)[silence mass-logical pause][ pause logics-noise silence]. Day 35: Seven Phonémes(noise or silence).

Sixth Week : Day 36: Eight Phonémes(noise and silence). Day 37: Nine Phonémes(noising). Day 38: Ten Phonémes(noises silent-silences noise). Day 39: Ambiguous Phonetics. Day 40: Phoneticology.

Day 41: Phonoaudiology. Day 42: Phonology.

Through, we can listen the sounds relations as a uncompressible time flow.

Seventh Week: Day 43: A Sounds Relation. Day 44: Two Sounds Relating(mapping)[line]. Day 45: Three Sounds Relating(map)[ plane]. Day 46: Four Sounds Relating(trajectories)[dimension].

Day 47: Five Sounds Relating(cartography)[ perpective]. Day 48: Six Sounds Relating(velocities mapping)[time perspective]. Day 49: Seven Sounds Relating(time map)[uncountable time].

Eighth Week: Day 50: Eight Sounds Relating(time map following)[time counting]. Day 51: Nine Sounds Relating[time remapping]. Day 52: Ten Sounds Relating[velocities harmony]. Day 53: An Ambiguous Relation. Day 54: Relating. Day 55: Related To. Day 56: Related With.

On this moment, the research can begin to find the 22 sound performances.

Nineth Week: Day 57: Sounding. Day 58: Listening. Day 59: Composition. Day 60: Composer.

Day 61: Conductor. Day 62: Collectors. Day 63: Improviser.

Tenth Week: Day 64: Score Sheet. Day 65: Silenting. Day 66: Fashions Wheel. Day 67: Technicology. Day 68: Metaperformance. Day 69: Noise. Day 70: Tuning Eleventh Week: Day 71: Producer. Day 72: Vanguard Egregors. Day 73: Dance of the Spheres.

Day 74: Series. Day 75: Mantra. Day 76: Styles Critic. Day 77: Dilletante. Day 78: Soundsphere.

Seductions of Listening “Music doesn't work. How many love songs are there and we still don't love.”

Musicharity: Claim for aural ineffability (noise from the river of fire), incognosciência sound (the sound and dreams, and phenomenology of the ephemeral) and musical unrepresentability (the cage confessional). Seduction and listening (compared to the teleology of moan of pleasure). What is the sound of blood? The art of shit and the heart of gold. Music is not a language. Any musical piece is akin to a boulder with complex forms, with striations and engraved designs atop and within, which men can decipher in a thousand different ways without ever finding the right answer or the best one. By virtue of this multiple exegesis, music evokes all manners of phantasmagoria, as would a catalyzing crystal. Three skin depths of sound (noise-sound-epidermis, dermis-music, silence-sound-hypodermis). Three ways of sound loving: charity (agape-Yemanja), friendship (philia-Iansã), eroticism(eros-oxum). Charity as a precondition of sound aesthetic (wet nurse of the muses). The yearning for beauty (that sometimes lie in it) as metaphysical consolation. But I will not talk about those intimacies in any text. How the formal beauty (musical gesture in the rubble of the Opera) retreated to silence the noise due to the commodification of charity (hermit in the instrument) leading us to a proliferation of plastic listens (pop, monotony, pseudoemo and labels) in the contextual harmony (between ecology and economy of the current acousphere (cyberphony, cognitive capital is disaffection) running through the processes of seduction by melodic dance in the hierarchy of height. Resistance (musictherapy and self-help songbook) and insistence (neomantras, nova liturgy) on the charity of listening and its geometric composition of sentimental logical fractals (as astronomology and composer composition), music. And would not be duty selfless love?

Phonophily: Impregnation (light decomposing it into something more colors and the artist as the nervous system of nature) for ear infection. Entropic harmony, the absence of anthropological focus of immanent silence affections. The end of sound metaphysics are politics of aural listening in the social body. A friend's voice, recognizable stink to ears. Nondomesticated music. Main product and proved testimony of civilization, but still its biggest waste. A chicken groaning as if it was laying asteroids. Uselessness taking a nap on the net both as a prerequisite of friendship and as the composition of a listen. Periphery of the flag to the heart of the eardrum, where lies the drum rhythms of the trial against meetings. Timbre melody as the flow of less friction (tune and sync) through the networks of computing as noisecratic limit of western logic. Audio addiction and two withdrawals, the boredom of affects and the inability to stop listening. Listeners of the world, Let us listen each other. Subjective capitalism rigging pirate ships in the chips' animals territories. So do not fear if you hear a foreign sound to your ear.

Tacit Erotony: Sonia is first a vigorous lover then an inteligent philosopher.

Metamorfopoiesis, auditory focus on an aural dance where rugosities and its fluencies cut in sound its acousmatic. Phonosmosis, equalization of regencies on retrolistening.

Makeup Noises: A text glosses a verse, memory glosses becoming, music glosses sound. The skin is the deepest abyss on which we would throw the dices of our semiontic bridges. The interface is the noise perceived in its silence as well as the makeup is only an acceptable grime.

A face and its traces of characteristics (a musical style and eclectic movements that cross it) are resistances of a social ego in the body (through muscle tension as well as tactile), that turn its controlled segments (ocular and oral) on stages of self political representation when they prevent the flow of free movement of energy currents of the cuirassless facial modes (aural and olfactory). A deterritorialisation of the body implies a reterritorialisation in the face. There is a overcoding (neuroimagetic metaprogramming) through the hegemony of utilitarianism of face and sound (musical iconoclasm of hedonism, hierarchy of melodic heights, semantic narcissism of impure data). Such a machine characteristics (social production of musicalizacion and face) makes a visage of the whole body (one musicalization of all listening) with its surroundings (you are your playlist) and its functions. If the face is socially produced by a policy, undoing this face will also be political (if the music socially produced is an economy, undoing such music will also be a market product).

Fashionoises: Granular synthesis, quantum atomic delirium sand eroticism, breaded file, snuff listening. Prostitution itself allowed embellishment, highlighting the erotic value of human made object and service. One such embellishment is in principle opposed to the denial of time. Prostitution of one determines the denial of others, ways of using the face. In principle prostitution was just another face of wedding, called gift as opposed to dowry. It is no wonder that the oldest traces of civilization are the makeup funeral and jewels. What does one makes up in a face, even still livgin, is its inevitable corpse and are the worms that we would like to really seduce with the most blatant nudity of garments. Music is the prostitution of listening, strategy of the chameleon in his biased dance through waves of fashion niches, the hypermodern field of eclectic listening, has a direct objectification in urban entrenchment of autism. Radio is a technology of war as well as the makeup burst switched Vietcong green to khaki golfer Iraqi, deathblack and terorrist-chic. We do not created a song only for someone to listen to us, but as us.

Ovo â&#x20AC;&#x153;T hrough active obedience to desire, listening becomes sensible and clear."

Processformance: How do start the musical processes (artistic listenings) on people and communities? What sound connections that music brings to an aural community? How does the composition of a listening happen? Every gesture is a seal. These seals are combined to close the egg from heaven. When the key is connected to the egg, it is opened. This egg is emptied, filled with intensities (energy instead of waves or particles, in terms of physics). That egg have the germs of our objective reality, not perceived, a reservoir of becomings. Which came first, the evolution or creation, the verb or the light, dance or music? How to think a listener since its beginning? Ab ovo. At all levels the egg regenerates, animal seed. Virginal, embodies the qualities of ovulation, the power of becoming developed during fertilization.

Uterus, ideal speaker which we filled with the noise of the breaking which is being born. Salt (corporeal matter), mercury (sound vibration) and sulfur (light energetic transcendence) putted (not throwed but precise and delicately placed) in space-time. Logical intuition, this poetry of science activating the silent corner of dance, whisperings of numbers found on the last fold before the symbolic overcrowding, an androgynous overflow that animates the unspeakable, one is many through the synergistic division. Once cracked the egg, there is no way to reassemble it in the irreversibility of time space, but new eggs can be generated. If there's another world, it's right here. If there is happiness, it departs from here, from now.

There is a secret belonging to listening? Would it be music to unravel it? How to share a delicate way of listening amid the incessant cultural production of music as noise assets? The central problem of the work is exposed. The intelligence can not go beyond it, it realizes this and turns to itself bending over its own forces on its own pretensions. It fixed its plea. When questioning about mystery, it becomes impotent. How to establish a dynamic and fluid methodology from the beggining that would not format the composition of a listen to mental schemes (a sound object or a music track)? Photophonic research and retroacoustic applied to very large and tiny fields (especially quantum and stochastic) of sound qualias generate hypertonal structures that cross polymicrosyntones.

1. Sensible. (sound, light, bodies, smells) 2. Art culture. (market, awards academy) 3. Site specific. (institutional network, mafias) 4 . Feedback. (timbre, speech, myth) 5. Affections politics. (ways of life, tension) 6. Egg-environment. (temperature, density, crafting) 7. Interweaving. (interactions, connections, show) 8. Intercoletivization. (intensity, potency, ritual) 9. Listening-egg. (music, silence, gesture, dance) 10. Poetics. (dialogues, exchanges, touch, gaze) 11. Metapoetics. (self-criticism, reflection, analysis) 12. Interlistening. (harmony, rhythm, color, synthesis) 13. Feedback. (tone, speech, myth) 14 . Linguistic economy. (theories, science, logic) 15. Sensible (sound, light, bodies, smells)

Entering an earstallation: Listening guess a maze in disarray, assumes a significant coincidence in fortuitous encounter. Senses the silence of the moment. Overhears something that tarnish. Many will not pass this point, it takes courage to fall into the abyss that is an ear.

Sooner or later , every one begins to understand though, more or less well, this talk in the dark murmuring things, and reads secret writing that spread from the pores to the stars, the sea foam and sweat of bodies, putting ones hands on flaming fire existing in our darkest inner, saying that only add so many words to the big dump we are. This fear of traversing our own faults, our trash to the mirror; overcoming this darkness itself we can find our bare delicacies.

The distinct layers generate an oval space, which distinguished itself from the circular, pointing to a connection to other dimensions of the encounter. We live in a field where light and darkness duel. Lights dazzle: you see nothing. Darkness confuse: nothing is seen. How to see? What is the reason of these lights? And these shadows? Why this game of black and white?

And where does this happiness of recognizing these things comes from? The events follow one another in cyclones, beings go in bursts. Listening is projected in spaces and bodies.

Covenants: Two pacts fuse the listening proposal of a performance or installation: nudity and silence. The risks of any covenant are immense, they start an esotericism. And each feel it well. One may see the intense reactions by the supporters and opponents as well. In pronouncing the word 'esoteric' all awaken. Some are offended, others are enthusiastic. The esoteric art goes to the heart of human to find and reconnect with the world. Is there something that excites more and makes more jealous then that in those who do not participate in the pact? Listening is an esotericism, where only other intimate listenings are accepted. In science there may be sound control, in religion (and music is one) belief is necessary. Listening is not a question of knowledge or faith, it acts and play. What is the need of these listening pacts to your processformance now? This I can not say. Proera (interventional opera) proposes an amendment to the question "What is the meaning of art, which its value?" To "Has art any sense?" This is admitted here, rejected there. The first question is then formulated as follows: Can one speak of art (listening)? In other words, the notion of listening to art is invalid or unacceptable? Is it an idea, a concept or a hoax? Is it metaphysical or a mystification fabric?

Which side of philosophy is it? Distrust of the deaf in relation to the listener is radical, rests in the reality of their limitations. It is not asked if listening (fragility of artistic sensibility) is this or that, but if it is or is not, and if can it be anymore? We classify it as hallucinations and daydreams? The general suspicion adopted by non-artists since the beginning takes a fierce attitude. It is not about opponents in the wars of political ideologies, but as exterminators before a convicted guilty. The determination turns into accusation. When we are talking with a mathematician, we criticize a demonstration or a hypothesis , never math as a whole. We cannot begin an exchange of political opinions from the assumption that our interlocutor is crazy. In theology , each admits that the opposer has a belief, who will speak of demons, heaven, miracle. In philosophy, the confused notions are embraced with grace. In artistic culture, however, this happens not. Just say the word 'art' and explode ridicule (even among artists): quackery, hallucinations, delirium, megalomaniac genius feedback, aesthetic pseudo-philosophy. What happens to art, then? Why those who should listen refuse to the debate? The enemy of art - and most administrators and curators of art are - reflect inquiring asking: "Is this idea convenient?" They acquired a universe of knowledge and methods that act on art itself all the time. The enemies of art are against the public sensory covenant because they need to keep the ideas of producers and consumers separate, in order to maintain the hierarchy between composer and listeners. Museum is the antidote to any artistic experience.

Nudity and Silence: We have reached such a state of inversion of social values that the garment became the rule and nudity a crime. Artifices took the place of natural, like music supressed any possibility of listening. Art is not a dress up deception consolation, but a work that touches the essential point and penetrates the secret of each one, if the secret still exists.

The Shining breaking his neck trying to fly is nobler and more fraternal than the engineer who tries to prove that man will never fly. Inside the egg there are only listenings without names, faces or bodies. Silence of the world, brutality of men, behold, there is undoubtedly the first experience we have of reality. But if nature is silent, we know it's there, the rocks, the plants, with its rains, its auroras. Silence of the world. This silence overwhelms our chests. The color of the fruit does not say to our body when hungry if it is not poisoned. The seasons do not teach us of the reincarnation of souls. Birds sing without transmitting any message. The hexagonal work of bees and their heliocentric dances do not advise us on our social act. Planets trace drawings without speaking of letters.

Syntone: Who can admit, however, that nature is reduced to a heap of atoms in motion without meaning? Even the world having no sense, human places itself incessantly with this question in silence. Have not this question about listening's meaning sense? A performatic process is a desire to get to the bottom of the listening that each of us has of the world, in search of our own syntone (tune and symptom of our way of sounding and tuning, noisicly and musical), and from there we launch to the ends of the audible through our paths of acousphere.

Inquiring if beings have in them, and on the whole, a sense to finally see the cowardice of musicologies, the insane cruelty of styles and to understand, even recognize until discovering the wicked limits of sweet song, the insane brutality of sounding possibilities of other listening modes. The volcano is heard under the ashes. And to deny this silence of the world, to understand its language (this bigger than music song), you must practice silence, and to refuse this violence of full humanization of everysound you need to practice a certain noisy violence, resisting ideologies, stop thinking favoring meditation, oppose to force non-action, learn nonsense, contrast to the useful a sparkle of splendor.

Non-action is not inaction, but countermovement , balance on one ear only, silliness is not ignorance but appreciation of the essential knowledge and consciously disregarding art for art; splendor is not beautiful, but radiates from itself, come as you are. If listening is separated or opposed to musical culture, how is it expressed and can it be expressed ? Listening reveals itself by itself, does not need a psychoanalyst or a critic. The cultural assets entrained to it are so well hidden in it exactly because of that. Listening has its own language, though. How does listening to be understood expresses itself to others? Does it uses listenings? Can one address these issues in a research? We are facing a strange situation. At the extreme, two mutisms collide: the listener and the auralogist (student or critical of listenings). On one side, the listener is silent out of respect for the rules of the arcane who want to hide out the secrets known by those within; another one who studies the listener is silent so it does not come to none else the information, the keys and the codes. This situation has nothing theoretical or caricatured. It occurs frequently and highlights the difference between the two different positions about sound: inside and outside. In other words, can we reconcile secrecy and revelation? How a speech about listening does not erase itself in the course of its own writing, the signs you want to read or write, as the archaeologist who crushes with his or her shoes just the fragile object that they are looking for? About this I can not speak. No one knows, is a mystery.

Daily Listenings "T he ear doesn't blink."

Review the dreams that kept the night, Thank for being able to awake, Beat the dust of the body inside and out, Stretch and awaken the body, Honor the divinity that unites all things meditating on emptiness, Clean the house with maximum precision, Honor the multiple deities taking the body to its limits, Bath, oil up with perfumes, learn to express yourself in your own smell Scent the house with incense and honor the house with humidity, Break the fast lightly with a tea that matches your current temperament, Gardening watering vegetables and plowing land, Read and write to the ancestors, praise their good deeds and learn their lessons Feed the animals paying attention to their feelings, Break the fast with fruits and breads while start cooking for everyone, Respond to the letters from contemporaries, Receive visits of those who need you, attention to what and how they need Help at least two deserving ones, Exercise breathing, inhale remembering love and exhale forgeting Feed slowly and thanking to the sacrificed for your nutrition, Read worldly texts, Read and write to the contemporary in order to prevail the common justice, Practice your gift until the sun rests always paying honors to your body, Thank the possibility of exercing your gift chanting, Receive or visit the wise, Practice ablutions and libations with sacred herbs, Think about the worst evils existing, Sound music and cook, Feed lightly exercising appeasement through breathing, Read and write for future generations, Lengthen the body by relaxing it, Take care of the body of your beloved ones, Satisfy the desires of beauty and pleasure of your beloved partners, Thank meditating the day that you were permitted to have, Forget, Always according to the needs of the time...

Astronausea ”W hy is the sky só quiet ? W hen the universe was young as we are, it may have been noisier than alll musics put together, but with time it got further from us and all we here are through the gaps of the spheres. W hen I lsiten to the universe I can only hear what is not there.”

The astronauseating process entrains two atomic ways of listening, transiting from names to logics and back again, geocentric and heliocentrically. Establish a methodology for instant listening practice, started with TAOM, from the logic of variable environmental event and improvisation based on intuitive processes accurately.

³

à

Logical Equipment musical geometric (geocentric)

Arquetypical Machinery sound (heliocentric) energetic

Ampliate the research focus of the inter-reactions between mathematical polarities, quatitative (numeronomy) and qualitative (numerology) through morfology calculation of th interaction among nume and passion.

Substantiate the first research critically, clarifying the boundaries of musical composition in the subsequent dimensions achieved only by other modes soagem and listening, as filosonia and audiomancia.

Digital BinaryPrincípiodistinctive principle of Initial Machinism: Eternal paradoxical love-fight from the polarities found in all mythologies. the programmatic gesture (o).

0 Zero: To be or not to be. Non-intention.

0 Zero: Complete flow. Continuum.

1 One: Being or existence. Sound. Intentionality.

1 One: Flow cutting. Singular movement. , Comma: Possible meetings between two random , Comma: Paradoxical relation beetween 0 & 1. + More: Addition. Coagulation that tends to instants. qConjunction: Polar crossings that increases densification.

- Less: Subtraction. Dissolution that tends to the dimension. atomical. pOposição: Polarization that opens cracks in = Neutral: Harmonical stability of a system. between dimensions.

N Neutral: Stagnation of movement of 0 & 1. . Atoms: Possible ways of binary conexion (t) .Elements: Chaosmic fields of complexity simplification to the simple complexification. betweeen flow and fixities. Vibrations. Ð Ò |( p, p)( q, p)| Ð Ò |(0,0)(0,1)| Ó Ñ:|( p, q)(q, q)| Ó Ñ :|(1,0)(1,1)| Ð Fire: Expansive irradiation of becoming itself. Ð Fire: Flow of flows. Dry and warm. Ñ Earth: Ordenation's sensibility itself.

(0,0):[(0+0= 0),(0-0= 0)] Ó Water: Fixation of flow. Humid and warm. Ò Vento: Dynamical orders inflection of flows.

(0,1):[(1+1= 2),(1-1= 0)] Ó Água: Assimilation or repulsion by the flow0. Ò Wind: Flow of fixations. Humid and cold (1,0):[(1+0= 1),(1-0= 0)] ÐqÑ=(q,N) ÐqÒ=(N,q) ÐqÓ=(N,N) Ñ Earth: Fixation of fixation. Dry and cold. ÑqÒ=(N,N) ÑqÓ=(N,p) ÒqÓ=(p,N) (1,1):[(0+1= 1),(0-1=-1)]

³

à

~Oscillaion: Wave movement of coagulation and dissolution (¬) that complexify creating molar structures. Ð Ò |(0,0)(0,1)| |(0,0)(1,-1)| Ó Ñ:|(1,0)(1,1)|,|(1,0)(2, 0)|

~Pulse: Alternação ondular onde se desenham figuras rítmicas (racionais) ou aritméticas(erráticas ou inefáveis) Ð Ñ | (chaos) (chaos, cosmos) | Ò Ó:| (cosmos, chaos) (cosmos)|

>Structurating Dynamics:: Ways of >Dancing Trinity: Way of chaosmosis molecular chaining of three of more atomical (listening and soundings), dynamics between elements. chaos and ordinations. o Cardinal: Explosion of data in a gama of directions. Intervals (+ or -) or intervalar fields (+ & -)N of heights and intensities. t Fixed: Compound estabilization, with harmonic variations. Timbre (not + nor -)-N ¬ Mutable: ambivalent variation, of ampliation and diminishing. Duration (+ or -)...

(- or +)..., de ampliação e diminuição.

o Cardinal: Chaos that amplifies the possible ordinations opening the focus of elements. Soundeme. t Fixed: Concentration(o). Mediaction e meditaction of a certain time in space spot and ist internal relations. Harmoneme ¬ Mutable: The harmonic spirals of space in time. Ascendents and descendents in mutual neutralization.

Meloneme e Rythmeme.

>x:(³,³³) Dimensions of energy regulation (sound, light, etc..), planetary symbols. >y:(³,à) Qualitative standards of energy for stars (tone, color, etc..), zodiacal signs. (à,³) Phenomenical fields of action in which operate the symbolisms (music), aspects. >z:(à,àà) Relationship between the various dimensions of energy (sound art, cinema, etc.), chart analysis. >x:(³,³³) o Cardinal t Fixed ¬ Mutable

o Cardinals o h Cardinal direction S g,å Cardinal fixation j f Cardinal oscilation d

t Fixeds t Fixed direction Fixed fixation Fixed oscilation

¬ MutabesL,J Direction osc s,F Fixed oscilation G Oscilating oscilatin

The seven first plates of the solar system, the philosonical ones, treat of the musical listening and sounding. The others begin the process of audiomancy, non-obstructed use of tierkreis, where the structures evolve and involve in a bigger gamut of dimensions making their calculation almost impossible. s Sun(194-18Hz): Identity (t,¬) of a sound, in itself a wide variable of determined sound movements. Intervals between interval fields (counterpoint). d Moon (227-43Hz sideral 210-42Hz synoptic): Sígnal variation (¬,t) of a sound when related to another. Timbre duration (tempo and pulse). f Mercury(141-27Hz): Adaptability of sounding goals (¬,o) acording to the arrangement.

Intervals' duration (variation of consonance and dissonances). g Venus(221-23Hz): Fixation of an acousmatic principle (t,o), surrender of a sound to its connecting ones. Intervals' timber (scales and harmonic fields).

L Earth(194-71Hz day 136-10Hz year): Ascendent or angulated spin through the auditory (o,¬), resonance. Duration's interval (rythms).

Intervalo de durações(Ritmo) h Mars(144-72Hz): Intensity (o,o) of sound in metameta, sounding. Violence of noise eximploding the acoustic field. Interval of intervals (orchestration). j Jupiter(283-58Hz): Stablishment (t,t) of a primordial tone or holistic listening of sounding acting, panphonic. Timbre of timbres (acouspoiesis).

S Saturn(247-85Hz): Inexorable trend (o,t) of every sound to be supressed by the alterity of listener, noise that envelopes its envelope. Interval between timbres ( auriculture).

F Uranus(207-36Hz): The conections ampitude (t,¬) of a sounding subjective networks.

Philosony.

G Netune(211-44Hz): The subtl aspect (¬,¬) of sound (ultrasound's infrasound).

Audiomancy.

J Pluto(140-25Hz): Affection pulsion (o,¬) of sound, pleasure and terror, silence and noise. Schizolistening. å Fixed Stars(172-06Hz platonic year): Musica reference point (t,o) of movement in sound. Aura.

...and listen to the waiting...

Censorship as Fine Art â&#x20AC;&#x153;It's hard to find a more confuse and tedious reading than the one of these pages filled with elocubrations of gnostic imagination and that would appear to a superficial reader to have been written with the sole purpose of disclosing a systematic insanity."

The sound contestation happens not only through intelectual ways, but mainly physical prohibition and stylistical apartheid. Not the authority of art before critics, but its need of authorization close to politicians and bureaucratic instances. Apparently, art has been massacred, gagged, defamed, ridiculed, outcast, anathematized, persecuted, insulted, tortured, deformed. Its social history is accompanied by forced mutisms as well as its inner development of consensual silences. Notably, there is a kind of essential conflict between its existence and condition, even if it is no more philosophical but socially. If rationalism denies its foundation, ie, its reasons, its value, its being (theoretical), other forces threaten its foundation, ie, its organization, its function, even its existence (immanent sensitive). What forces are these and how? Must we conform to this fact?

Sound discourses on voluntary servitude: First provision against art : repression. One way is to ban, wherever it comes from. Of intellectual order (censorship), physical (monopolies of spaces for social interaction and poor payments), of social order (the lack of specific legislation and the bias in the ones in use for the artistic act), collective order (financial difficulties). Second provision against art: defamation. Measures of vexation succeed the vexatious measures . Their shapes are called discredit, slander, amalgamation, marginalization, ridicule and contempt. One acts more about affection and, in general, this way of approaching, of slandering art seems faster and more effective. Faster because it is conveyed through conversations, transmitted by art magazines, used even in entertainment shows. More effective because it permeates the entire culture, it is content to suggest, so that one believeth that ound for onerself the inanity of art, and how to resist an idea thought to have being fored by ourselves? Without taking into account that it is flattering to be superior to the geniouses, mocking the philosophers. Third provision against art: The misrepresentation. This time art is undone, underwent a metamorphosis into entertainment or academic and industrial utility.

Failing to kill it, it can be denatured. There is the covered up counterfeiting by understanding.

One can thus interpret it, warp it, rebuild it, modernize it, translate it. Dispose of all sacred and secret aspects of art and there is no more reason to deny it or overwhelm it: no more talk about art, the historical treatment or technician is a way of talking about art as if it was not art.

In case of reduction of their artistic aspects, art is reduced to the entertainment. In the case of recovery, a purely artistic phenomenon ends up serving ideologies, interests which are entirely foreign to itself, even contrary. Just recall martial arts as they are currently known and practiced, without metaphysics, without meditative practice , focused on immediate effectiveness, to profitability, driven by competition. However, is of litte help to activate the deabte debate showcasing artists as victims. Almost always, art is damaged indirectly.

Condemned are its dogmas, its rites, its productions not in its aesthetics but for their social effects, its doctrinal implications, its pagan origin, etc.. What one finds, in effect? The inquisition persecuted heresy, irreligion, superstition, eroticism... never art. The Inquisition never complains art, because unaware of what is art in its interior, it only knows what it should be but never what it is.

Sacrofice "He who sings, prays twice."

You whom we address in silence, Unspeakable unsayable Ound Accept pure speech offerings From a heart and soul That reaches up to you as Usic Our listening horizon, mystical experience, But how do you hear us?

Our broken bonds, deepless wounds Toward initiation of Ound Destroy moving preserving adjustments Coagulation of the muses in the elixir Quinta Essentia of forgotfulness Behold stars, thou art noise of istening Time's longitudinal ritual Faith of the future Glory of the softest mud, blood Wings of mountains Plants listening to light The great machine of world's indifference Plow of words in rythms Lose it all, vessel of rhymes So that listening may be

Improvider “Messanger that is the message, the meaning of sound are images of light.”

Books and scores themselves are perhaps the first chatbots: long-winded and poor listeners, they nonetheless have the power to make the reader feel known, understood, challenged, spurred to greatness, not alone. What makes the linguistics of sounding is more than the libretto; we shouldn’t settle for the mnemeauria of sheet music when we can have a performance procedural score. The principles of improvisational sounding writing are the opposite of those learned in spectacular musicing. Play. Engage in something just because you like it or need it. Proetic writing is inspired and visionary, because it’s motivated not just by mundane interests, but by the need to resolve an existential crisis of the environment.

Necessity is the mother of invention, so the greater the need, the greater the incentive to create. What is the price to pay for a happy song? Fail and be ok with it. You can only learn by failing. Have a good attitude about it. Prophets were comparable to shamans, who evidently grew bored with the daemons they perceived with their waking mind and so they sought psychedelic states of consciousness, through entheogens, fasting, or rhythmic dancing and chanting. Proets (audionary artists) are the secular prophets. Listen with every part of your being. Willingness to change. Art as a secular prophecy has nothing to do with predicting the future or with contacting supernatural beings. Instead, it makes the best of introversion and of the resulting alienation, by construing the analyzed thoughts as alien and distant from the true self. Dare. Be open to novelty. Explore beyond your comfort zone. The stage is a safe place if you want it to. That uncanny valley horrifies and prompts audionary artists to invent a resolution by means of some ingenious interpretation of the world. With respect to the artists who choose to sing or to write their revelations, they’ll likely say that their most satisfying work seems to flow through them, as if they were possessed by a daemon or muse. Any writer can write a stream of consciousness, spilling her thoughts onto the page without editing them, but only a great writer’s barely edited stream of thoughts would be worth reading. Say "Yes." Offer. Accept offers. The difference is that the great writer’s mind has been broken by introverted self-analysis and rebuilt with a vision that resolves her existential crisis, so that when her mental faculties have their say, their word is likely original and incisive rather than trite and incoherent. Say “And”. Bring a brick to the scene or a whole cathedral and help others to destroy it. Build together or keep that parallel road. See how far you can go. Weak artists tell people what they want to hear, because their minds are full of unanalyzed memes and taboos and noble lies that serve the interest mainly of protecting some dominance hierarchy.

Utilitarian writing, then, is the product of existential inauthenticity, meaning that it’s motivated by something other than the need to address the horror of discovering the self ’s insubstantiality. Live in the moment. Right here right now. For how long? Trust. Trust yourself.

Trust the others. When you have no idea what to do, just think confidently, 'I know just what to do!' how many times must you fall for this? Make everyone sound great in it, even if you have to sacrifice your position. Of course, even great writers can write for humdrum purposes, as long as they’re not constantly afflicted by their vision. Just as most mystic can’t permanently sustain their feeling of everything’s oneness, a prophetic writer will now and again be distracted by comparatively trivial matters, however secluded she may be. You need to hold the cloud if you want to hear the rainbow. Less is more and less is less. Don't do too much or do absurdely too much, instead of thinking of proecy as an interpretation of some supernatural will, think of it as a sublimation of existential joyrror, caused by the self ’s alienation from the contents of the mind. Transit between relation and tension to create different moods.

Synescycling Go to a town, film its trash recycling processes, take all the trash the city produces in one day and put it all in the central square. Synesthatic cinema for one single day of responsible brething spectacle.

Pick the local philarmonic dressed in trash and make it play over the rubbish their own ideas, then call a tv personality to sing with synergy recycling intention over the present listenings: In the stinky rubbish of histeory Our best ideals dropped To jokes and dogmas merged Shit perfumed with peace and glory Wise beggars and fools of power Scour the mountain of names Behind numbers, lights and hungers Maybe counting the kneeling trunks As worms adoring scrabs Packages are of itselves warnings Victims of our own arts Hospitals manufracture the law of diets Arrestinf sick ones and selling cures Dating today the lack of judgement day Caduceus in dust, bread yeast Culture of parasite microbes Cleaning the last supper's mass Vultures flying above eagles See rats devouring cockroaches babies Peacock-monkey drowning the woods In the multicolored waters trying To catch the moon by its concrete reflection As the dead fishes of love and sex Metall egg, plastic and glass laying We drink gasoline and vomit asphalt Fat and manure, tears of thrash From the beggining, never was cleansed Not even none even noticed The dust over the ear mirror But it is necessary now, to make it shine

Gaethics' Maieutic â&#x20AC;&#x153;Desperation is the raw stuff of drastic change. Only those who leave behind everything are ready for music."

Practical workshop on the creation of imaginary planets: We begin from a structuralist view of comparative anthropology about the onthology of sound and music. Understanding this universe's physical laws over sound in order to find a personal universe in which each participant create their own cosmos to experiment in its various modes of entrainment and soundabilities.

Topontology: Structuring of ontological landscapes. What are the differences from your personal universe from our common one? Chaosmoseogonies between parallel and transversal universes. How the many different universes talk to each other?

Affective termodynamics: Chthonic functions of transmutation of moods aiming intellectual sustainability of each universe. If your body was this universe, how would those different physicalities evolve your sensations.

Chronography: Production of alternative temporalities from advanced harmonic models of sonology. How the different sensations demand from your body more or less time to cope with their demand?

Oniric Geology: Sedimentation of streams in subjective hyperdimensionalities.

Create a planet to let your sound imagination live.

Sociosemantic Neuromancy: entrainment of imaginary constellations and interstellar politics. Semi-private linguistics as rebellion against empires. Symbolical societies, stochastic hierarchies and goethics.

Biocodification: Fictiosymbolic programming, evolution of metanarratives in translogics , altlaws and exegesiologies.

Metarole playingame: Based on the results of these movements we put together a game-playing, per round, with rules to be created during play, simulating interactions between these universes and characters in a cosmogonic metaphysical forces rpg.

Inventi a critical system of role-playing games (CPG). In MetaRPG, every game is the invention of rules for a new game with a specific type of production and documentation. Sound them all.

T he Burglar of Birds "W hat is the use of ornithology for the birds?"

Sweated tears on the vase Of lunar red clays

The owl in the pink Caresses the dream With hymnals of blood

Even evil gets tired How long memory of virtue?

Beneath the portals of sand Face of the wave Blows the grids of mushrooms Stole the birds from the cage Sing they compassion to egg s There are fears of anis Which cool the night Night pulsates red One who does address the pit Should at least dream Of water beetles Is proper to being be lost In the fullest pitch Darkness is distinct With open and closed eyes Fires of aura Flame color Sustain the darkness Only light is breakaway Lace of bars Drink tar Stars without light Erect meat Eat as if it was crap

Body where we hide Powder Empty straw where hid body Drawers of us In the abstract closets Inside the odorless cage Every step taken On the precipice Principles evaporate Perfume dreams Imargins of loneliness Butterflies the valve Until the serpent blooms Swallows to pluming Roots of light Cicadas protect beetles Ants envy bees For vomiting the amber fungi Lunar irror body shell As the shadow Temperate indecision Beasts do not steal birds Hijack up their singings So dogs may follow Dragon lives in the root Of spines the serpent

Eagle cortex Smokes those Words that do not eak

Greetings to unhealthy Navigating blind Wood cut by droughts

Egg and poultry, same voice

Current flames Raining through the bodies Of straw in a trap

Gem the turtle's elephant Inside the water star Herbs change tissues everyday The pit is threaded Stick stuffed a lotus denies Wells tar up the cliff Until it discolor

The stars are fiver Of dense dark rains In the bull's turtle One red tree orbits The star of the black rain A straw wanted roots

Star that does not feed The smoke grids The darkness of the whale Turtle is the tiger Of dream time

The debris nest Tissues sing birds Shit bodies of drawers Stars of no light

From herbs earth is born

Beasts don't eat bright dreams Prefer bows of red sand Herbs eat beasts

Stones laugh At the rush of plants

In the tar of color without stars There thrill trill

T he Anational Anthropocene Schlingensie Transmediatic Critical Artivism Metawards “In an orchestra there can't be a real winner unless everyone wins.”

Metaward: For the given need of popular acknowledgement concerning artistic achievements that create a collective subjectivity that moves us all throughout the world, directly or not, we aim to offer recognition to the workers of art in, what we believe is one of the most fundamental and more underrated characteristics of it, critics. For this reason we established a transcultural post-industrial involving, but not curatorial, award of self-reflective poetic gestures.

Schlingen Sie: Christoph Schlingensief was one of the most interested artists in provoking critical thinking in an audience. Openly a political artist, he made constant use of his performances to issue themes of public interest. This award though, is not in honor of his namesake, instead we use the term ‘schlingen Sie’ in the sense of intertwining senses - to get involved into and throughout the senses and gestures of untimely and unfashionable forces.

Critical Art: We are looking for works of any given media and technique, from everywhere in the world, that question complex collective subjects in an active way, with proposals of rules changing for communities, symbolic intervention in the semiotic system, paradox harmonization, taboo dealing, social fiction, error-based formalities, profound dilettantism, countermarketing interference, etc.

Transcuratorial Process: All the works sent to The Anational Anthropocene Schlingensie Transmediatic Critical Artivism Metaward will be discussed by an open forum and the categories have one or more winners, except for The Walter Benjamin Aura Award that is given to all the nominated.

Nomination Open Forum: The open forum is used for discussion on the works to avoid miscategorizations or illegitimate work nominations.

Public Open Voting: The nominated works are then presented to the wide public for an open anonymous voting (based Advance Poll) to decide the winners.

Premiation Ceremony: The statuettes descriptions are conceptual only. To win the prize, the artist must record a video with a self made statuette and make a speech of no more than 3 minutes. This material shall be edited and used to publicize the award.

Categories Framework : There are 23 awards divided in two main subdivisions: Recognition and Achievement. All of them may be given to one or more works.

Open Achievement Non-Competitive Award with money prize to be shared equally among all the contestants: T he Walter Benjamin Aura Award , an ivory elephant statuette given to any artists who apply works that question art itself, its social roles and consequences.

Recognition Awards , where the prize is a hommage work from voluntary artists. All the artists names in the awards are meant as a hommage, if there is any copyright infringement in their use please contact us so that we can use another one. The categories are: T he Ezra Pound Transcuratorial Postmuseology Arts Award , a rock owl statuette given to critical thinkers, collectors and curators for collective art events and festivals that expanded their ethnolorics.

T he Orson Welles 7 Peter Greenaway Fake Arts Award , a mirror chameleon statuette given to works that are not what they look like, copyists, translators, crooners, plagiarists who questioned authorship and mimetic relationships.

T he Peter Lamborn Wilson & Richard Barbrook Histheory Remix Arts Award, a carbon monkey statuette given to works that deal with piracy, copyleft issues, fictitious theories, collage of references and(or) have referentiality as a central concern.

T he BenoĂŽt Mandelbrot & Umberto Eco Award Arts Award , a recursive butterfly statuette given to the awards and prizes that instigate critical art-making and reflective social interaction with it.

T he RenĂŠ Magritte & Allan Turing Arts Tech Trick Award , a crystal fox statuette given to technical endeavours that promulgate unseen yet sensory experiences from virtuality to virtuosity.

T he Banksy & Maya Lin Urban Psychoarchitecture Arts Award , a concrete pigeon statuette given to public spaces aesthetical occupations from graffiti to landart parties, gatherings and walks.

T he John Cage & Madre Teresa Serendipity Arts Award , a wood amoeba statuette given to works that nurture healing processes, questioning resilience subtlety and the frailty of therapeutics.

T he Rosa Parks & Richard Stallman Hack Arts Award , a clay platypus statuette given to works that inquire codes and programs, causes and effects, but also cognition and language, representation, logic, semiotics from enigmas to softwares.

T he Sun Ra & Crass Countercultures Political Arts Recycle Award , a garbage vulture statuette given to works that question institutions and its resistances, collectives and individuality, organizations and chaotizations, the cultural dogma formation over artistic endeavour.

T he Stelarc & Wilhelm FlĂźsser Fi-Scientific Arts Award , an aluminum plant statuette given to works that challenges the established scientific knowledge, from fictitious theories to new mythologies making.

T he Luther Blissett Anonymous Arts Award , a wooden lion statuette for non-documented works from street artisans, oral poets, and unknown author artistic gestures.

T he Andy Warhol & Paulo Freire Economic Arts Award , a plastic shark statuette given to works that question the art marketing and general propagandization of collective subjectivity.

T he G.G. Allin & Hermann Nitsch Scatological Arts Award , a shit dinosaur statuette given to works that deal with molecular pornographic arts, and behavioural taboos and fetishes such as semen, blood, tears, vomit, shit.

T he Ai Weiwei & Buckminster Fuller Borderlines Connection Award , a silver squirrel statuette given to works that question geographical aesthetics and merge different art scenes empowering the artistic network.

T he William Burroughs & Maced贸nio Fernandez Aesthetic Exception Award, an ink scorpio statuette given to works that question laws and legality, from substances apology to destruction of objects, from sensorial addiction to experience camps.

T he Jean Giraud & Angelina Germanotta Symbolic Dedesign Insurgence Award, a fabric snake statuette given to works that question established symbolisms or create enduring symbols that bring new approaches to designed experiences and open the fashionable linguistic possibilities.

T he U lay & Ana Mandieta Biographic Body Arts Award , a coal dog statuette given to works that question personal and intimate issues from erotic relationships to unfamiliar social memory.

T he Lygia Clark & Helio Oiticica Skinteractive Arts Award , a foam octopus statuette given to works that question sensory choreographies and dances through new procedures of approach, from scene architecturing to social sculptures.

T he Masami Akita Listening Noise Arts Award , a vegetables rooster statuette given to works that address the limits of listening and sound, aura orchestration, social harmony, silence policies, noisecracy and beyond music.

T he Beatriz Preciado Postporn Queerotic Arts Award , a felt bunny statuette given to works that question sexuality and beauty taboos and deal with eroticism in artistic and daring ways.

T he Diane Arbus & Peter Greenaway Time Glimpse Arts Award , a wax bee statuette given to works that deal with time, rhythm and pulse issues, from photographs to videos.

T he Isaac Asimov Cybertelling Award , a silicon spider statuette for works that question narrativity in anyway, from urban expographics to alternate cartographies.

Our Visul Identity: Our mark of trade is a cuted hanging rope, a murder or suicide that avoided by the entrainment of poethics, the synergic superstrings forming a heart or a fist holding an opening and a closure.

T he Proverbs of Noise Cum, hear.

Not roar nor warble, they all must silence. So said the waterfall.

Making sense is senseless, trying to not make sense is arrogance.

The noise of the beehive attracts the bear.

The cicada only sings for it keeps the ants' works away.

One devouted to noise, praises deafness.

Ear is a muted trump.

Thou art never deaf enough.

Music is the cloak of silence.

Echoes devour wilderness.

Music is draws with the lines of law, listening sits on a river.

Friends can only be measured in silence and noise.

The possibility of bitting one own's tongue is an anatomical blessing.

To ask for silence yell, to make noise make it yourself.

The real monk meditates in the crowded avenue.

When the noisist insists in noising, becomes he a musician.

For those who have nothing, half is double.

One must music through the noises of the world.

The interpreter condemns the composer not representation.

For no one is to know what is a wave, nor its name could be less than the sea.

The laughters of others is always against who listen to it.

The long ear of the rabbit is and is not the same as the donkey's.

Sliting a throat floods singing.

Nutritious music is acquired without the use of instruments.

To set the world a tone is like to harmonize the songs of hawks and sparrows.

Those who listen to singers that don't dance end up still talking about them.

The noisiest sea, just a wave. The thunderstorm, but a sparkle.

The worm in the apple is the song of the snake.

They wanted to silence me. I kept quiet, but not as they wanted.

The flower arranger knows about thorns.

Gnoise “If we play it alone is only noise, but if it all comes together what name shal we give it?”

And listen! With the eardrum, sucks with the ear, with the ear eat . Swallows the climax of the book, has passed. Finished. It falls from your hands and there is no ground to listen to its downfall. The letters of this book shuffle when you close it . This technical manual is useless to challenge power with the silence of oblivion and should not be read , but if you are to, do it as quickly or slowly as possible and loudly. Everything in it lacks originality and rigor which its editor believes to be its only value. Who does not know this author find little more than prejudices, and who doesn't won't be able to grasp what it's about. Reading it fully will not ensure intimate understanding of the subject, as well as reading only fragments prevents from further the consistency. Books are not very much important thing, a myth would be enough.

The actual function of thinking is to stop inventing excuses. What kind of noise {musical, body, social, be-ethical, political, etc..} generates knowledge? What knowledge is possible in a informationnoise environment? How would the bard cross the labyrinth? How do heresiologists and ideolaters fight in the borders of physical sound to create the sects of sounding that postulate the musical laws of manner and its noise outcasts? The axe maker secret is the sound of chopping. Ontophony of noise, panstream instead of mainscreen. Myth has always been the language used by the Gnostics as a means of both exposure and concealment of their knowledge, now the ruidistas always worked with collage culturemas.

The myth of the noise call histheory ritual body and its empirical support} {the actual construction of the ideology of media control. The histheory through the prism of the priests of music relegated noise to the condition of medium yard mythical executing a spell, and the chaosmotic entrainment between both we call mígia, named mess. In the beggining there was noise. Previous to our experiences of listening (audibility comprehension) of sounds could not postulate a silence. Silence arises in relation to knowledge of environmental noise and focus of audition. Silence is a filtering project of certain modes of istening for a recalibration of the body. Only noise is natural sound. When we said things clearly, nothing was understood. For our listening demiurgical limitations, most of the music sounds like noise or presents itself to us as a muse as dance code poetry. We entered the storm by lightning, this flood of light. The music is the sound of crumbling. When the poet says eyear, your body works to make it real.

Before moving an object with the body, we must move it with our minds. Faeces for the scrabs, flutes are not enough for the linguistic of the birds. Drums recall the stop-motion of thought.

Such subjective fluctuation generates a melodic design iterations between the field noise and recognition influences negentropic performance of this desire. When the illusion is done in the most common form of retirement real? Cheating is the core of the art show. The artist is the batelleur estetístico the deception that is symmetry. Your job is to produce astonishment and haunting, cause such a misunderstanding, that even the most skeptical of the public square might think that there is something supernatural in what they had just witnessed. And even though the next moment pass obsessively speculating about the mechanism of the trick to solve it completely. The magic is not lost, because it was able to ilude from the beggining. Art brings with itself this capacity of surviving to the unveiled trick that distinguish it from science and religion. We want silence, but it insists us to noise. A sound is the illusion of capturing a moment in an untimely way axiom achieved by filtering of perceptual memories of sonorant presentification facts from a logical and subjective glare. Under the aegis of heresy, Gregorian chant abolished ruidantes instruments in the name of a type of sacred music closer to the ideal consistent with the culture authorized by the social powers of the time;

transcendental moral epistemic zero mean and the scholastic} {enruidante abolished the closed senses the apostolic Roman empire different modes of knowledge pre-hearing as hazardous.

They took our voices, but our listening they weren't able to shut. Ears are exposed wounds to the nauseating vomit. Listening is the music of sound. No one scored the gnostic screams in the wild. So theirs is a mysticism of doubt instead of one made of dettachment or denial. We don't only listen to others, but through them. The subtlety of others eardrum pounding, this is what welcomes us in the composition of otherness. We know that noise seeps in writing as tour senses. These digressions with its expansive force dilator instead of focusing on conceptual core, let them overhear more clearly its axiomatic vertex. Sculpt the intensities between the infinite sublime forms of chronic generating and the beauty of timeless infinitesimal, and both reap the aural, fields of sound meaning movements, which are measured by the sonorant surfaces, acousphere of immanent meanings. As scribes will not change this text until it readable? All listenings present in a sounding are the acousphere of its noise. Listening submerge in the sound of every thing. Clairecoutรกnce is denied by agri-culture because voice must not sing but speak. Note: number of letters, bilhete.Menor constituent element of music.

Paper money, money in its paper. Title proves that an investment or loan. Callout found in manuals technicos. Degrees awarded to a student after school evaluation. The musical note is the composer of improvisation, as well as deleted all production of its author is random. The loud music genius uses language to deny it, this because the note is not a monad noise, but have a closed thread hierarchical sense of community expressed by individuals in the system.

All acousphere of a listening is a note of the noise heard by it. The noises of listening and musical laws composed by the unison of droning historical density mutate the great chord progression of contextual adaptation. The categorical imperative {imperial category} sense of sound perception shows us the limits of our metaphysical deafness, hearing only the sounds that put them in silence and music. We don't care for our trash. All the listenings are pilgrims in abstract territories and any form of theory about such boundaries cuts the becoming living noise into a mapping dead. Listening is a dead sound. Music a dead listening, precise. Some dead rest, some merely exist, others become. Singing is the dead language, divinified in the beast. As different religions, the psychoacoustic music systems works as immigration departments which tend to exercise a monopoly on the pilgrimage of listening. The beyond ultimately becomes the crystallization of possible otherness, shrivel mappings scores the body as a psychogeographical cocoon, ethnic and historical situation of its composer resonating its body. The composition is just a swell in the sea of noise. A corpse music transpires its social structure, an other a consideration that vote to the delicacy, one reveals how education controlled listenings, the other a furious obstinacy against all codes, a desire to make measurable the infinite, another need to touch the sky with your fingers. The sheet music of Beyond Music is read backwards, facing a mirror: like all dreams, also allows the death deeply know the dreamer. In music we hear of someone who lacks, or rather, tell me what holes I'll tell you what touches you. Melonoise discusses the context of a melody obscured by its own reflections. A harmonic system that is born of the determination of an individual is as paradoxical as a harmony of a single note. A closed system like the post-atonal tonality is the artistic conception of an aristocratic minority that controls the moral bonds of what is subliminally noise. With the secularization and understanding of contextual harmonies, the euphonic pleasure was put in check. Popular arrangement is the social distribution of poverty among musicians. Styles are mafias. The fear of death when overcome could be sold , the communion by processes of agoraphobic prejudice paranoia and xenophobic misanthropy disguised in the improvements on the condition of isolation and private imprisonment, for it is

this fear that inserts cheer on the need for action in the world and phenomenal housing under the legal lexicon of moral reconnection between the two worlds, music and noise. Death keeps the body busy as music fills of intentions sounds and listens. True ecstasy is dangerous, the absolute remains as such absolute, unreachable. Music, that which animates the sounds that inspire listening. Music is a moral of cheerful slaves in their voluntary servitude. Noise shits us through our own ears, shows the pests in overtones fields. Continuous wander. But only music achieved outbreak, or pandemy, of the plague. And even though noise being the leprosy of listening and their plight, it could not muster gnostic and flagellants as noisephilics the perverse deafening. Noise and music are qualifications of sounds, both demand a judgement, giving birth to a law. Noise though, reminds us that listening is dangerous, even in the enjoyment of music. All machines are cronic, it's us who make aeonic uses of them. Noise is nature-culture and different groups of hearing machines will process it differently. Noise subjugate us, threaten us, is beyond human incessant excessive. Listening is a future product of the composition according to this aspect of sound, this music of noise. But how would be a current listening? The vanguards teach us sacrifice and giving the collective individuation.

Gnosis is a historical poetics of the spirit through the pharmacopeia of informational noise, it is the historical self-consciousness martyred individuals acting in their joy of listening the whole human specie. Venons in the right dose are medicine. Every martyrdom ill be televised and every martyr will become a celebrity doll of plastic, plaster and plush for chess in the window of some deity. All times living together under a listening that is silent. Rats in the scenic labs, the human opera still unnamed in the small stage, or for some reason time keeps the agony and anguish as enginesof its movement, and wherever we didn't find a rythm is because underlies an arithmetic. Architextures, the auratic volume through the meloharmonic entrainment of listenings in soundemes. Muzak and pop are sometimes pleasurable masochisms, facing the inevitability of noise and pain they create a sufocating listening environment that creates the illusion of control. Noise is power, both to the listener and the sounder. Noise does not distinguish composer from consumer, both are producers. To nothing, but striving. Decant

eons in memory of language such as genes encoding the information necessary for protein synthesis. Noise in its absurd complex spectral amplitude demands the frequency imprecision of the living. Sound is all our dreams beyond sound, regarding music, noise is music dreaming all listenings. Our listenings enter and leave the sounding niches, betray themselves and betray what they hear, testifying against us and stealing aura of musemes to form who we are, this is the movement around noisythm. Friction between listening and noise, explosion of musical forms in sound objects, compression of the acousphere the a listening. Inconsistencies that open loopholes to other plans of aural constancy. Noisythm is the tempo of heartbeats in cutups. Noise is an unspeakble horror to existence and its impermance. Its tolerance climbs the labyrinthine veins in fractal growth explosion increasingly brutalized and weak senses. The ear is a bottomless pit and a dead end where lies a hammer and an anvil. Polymorph temperaments of harmony and intuition reflected from listenings populate the massive synergy of sound inventories. Music chases and swallows listening even in face of the greatest noise. Noisythm is the cartophony of aural focus cuttings, metasyncope of sounding searching for the reverse time emit a rythmic harmony. Measure is the thingfication of human.

Composition is composting. Tuned the steel cables of elevators and grocery aisles by social climbing morphine and the labyrinths of aural mafias prove that music is what moves us despite all reasons. How low can you go? Sounding responsability shows that to control listenings an ambiguous movement of enticing a love for music deifiying it as a pure pleasurable instance added to a continuous fight on noise that must be ever produced to keep the poor ones mentally ill. We do not compose only musics anymore, but with music. The only really open source is the one that may be forgotten. The spectacular society (artistic culture) doesn't reprehend thinking, makes it disposable. The exclusion of this essential condition of subjectivity leaves us helpless in the symbolical chaos, dettached from an essential dimention of ourselves. The score played the music as the computer programmed. The body that listens always sweated. Poetry, code of science. A world in shortage of excesses. What is noise for the old order is harmony for the new one. The correct isn't pollitically. Let me hear your hair growing. Libido of synapses, caresses as the subtlest form of fine art. All sirens spinning together. Sketch's kitsch. Mediating fetish and mediocrity in tactile encounters, body claims the noise of contact. Only prostitutes outperform the market in their own body and psychology in their own listening. Noisecracy fights oclocracy. The gold of the reins holding bands with the frequency bands of equalizers. In the future, every song will have its 1 seconds of noise and its 1.1dB of subliminal composition. The hierarchy of sounds based on taste leads to the sociophonies of musical compositions: what a powerful person does when sounds is music authority, the outcast always sounds like noise even if the last tries to cope with the first ones.

These nanopowers are calculated by the imposing strength of the hegemonical sounding group, generating both the trafficking of aural influence [bribe] as the deafening hypgnosis of hedonistic global fame in musical iconoclasm fashions. Listending is the crowd of audictions.

The sound pollution happens first by noise in the listening, one hears bad before sounding.

Noise is the crisis of listening. Noise is expensive, costs to be decyphered, it is the maximum asset oon the continuous hypermodern expansion. It is the most wide and elitist music, the highest social investment ever done by human species. Entertains, may be docile as vienese actionists in stock markets biding aesthetistic values. How to not isolate the acouslistening to questions of sound zoning? Noise shows the human goals underneath social norms. Sound's round. We need to build rooms of noise, as at other times it was necessary to build anechoic chambers that focused bossa hollow doomed to nova noise and concert halls where they fed the forgetting of the forces of nature. To operate sound is fighting, halting crucial battle of music

with the representation, its masked listening sound design. From audible, audibility fades, the transitory becomes a symbol, and insufficient, the ineffable unreachable becomes fact or fact.

Reflection of the eternal forces, the internal musilistening throws the inner observed to the forge of the external contemplated. Until you do not stop your car do not talk about my drone, while its carburetor burn bones do not complain about my rotten cigarette. Cloud of noise radiation protection, electromagnetic shield against any of the nomadic listening traps, subliminal or flu pandemics fashion. Harmonic oversounding (ultraresonances of infra harmonies they are), aura of between listenings is mnemarmonic phantasmaphony. Partials dialogue submerged melodies in the swell of metablooming fractone. Music is the inside of sound. Digital orange, hackers, quote shareholders of Amadeus transcomunicating melody {operacracking} in times of kitsch mockery of planned obsolescence of these in mere social noise. Soon rock bands shall be taken as NGOs or the public service of catharsis or as video games. The great trick of medias is to pretend it is dead on its miniaturization, its lie that panopticon is gone because of its rhizomatic glasses. Drive the machine mad humanizing its pathic frailties. Mermaids sing silences. Music is a sedative to cognition. courage is neeeded to have fear, the trigger of listening. Protophonic catastrophy, resound the untouched sounds of chaos muse, chaosmusic. The sound environment apreciation by the foreign listener is essentially esthetistic. Each one, let's presume, has its own private madness on listening.

Efforts to prove that given sound vibration affects the plants and man and the stars, far from resolving the interaction of music and life through the noise, may be just separating the strands of a resonant prodigious loom influences. Music is supernatural, in the sense that its immanent relations of cause and effect only partly converge with those prevailing in the sound nature. Orchestra is an instrument. The wheel of hype, cool, mainstream, obsolete of fashion standardized listenings through difference. Noise doesn't exist. Acousphere as actualizations of the anthropomusicism. Syncretism is the interpenetration of ecletisms. Songs are musical scars in the macerated body of listening. Neusense of technical unrepeatability, newness is the absent structure of the open work that is noising. The multitude faces the musician as a clown.

Another listening is potency. Music is not seeking to be understood since it uses seduction of the ideal product, love at first listening. The musical idol schlupp the fan's listening, becoming its ambience by complete acousmosis, becoming a second eardrum, lenses between the ears' teeths. Love should be professionalized. Its demand is incredibly high and its offer is meager.

Sacred prostitution of affection and the learning to pretend the sublime terror of the inevitable salary. And do I have to to learn how show not what I'm feeling? Music critic is a tourist fascinated with dirty alleys, instruments of torture, scenery gadgets and pulleys, picturesque huts of stone monuments and technocratic dating advances, never stop to hear how people could live in those shacks ears, he comes out with a happy disregard of the lives and games behind the gaudy faรงades. The natural tendency of music is the cosmopolyphonic hypnoharmony in continuous transonic of individual and collective listening. Relationships are tools in the music businness. The other is heard as an instrument improvement, and ones listening eneries are always comparing and judging values of sounding, ways of listening and life qualities. The fan is always idealizing and persecuting. Competitive listening is based on the summoned delirium of property of a gift, ir, of sound by a particular listening. We need a cultural permaudition. Business is eschatological and noise is a business model, every business person is a noiser. Concrete assemblage, sound, imposes the abstract assemblage of listening. I had to open with the knife the wound, to let the pus out. Then I calterized it with a red-hot iron, the sound of it approaching my eardrums I shall never forsaken. Down with gnosis!

Sound fracts light compacting tautonomies of a udio. Tone, I've said it before. The instant noise

knows of the stupidity given to it by otoontics. Lies is a central theme of music under a noisy listening, even if burgeosie mystics call it "inner journey" and cientists of "research". Make your fans (clients) into real followers! We live in a spiritual economy, there is a market for ways of living (listening) as well as for sound goods and auditory services. There are both, consumers and producers of sounding systems of musical belief and rituals of musical communion. And the laws of supply and demand apply here also, but differ because there is constant demand for the sense of belonging and harmonic sense. The beauty of noise, a lack of natural or aesthetic grounds. Gnostic, the generous avenger. Human nausea. Noise, taken at random from its causal context is itself music and musical structure. A listening taken randomly from its context can not be easily incorporated into a musical structure whose standards were prepared by centuries of use. Developed three schools of thought: The futuristic noisers few years ago wanted to incorporate listening in noise through music's hyerachy as well as the alchemists wanted to prove the ether through the air. The logarythmists want to tame listening, submiting it to the parameters of its sensitive-rational schemes. As for post dilettantes, try to generalize the rules of music also in the collapse of noise, providing expansion of our choices of sound beyond what we call convenient listenings. What music do you dislike? Pansophic aura, my vocal chords in front of my eyes. Music itself is in its excesses. Acousmosis of sound metafictions with the role to create illusory durations that denounce as more illusory any real.

I don't make music only to change myself, but to change you in me. A minor ecophony, acouscritic is the beach. Relative frequency, one can't sing a song wrong, but only branchify the myth. Synphony is syntony, singtuning is sim music. More silent cars won't solve the

assembly line changing the urbanism. Computer is the instrument that is more likely to the human voice, encrypts the flesh (silince) metal paths of electricity, criptophone. Listen to the in between listening of histheoaury against its hairs. It sounds to have an imprecion space that scapes the mere strategy. Music parasite of noise that parasites listening that parasites silence, we are the host. Will someone listen one day to our cells at the light that baths it? The eardrum is a hummingbird orbiting the head of a bull. Violence and imagination overflow listening, control organ. Shells over harps. Music doesn't look to be beautiful, it is. Noise doesn't look to be. Emotio isn't mute, it expresses in sounds. A whisperscream is the emotional body, transcends the individual that proclaims resounding the acouspheric panaroma. We're almost nothing and from this we have few at our disposal to express great meanings and feelings. In music, human is riven from itself through listening. Spectral flair of instant noises of sensible aura.When human mutes, when the themes of communication and understanding {gnosis} with congeners are discarded as mere waste remains of ancient powers, more than primal scream where there it is always a unison with otherness, contagious vitality union. Melody of timbres like flow of least friction, a sintchrony through the networks of rnoisecracies. Until when will I repeat this song that touches my h't? Crystal, the weight of sound. Light is musical and matter is noise. When discoteques and academies become desert (autonomous timeless zones), the silence of music, the reason of its talk, will be heard again. Music crosses the barrier of sound. First the thunder, then after it the lightning. A gnoise would be the closes to a minor silence of sounding acousphere in a listening, a metacousmosis. And there never was other object than noisy chaos in trancework. You don't know how to listen anymore. Ony night listens to itself. An impossible ear to listening the possibilities of certain forgotten. Listening to another is knowing oneself little. Context and consonance, noise is global, music is local, silence is universal, listening wanders. We shall forget all of this and play. Truth overflows.

Musicing is occupying others listenings, most obvious cultural colonization media, noise is civilization itself. No! We didn't find any gnoise or anything that comes close to the time lost in this reading. Metasign, simple noise without any external pretension. Love every character in this opera or none of them. The other performs a shiver of our repertoires live, transmiting symbolical tensions. Noisescapes are stones in the way, we fall for some, others we try to dig. To every music conservatory shall be a noise improvisatory. The improviser is always listening, the listener is always improvising.Fronting hearing, serendipity. If life was noise, would be enough; but yet, it musics. The instant of cognition is the amnesia of music for the direct experience. Autar? Histheoaury of imanence, acousophy is the aural wisdom of timespace limits of the body. An improear is triggered by it. Improvisation is our challege to the machines (concrete and abstract). Aura, voice's color, qualitative focus of possibilities of a sound. You are music meanwhile music is playing and your listening is the noise of this imusic. Deep in every good dj's archeophony lies a archeosophy of listenings. How many cares are necessary when facing the possibility of taste adaptability to make a perfect aural drug, morphicmusic?

Rewind! Tact is the direct experience of the world pressures and the most convincing persuasion of reality beyond imagination. Music hunts listening, but in listening there is no place for insecurity. Noisic, noise is the music of music. the music of listening is the silence of noise. Read it all backwards. In the heart of the lonely listening's throat, there is a wild asceticism, a naked territory of the desert. Fair unmeasurability. Love, irregular verb. What we speak against music is music. Notre musique, le bruit de leur. In the end, the word silent listening. Until a next voice of an already another sound. On behalf of the Muses, let us begin to sing. It who has ears, let it hear:

Schizolistening “...and the rest is silence...”

0. Silence is not.

0.1. But in the schizopathological abstraction of the listening subtracted from the listening.

0.1.1. Silence is a linguistic empty promess.

1. Everything sounds.

1.1. Everything that is have some kind of reflex in the sound body.

1.2. Sound precedes all experience – that something is like this.

1.2.1. It precedes how, but don’t precedes what.

1.3. To sound, we listen only.

1.3.1. In simplified terms: sound is number.

2. Listening is everything thats sounds in a determined timespace.

2.1. Listening is the whole of musics, not sounds.

2.1.1. Listening is determined by the musics, and for being all the musics.

2.1.1.1. Listening is the hear-there (or if prefered a hearing dasein) 2.2. Listening resolves itself in musics.

2.2.1. Because the whole of the musics determines what is noise and as well what silences.

2.2.2. Everything that silences sounds another sound in the listening.

2.3. Listening is the existence of modulations, sound movements in timespace.

2.3.1. Is essential to a sound to be able to be part of a music.

2.3.2. Modulations are links between sounds.

2.3.3. Sound itself, pure, is an imaginative utopia (an unreachable limit of the sound atomism), but sound movements are facts.

2.3.3.1. Would seem at random if sound could exists by itself, alone, and later ajusted itself to a noise or silent situation.

2.3.3.2. If sounds can appear in a music, it must already be in it.

2.3.3.3. We can hear no sound outside of the possibility of its modular links with others.

2.3.3.4. We can only hear-in-the-world.

2.4. Sound is auto-sufficient in the way that it can appears in all possible situations, but this form of auto-sufficiency is exactly what connects it in music by the modulations, that is to say in another point of view a way of not being auto-sufficient.

2.4.1. If I know a sound, I know as well all its possibilities of modulations in musics(arbitrary the movements of pulse, harmony, melody, intensity, timbre).

2.4.2. The possibility of its appearence in musics are its modulations(arbitrary the movements of pulse, harmony, melody, intensity, timbristic color and space).

2.5. Given all the sounds are given all musics possible too.

2.6. Sound is object and name.

2.6.1. Sound is simple.

2.6.2. Sound is the elemental(stoichéa) in listening.

2.6.2.1. Sound is the expoent of music.

2.6.3. Every sound can be decomposed in other sounds that compose it through its modulations(arbitrarily the movements of pulse, harmony, melody, intensity, timbristic color and space).

2.6.4. The whole of sounds is the noise, not the listening. Because of that they can not be composed.

2.6.5. Sound is its own meaning.

3. Noise can only determines a physical form, and not the metaphysical passional(pathós) properties of the listening. For these are produced only by music – are made only by the modular configuration of sounds.

3.1. Sounds have no feeling 3.2. A sound differs from other – disconsidering its modular properties – only for being different.

3.3. The concept of sound is what every sound have in common, the general form of sound.

3.3.1. Unspeakable form that is.

3.4. Noise subsists independently of whatever listening there is.

3.5. Time and space are the media where the sounds hang together through modulations.

3.6. Only having sounds there can be a fix form of the listening.

3.6.1. The fix, noise and sound are one and only.

4. The modular configuration of sounds makes music.

4.1. Like the molecules of water down the river.

4.1.1. No metaphor could describe what I make of the listening.

4.2. In music sounds are to each other in a determined modulation.

4.2.1. The way that sounds link each other in music is its musical structure.

4.2.2. Style is the possibility of fixation of these modular structures(arbitrary the movements of pulse, harmony, melody, intensity, timbristic color and space).

4.2.3. The whole of musics is the listening.

4.2.4. What differs the listening from the noise is the existence of a passional logic (pathologic) in the listening and composition of sound modulations.

4.3. The whole of musics determines what silences.

4.3.1. All musics are independent from each other.

4.3.2. From the existence or inexistence of a music we can’t conclude the existence or inexistence of another.

4.4. We feel sounds and put feelings in musics.

4.5. Music experience is sinesthesical.

4.5.1. The sound modulations generates feelings and sinesthesical memories modulations.

4.6. We compose and listen to music.

4.6.1. Music is the passional logic in between sounds.

4.6.1.1. Music listeningcomposition produces situations through the existence or inexistence of certain sound modulations.

4.6.1.2. Music listeningcomposition is more than a model of the passion.

4.6.1.2.1. To sounds correspond, in composition feelings, passions.

4.6.1.2.2. Feeling is composing. Listening is so far, composing as well.

4.6.1.2.2.1. Listeningcomposing is influenced by listenercomposer’s every experiences 4.6.1.2.2.2. I don’t listen to anyothers music, but only my own.

4.6.1.2.2.3. The composed music is never the same one listened.

4.6.1.3. That sounds are to each other in determined melodies, harmonies, pulses, timbristic colors and spaces produces feelings that way to each other.

4.6.2. Music is a modulation of what we feel.

4.6.2.1. Music is the schizophrenia between sound and listening.

4.7. Music is proposition and fact.

4.7.1. It’s like this that listeningcomposition reaches passion, embracing.

4.7.2. Like the ruler(métron) pointed at the border of passions.

4.7.2.1. Only measuring the extreme parts of it.

4.7.3. Music is the perpetual creative relation of modulations between the sounds that trespass us.

4.7.3.1. The creative relation consists in the logical coordinations between feelings and sounds.

4.7.3.2. Music produces its own measures, its own rules.

4.7.4. Only who feels something listencomposes.

4.7.4.1. Music, to be composed must have something in common with some pathós.

4.7.4.2. Composition can compose every passionfeeling which form it has in common. The melancholic composition, everything that is melancholy to the composer; the chaotic composition everything that’s chaos; etc.

4.8. A music is not an image, although an image can correspond to it.

5. Style is a consequence of composition, no the opposite.

5.1. Style, the way of composing, is the possibility that sounds are ones to anothers as the feelings of its listenercomposer.

5.1.1. There can not be an hierarchy of styles. We can only listen to what we compose ourselves.

5.1.2. As an example of it we can imagine the historical myth of pictoric perspective’s discovery and the impact that it caused in the intensive and timbristic modulations between medieval and renaissance western european music.

5.2. Auditingcomposing produces its passion from the outside, its point of view is its style.

5.2.1. Auditingcomposing may agree or not with the reality of its listenercomposer.

5.2.1.1. From these differences of styles are born the influences and school fights throughout time.

5.2.1.2. To not synpathize with a music is to not synpathize with the passionreasons which we believe its listenercomposer must have to have writen it that way.

5.3. Auditioncomposition can’t be put aside the listenercomposers’ passionreasons.

5.4. What every composition, no matter what style, must have in common with the passionreason to present it is its pathologic schizo, the listenercomposer’s filters to the world.

5.4.1. These filters link feelingsideas to sound through the continuous creation of

sinesthesical relations between memory and sensitive experiences.

5.5. Sound is not stylized.

5.5.1. Although, every logic is under an aesthetic.

5.5.2. And every composition is logic.

5.5.2.1. Passion logic, that is.

5.5.3. Composition music a possible situation in logic timespace.

5.5.3.1. Composition gathers the possibility of the situation that it produces.

5.5.3.2. Composition produces what produces by the way of its style.

5.6. What composition produces is its own meaning.

5.7. Trying to explain a music is trying to explain world through that music.

5.7.1. We are as we sound.

5.7.2. Music is the listenercomposer’s onthology.

5.7.3. Music is the schizo staggering between passions and reasons: imaginary sounds and silences.

6. Style are the rules of the passion logical schizo games.

6.1. The passion logic of a composition are its modulations of sounds. Which arbitrarialy I example with the concepts of melody, intensity, harmony, pulse, timbristicolor and space movements.

6.2. “Listening to the muses” as the term musicae proposes reffers that listening as com-posing, putting together (ouvire aude).

6.3. The whole of modulations is the composition.

6.3.1.1. The whole of compositions is the listening.

6.3.2. We can’t compose anything ilogical,for thought is logical and composing starts in it to produce.

6.4. In modulation, the feeling express itself sensibly and perceptively to the listenercomposer.

6.4.1. We use sound to listen to what is between them, the modulations.

6.4.2. To the modulation belongs everything that is passional projection, but not pathós itself. In modulation is the form of its feeling but not its contents.

6.4.3. Modulation consists that its elements, the sounds, are ones to anothers from a certain distance. Every modulation is a music.

6.4.3.1. Modulation is not a mixture of sounds. (As an proposition is not the mixture of words.) Modulation is continuous and articulated.

6.5. Only musics can express a meaning, not a sound class.

6.5.1. Becames clearer the substance of modulation when we conceive it composed not of melodies, harmonies, rythms or any other arbitrary modular variable, sound dimensions, but from pathóslogós.

6.5.2. Two kinds of modulations shown to be possible: the elementaries, composed of sounds and the moleculars made from other modulations.

6.5.2.1. The molecular modulation is in dynamic relation to the ones that constitute its complexity.

6.5.2.2. Every elementary is a necessary ilusion to evade the rational abyss of impossible language essence.

6.6. Modulation substitute, in composition, to sounds.

6.6.1. Sounds can only be named, not described. Modulations can be described, not named. (modulations are like moving arrows as sounds are like spots.)

6.7. There’s only one and only complete analysis of a modulation: the modulation itself.

6.7.1. Every musical composition is untitleabled.

6.7.2. Titling a music is to reduce it to a poethic image.

6.7.3. Only music makes sense; and only in the modular context sounds have an meaning.

7. In the limit-case, the uncountable modular variables (such as melody, harmony and timbristicolor arbritarily) are one and same sound modulation.

7.1. Every modulation can be decomposed in various constituint modulations from this complex in arbitrary variables.

7.1.1. Which coud be the elementary modulations?

7.1.1.1. The ones made only with sounds and not other modulations. Since we can’t specify the exact number of different sounds, as well we couldn’t tell it.

7.1.1.2. Even pulse, harmony melody, timbristicolor, space localization and intensity ar arbitrary traces of the sound movement.

7.1.1.3. In last instance, the elementary(stoichéia) modulations are as well unreachable necessary abstract limits for a musical language.

7.1.2. The modular variables can or not interinfluence itselves.

7.2. If we fix variable constituint parts of a modulation, a class of modular variable values is generated, such as rythms and melodies for examples.

7.2.1. These variables depend yet of what the listenercomposer, according to its arbitrary passionlogic, wants to mean(meinen) with it.

7.2.2. If transformed in variable, however, all the signs which meaning was arbitrarily determined, the class keeps existing.

7.2.2.1. This class of theorethical fixation, however, don’t depend anymore of any convention, but only from the nature of the modulation. It corresponds to a subjective rational form - a logic of composition prototype.

7.2.3. The values that the modular variable can assume are fixed. The fixation of values is the variable.

7.2.4. The fixation of the modular variable’s values is the modulations spcifications which trademark is the variable.

7.2.4.1. Fixation is a descrition of a modulation.

7.2.4.2. Fixation will work only with themes, not their meanings.

7.2.4.3. And only that is essencial to the thematic fixation, that it can be a description of the modulations’ fixed themes in music and nothing report about the style.

7.3. The theme is the feeling that is intented to be presented in one or more modular variable.

7.3.1. Theme is the soundimage.

7.3.2. Two modular variable can have, therefore, the same theme in common – designing different passionreasons.

7.3.2.1. The common mark of two modulations can never be denounced for a common theme between them, but througout different ways of composition.

7.3.2.2. For the theme is, doubtlessly, arbitrary.

7.3.2.2.1. We could, therefore, choose as well two different themes and, in this case, what would rest of the modulations?

7.3.3. In current composition, happens with frequency that a same theme composes in different ways – belongs, therefore, to different modulations – or that two themes are used, in modulation, superficially in the same way.

7.3.3.1. The same theme repeated is not the same modulation.

7.4. To recognize the modulation in the music, we should atent to the significant use of it in the composition.

7.4.1. It’s only in its passionalogical use, that a music determines its own style.

7.4.2. If a theme is useless to the musical syntax, it doesn’t have a feeling nor a sense.

7.4.2.1. In the composition’s passionalogical schizo, the feeling of a music can never play any role; it must appears without ever being said about any musical meanings, but only a description of modulations.

7.5. Modulations have essential and casual traces.

7.5.1. Are casual the traces that derivate from the particular modular composition manner.

7.5.2. Essencial, those which on themselves prepare the modulation to produce its feeling and sense.

7.5.2.1. The essencial in modulation is, therefore, qhat have in common all the modulations that can express the same passionreason.

7.5.2.2. In similar way the essential in a theme is what it has in common with all the themes that express the same modular variable.

7.6. Could be said: sound is what all the modulations that constitute that sound have in common.

7.7. A particular way of timespace fixation of the listening, a style, can have no importance at all, but it’s ulterly necessary it to be a possible way.

7.7.1. And this happens in general composition: the singular is shown again and again as something importantless, mas the possibility of each singularity teach us a lesson about the essence of sound.

7.7.1.1. A music, for example, can have a song in it without necessarily reduce itself to the songform.

8. The pathological schizoid theory of each listenercomposer is its fixation of stylish themes between sound modulations and experiences.

8.1. Mankind have the ability to construct musical languages which with we can express every of our passionalogical experiences without necessarily knowing how e what every modulation means to us.

8.2. One of the main sources of our musical misunderstandingis that we don’t have a complete, but fragmented hearing of the sounds’ use in our musics.

8.2.1. Panoramic listening consists in hearing the conections. From there comes the importance of the continuous search and creation of new intermediary modular articulations between the ones that already exists. Subjective concepts between harmonies and melodies, for an arbitrary example.

8.2.2. Creating this way always new musical thorical concepts and modular variable classes.

8.3. The relations of musical languages, the styles, are close to the ones kept between games. For if you contemplate them, you won’t be able in truth to see something that would be common to all of them, but family resemblances between the sound modulations.

8.3.1. Arbitrary example: some musics are similar for their constant rythms, but differ in harmonies.

8.3.1.1. The whole of the musics of a style is its musical language.

8.4. Human musical language is like an outfit that covers the constant noise from the listening. And, in fact, in some way that we can’t even cogitate the figure that’s covered; this because the outside fit was made for very different meanings than to make recognizable the shape of the listenercomposer’s organless body.

9. Musical language is the fixed style.

9.1. The private language is the schizo through pathóslogós.

9.2. Style is the focus that produces listening from the noise.

9.3. Every music is a “critic of the musical language”.

9.3.1. The silent deals that allow the current musical language patterns are hugely complicated.

9.4. The vinyl record, the musical idea, the music sheets, the physics waveshapes; them all keep between themselves the same internal figurative relation that there is between the musical language and the listening.

9.4.1. The logic construction is common to all of them.

9.4.2. The logic is the language of the games.

9.5. That there is a general rule for a game throughout which the listenercomposer can extract a music from a sheet record it to a vinyl that a gramophone will play from its levels, and then again from listening writing a sheet. And this rule is projection, transcreation of sounds and modulations.

9.6. To understand the essence of composition, think of a equation poetry that figures feelings that describes through subjective images of dancing algarisms non-stop.

9.6.1. Music reflects only a feeling: because I not know the situation that it evokes, for more that I understand its composition logic.

9.6.2. The listener gets in the limit of music the intuition of its composer.

9.6.2.1. Music produces the metaphisical.

9.6.3. Music is its silented meaning.

9.6.3.1. More we understand a music the more we understand its constituint parts, its sound modulations.

9.6.3.2. To sounds we can’t understand cause there’s no sound itself.

10. Style’s schizopathologic theory doesn’t procede in a way to explain each music in it, but the elementary modulations that constitute these musics.

10.1. The modulations ostensive education starts from the stylish themes of each listenercomposer that learnteaches us. With music itself, we have to handle ourselves.

10.2. It’s in music’s core the power to communicate a new feeling.

10.2.1. Music must communicate a new meaning with the old musical language feelings apriori.

10.2.1.1. A modulation of old modulations is a new modulation.

10.3. Music is not the representation of feelings. It is the producer of those feelings through the listenercomposers’ own sinestesic memories experiences.

10.3.1. Reality is compared to the passions and reasons by the musical liseteningcomposing, but music itself is uncomparable to reality, there’s our schizo ride.

10.4. A music can’t be truth or false. Music does not argue.

10.4.1. Music can only produces the existence or inexistence of certain sound and therefore feelings modulations.

11. Everything that can be heard can be composed.

11.1. Music can produce any feeling, but can’t produce what it has in common with feelings - it’s schizopathologic.

11.1.1. To represent it, we should’ve install ourselves, with music, outside our own passions and reasons, outside ourselves and our listening in the extreme case.

11.2. And music does not represent.

11.2.1. Music produces the passional logics, and these stylish languages reflects in the music listenedcomposed.

11.2.2. What reflects in the musical language is not musicable.

12. A musical language is the representation of a composinglistening style.

12.1. Music produces the listenerscomposers’ schizopathologic through the musical structures, its style elementary arbitrary divisions .

12.1.1. We can discuss the formal properties of the sounds and modulations, its musical structure, or we can as well, make relations between different structures.

12.1.2. The presence of these properties and relations can not, however, generalize the structures, uniques: particulars from those modulations of those sounds in that music in question.

12.1.2.1. The properties of a music, we can call it the style trace.

12.1.2.2. It’s a structural propertie, the traces that without the sound modulations, na therefore the themes, would not be even thinkable (arbitrarily pulse, harmony, timbristicolor, melody, etc)

12.2. We can’t distiguish two different structures by saying that this one have and the other doesn’t a specific propertie; for this pressuposes that makes some sense to enunciate both properties from both the compositions.

12.3. The presence of a structural relation between two musics expresses itself in the relation of their modular structure.

12.4. Musical structures are uncountable in a lifetime.

12.5. That’s why sound logic is under the control of a musical passion.

12.5.1. Although sound logic is as well a music generator passion.

12.5.2. The simplest music may be the most complex to a different listenercomposer.

12.6. That’s why only music gives us definitive problems.

12.7. Every music is possible as well as every feeling it generates.

12.7.1. Musical tautology, or the perfect repetition of a previous sound, as showed us the minimalists, is impossible because of the ever increasing ammount of earlier sounds memories in the duration.

12.7.1.1. If we listen two musics, the second have the first’s memory.

12.7.1.2. There can’t be metamusic.

12.7.1.2.1. But we still can use the old’s as modulations in the new one.

12.7.2. Musical contradiction, or the complete denial of a previous sound, as showed us the randomists, is impossible since every sound has a natural connection between themselves.

12.8. Music is not probable , a modulation occurs or not.

13. Improvisation is apriori.

13.1. From a theme no other theme can be logically concluded.

13.2. From a noise or music, we can’t conclude it’s denial.

13.2.1. Silence idea’s arbitrary birthplace.

13.3. Every sound in logic should admit justification.

13.3.1. Evidence of the unlogical portion of music, its passional schizo.

13.3.2. There is no proeminent sound.

13.3.2.1. The birds don’t know which way they’ll sing, they sing.

13.4. Every said to be musical logic focus on the modulaitons that its listenercomposer distinguishes arbitrarily.

13.4.1. This listeningcomposing focus is its schizopathologic.

13.5. The illusion of answering a music problem is the theme making.

13.5.1. The sound solutions are other sound problems.

13.5.2. Our sound problem are our most concrete, for it deals with our body pulsions, both physic and metaphysical.

13.6. Music is a sound game with rules in movement.

14. The specification of any special form to be better is arbitrary.

14.1. The limits of my listening are the limits of my composing.

14.2. The limits of my composing are the limits of my listening.

14.2.1. Listening and my music are one and the same.

14.3. The world such as the encounter between sound and sense, shows the inexistence of the listenercomposer subject.

14.4. The listenercomposer does not belong in listening, but it’s its limits.

14.4.1. Listenercomposer is its musics limits.

14.4.1.1. Authoring is the limit of a certain stylish notion of a music.

14.4.1.2. A certaing diet of our plagiarisms.

14.4.1.2.1. Compose, posing with, is the plagiarism, the transterritorialization of modulations.

14.4.1.2.2. Original perhaps only the big bang!, this paradise lost of the first sound-itself (if big bangs!)

14.4.1.2.3. To feel is to plagiate.

14.4.1.2.3.1. We plagiate a knowledge for it’s flavour.

14.5. Where in the world could we find a metaphysical listenercomposer?

14.5.1. You tell yourself that it all happens in the ears and it’s range. But the earing system does not listen to itself.

14.5.2. And nothing in the listening range allow to conclude that we listen through a ear.

14.5.2.1. We presume it from our other senses.

14.5.2.2. We listen with our whole.

14.6. Isto está ligado a não ser nenhuma parte de nossa experiência apriori.

14.6.1. Everything we listen could be different.

14.6.2. There’s no apriori order of the sounds 15. In composition, process and results are equivalent.

15.1. Competence and performance are unseparable.

15.2. There’s only process and performance. The work results only in it’s composer’s death. And that’s when we’ll get to know its competence.

15.3. Musical theory is the listenercomposer using its schizopathologicomposition as na estethical argument.

15.3.1. Music is transcendental.

15.3.2. Music trancendes its listenercomposer in its passionreasons.

15.4. Compositions are modulations averiguations.

15.5. To the question of knowing if musical problem requires intuition to be solved, is clear to me that is the musical language of the listenercomposer the means of work of its intuition.

15.5.1. Tonal mechanics, by example, describes listening in a unitary fixed form, the klavier. Conceive a white keys surface, over which there are black irregular stains.

We’d say then: No matter what is the configuration of the surface or the stain, I can near myself of a description of it by covering it with a square net, convenietly thin(tone and semitones) and naming each one as I please, if it’s white or black – natural or sustaindbemoled.

15.5.2. There I reduced the surface in a unitary fixed form. But still once more, this form is arbitrary! I could have used with same sucess, triangular or hexagonal rhizomatic nets (as the pentatonics, frequencial microtonals, dodecafonic modes) or yet I could just travelled throughtout all the kinds of net I could remember at the time in the intuition of the stain itself.

15.6. To the different nets correspond the different musical systems.

15.6.1. And all nets are equally logical.

15.6.1.1. There are no no pianos in the same tuning.

15.6.2. A musical system is, the complete description of the sound body, the listening through a determined kind of reduction.

15.6.3. A attempt to, according to just one plan, build every truthful music to a

listenercomposer.

15.7. What a listenercomposer silences is its false.

15.8. But no listenercomposer ends in saying his or hers listeningcomposing limits, but they always try to express the general limits of it.

15.8.1. Sound experience is solipsist and in that, ever unique.

15.8.2. This writings are part of my musical theory, based uppon my experiences and sinestesic memories as a listenercomposer.

16. We can’t compare any process with the timespace way – that can only be experimented in the sound modulations – but only with other durable processes.

16.1. Two sounds can be in the same space at the same time, in the same velocity o not, for they modulate each other.

16.1.1.1. Could be said they’re one and same sound.

16.1.1.2. Two or more different musics could be as well be assigned from these very sounds through the many hearing modulations of noise from the diverse listenercomposers.

16.1.2.

16.2. That’s why we can only describe the time course of a music throughout comparing it with other arbitrary time metter(clock, metronome, music sheet or a recording).

16.2.1. From where we learn the total relativity of classical modular time patterns(andante, allegro, etc) and note highness( the klavier central La at 220mHz[sic]).

16.3. The whole modern music listening is builded in over the ilusion that the so called tonal, modal, serial, minimal and physical laws are complete explanations of the listening fenomenons.

16.3.1. Standing in front of these musical laws as a untoucheable moral god, like the first ones to play flutes, affraid of any other tuning that not their own.

16.3.2. And ones and others are right and wrong. The ancient, however, were clearer, in the sense thei recognized a limit to their knowledge, meanwhile in our scientific systems is necessary to appear that everything is explained.

16.4. Listening is independent of willing.

16.5. The process of a musical theory consists in adopting the simpler law qe can to consonate every of our experiences.

16.5.1. This process doesn’t have any logical source, but a whole schizopathological walk through our listeningcomposing.

16.5.2. There is, however, no reason to believe the simpler will happen.

16.6. Music is everywhere, but has no domain of its own.

17. There is no closed musical system.

17.1. There is no logical need for any musical system.

17.2. There are perhaps pragmatical ones(cultural, monetary, historical, politica, etc.).

17.2.1. The position that musical theory ocupies actually, in the heart of the listeningcomposing prison, conducts us to the adoption of a definition of music as a mere media of message transmission; and the rest, the schizopathologic as being only the pejorative use of the noise concept or the utopic tacit utopy.

17.3. The question of its interpenetration in the social field(socius) is never brought to discussion, the issues concerning the context and the texture of the so called musicaltext remain excluded.

17.3.1. These contextual needs are as well modulations of a listeningcomposing in the sense that the music’s ontology is based on the feelings and thoughts of the listenercomposer, and that this one is in the world.

17.3.2. There’s no musical languange in itself, a theoretical unity such as tonalism is inseparable from the construction of a power formation, in this case the monoteistic tone.

17.3.2.1. The same way there’s no national music, but retaken of musical power in a certain nation by a certain group of listenercomposer using or not from certain alike memories as weapon.

17.3.2.2. There’s no musical revolution without a revolution of thoughts and passions.

17.4. Listening comes from the elemental core of the first sound significations, or as the fundamental traces of the ostensive education pragmatics from a certain type of society, and as the expression of a abstract mecanism that assures the consistency of a certain type of musical order.

17.4.1. For example, the question is not if the listenercomposer is the owner or not of its music, but exactly the desterritorialization of a listeningcomposition from this pragmatical context of owners/plagiarists through its reterritorialization in the creators’ own schizopathologic.

17.4.2. Power posses the joy of musicing just like any other orgasm, to manipulate it and make it a attached product of servilism.

17.5. Every music cristalizes a mute dance of flowing rizomatic modulations at the same time throughout social and individual bodies.

18. Every sound have the same value, but music have distinct ones.

18.1. The meaning of listening must be outside of it, in what its focus silences of the noise.

18.1.1. In listening, everything is how it is and happens as happens; there isn’t in it no value – and if there was, it would have no value at all.

18.1.1.1. If there is a value that have value, it must be outside of every happening and being like this.

18.1.1.2. Because every happening is casual.

18.1.2. What makes it not being casual, must be outside of it, instead it would be as well casual, arbitrary.

18.1.3. That’s why there can’t be merely logical compositions.

18.2. Music’s pathologic is only fully expressed in the path of the compositions and only for the listenercomposer itself.

18.2.1. Pathologic is transcendental.

18.3. The first think that come to mind when you formulate a musical law in the way “you must...” is: what if I don’t? It’s clear, however, that a theory has nothing to do with punishment or rewards in the musical sense... Again only in a pragmatical sense (socially, monetary, etc.).

18.3.1. However, this question of which would be the consequences of a composition shouldn’t matter to a listenercomposer that wishes to be faithfull to the passions that drove him to start composing.

18.3.2. There must have, in fact, a specie of passional reward and punishment, but they must be in the music.

18.3.2.1. And this so called reward must be some kind of pleasure and the punishment something umpleasent to the listenercomposer.

18.4. Of the will as the carrier of passions and feelings nothing can be said.

18.4.1. This will only music can compose.

18.5. If a good or bad will changes listening, it can only changes the limits of listening, not the musics; not what can be musicized, the passions.

18.5.1. Listening with it will become, with it, another listening essencially.

18.5.2. Must, then, to grow or diminish as a whole.

18.5.2.1. The happy ones’ listening differs from the unhappy ones.

18.5.3. Just like listening with deafness doesn’t perish, but changes.

18.5.3.1. Deafness is a listening event, as Beethoven’s myth teached me with tears.

18.6. The solution to the soundmusical enigma is outside of soundmusic.

18.6.1. How might be listening is completely indifferent to what. Silence doesn’t reveals itself in listening.

18.6.1.1. All musics are part of the problem, not the solution.

18.6.1.2. Every singing is a part of the singing.

18.6.1.2.1. Only silence solves.

18.6.2. From the listening feeling as a limited totallity(péras) is produced the feeling that silence hides in the abstraction of the beyond any limits(ápeiron).

18.7. To a answer that can’t be given, a question can’t be made as well.

18.7.1. Silence does not exists, or yet, I don’t have anything to say too and I’m saying.

18.7.2. If a dissonance can be composedlistened, a consonance can as well.

18.7.2.1. We can only proclaim a dissonance when we believe in a consonance.

18.8. The right method for a musical theory would be exactly this: nothing to say, unless what can be said; that is, schizopathological stairs through which we got to our present listening – and that’s nothing to do with a musical theory; and then, everytime someone pretended to say something about the sound or musical laws, show him or her that he or she did not confered all of his passional and logical relations to the modulations – and there are always more modulations that can be thinked of – in his theory. This method, unfortunately would seem unsatisfactory to he or she – wouldn’t feel that we would be teaching music.

18.9. My theories show my path untill the listening of this text: those who understood me, just recognized them as the picture of my schizopathological deliriums, now thats almost done with it.

18.9.1. Throw the stairs away!

18.10. Writing about music is a passionating paradoxx. At the same time we can never reach the haze of the feelings and reasons modulations, the pencil dancing over the paper is already music giving a new listening to life.

18.10.1. The words with which I express my musics are, in part, my reaction to my music.

18.10.2. My music is as well reaction to my words.

19. Of what can’t be said, we should sing. “...la la ri la la...” – Alice

Museum Music " T he paintings they hang in studios is not better than the music played in museums."

Aesthetic of invasion, symbols copyfight, there is no plagiarism in the production of consume.

Art is a castle with many rooms with which we have no familiarity. Audience is the ready-made of a work's vanity. The iglus and fruits' vertigo, the stones flight on the blue horizon, the ice that melts and the crazy colours. The form oh history of form. More than sit your ass in a museum. The cathodic ray making collages on the inks screen. Bidimensional and filled of details on the surface. A flexible linguistic. I had to reveal the source. Question its nature.

Game of duties, play of roles. The simplicity of the form doesn't merge necessarily with the simplicity of experience. The unitary shapes don't reduce relationships, they order them.

Moral stays at the door and only enters in it the ignored innocence. The real space is intrinsecly more vigourous and specific than the ink over a canvas. The biggest mistake of it is that it is about a retangular plane leveled to the wall. What you see is what you don't see.

Experience the presence of a work of #$% is more important than understand it. No one knows who made it. It shouldn't care at all. Works of art are like reserved areas for pik-niks where we consume what we brought with us. Anyone can do it. Everyone should be doing it, actually. It simply is. Popular, ephemeral, consumable, cheap, spirituous, sexy, glamurous, youthfull and a big business. New and sensible approachs to reality. Toys for those without dreams. Organic, usually bimorphic, polyssemic, nostalgic, anthropofagic, sexual, glandular, visceral, erotic, irreverent, escatologic. Powerful and confuse forces. Shared senses. Gesture as if there was only one day left. The final judgement inside and the hope outside, the atomic theme veiled. Existentialist railway station to which one can't get anymore. There is no unmobility. Living seems to them much more fundamental than the reason to live. Dated desinfectant. Emotional power of the letters, pure lettering dettached from any context. There is a need of a felt experience. On this. We are perpetually renewed whn we contemplate.

Intense, imediate, direct, subtle, unified, burning, lively, rythmic. Of vital needs, obsessions and compulsions. Its motivations are honest, pure and intense. The only thing asked of us is that we deal with despair. Never in processes that evoque the chameleon or the parrot. Acts that are about to overflow, umpredictable. Unless, literally, to scape from hell. Conscience of the grandness we ignore we have. The talent of the spiritual disease. Untamed and lurking as a savage creature. A new disorder. A world of particular misteries. Change and educationideology from labourers. But with open senses. Selfish, dirty and greedy. Purely plastic. Simple and visually controlled. Mechanical technique, exact. Clarity looking for pure strain endurance. Desire for lucidity and wisdom. Like illusion must disappear. Contradictory images that appear one after the other. Nothing, but the wonderful. Thinking in the absence of any reason. As beatiful as an occasional encounter in a table where one practices dissection.

Repreention to nature for everything it does. Just a part of a bigger fight for another social orther. Fountain of vomit. Not the thick brick anymore, but the wireframe hypercube. The nomads and nationless. Possibilities that will occupy humankind during many cicles of adventures yet to come. Contrasts with the richness of the garbage. Our industries as the substitute of religious experience. Work of God. Radiant and stripped, adapted to our world of machines. Recognizable function on the relation of its form. Without the classes distinction that raises barriers. Public space in privacy duration. Crystallized symbols of a new and upcoming faith. Radical concearning the rejection of previous forms. Not luxury of a few anymore, but experienced by large masses. Only a substitute while the beauty of life is under threat. Plastic of pure relationship. Not as a surface, but as a space. Association of purified

elements, related and architected. The reconstruction of a health. Where imagination and knowledge merge. The script may go to the file. A sentimental transmission machinery.

Summary of the interventive opera. Aristocratic onirich individualism. May die, what matters is the seed. Chemical arrangements of ideals. One can't, and probably shouldn't, understand it alone. Please liberating. Dynamics plus the function, there a challenge. Isn't able yet to mask the truth. Activity in oposition to the elegant passivity. A knot or radiant grouping. Falling into a fever. In the middle of a whirlpool there is a silent place where every energy focuses.

Crossing the human limits. An anti-destiny. Autotransnomy. Intervalar interrogation of the briefness of life. Honey of the soul shrugged under an endless loneliness. Humility between two opposites, sugestion of a detail. A jealous over on that nothing beyond necessary. Truelie.

Diminishing the big things and enlarging the small ones. Transformance to life. Moves in the direction of the end of the creation of what itself proposed. In itself meaningless. New absent structures of operational openings. Formal content of the unexistent color. Fabulous and unknown countries. Appearence merged with essence. The human ass of big data. The vanguard of memory. An island of mirrors. It's PsychĂŠ that speaks! Everything could be sublimated above reality. Disordered, fragmented in distinct individualities. That nothing means or represents and yet stimulates our souls. Your inner strenght under sensorial wisdom.

Don't overdo to your faith in nature. No more patience with the artifices of decadence. We believe. Mix the concept of formation of a galaxy and a spider web. Know that we are ignoring the ignortion of ignoring. An empty lot which ways were yet not marked by steps. Leisure of leisure. Doesn't try to augment reality, but instead thi it questions the violence of the links in between society and its subjective products. A naked. Dead nature. Vanitas,

Tonering â&#x20AC;&#x153;Alienation of the process only connects us with the product. â&#x20AC;&#x153;

Call: The poetics of calling, evoking, summoning are altogether linked to the story of religion as communication is the mythology of relinking (religious religare as reconnection). Nowadays myths are inside technical objects as instruction manuals are sacred books and symbolic truths are being encoded by technocracy. Technic as myth is a form of regulation of social conduct.

How does a phone calls our listening?

Ring: Cultures, as the psychical resistance to technical apparatus, differentiate aesthetical objects (art forms such as a wedding ring) from utile objects (technical solutions such as a motor ring). Technical relationship in the advanced cyber capitalism makes objects inputted with subjectivity so that we can't tell their usability from their aesthetics, as in a contemporary object such as a ringtone. We understand our own listening of a ringtone using the technical mythology of electronics, which most of us do not even have the curiosity to understand.

Ringing: We hear a sound and encode it with our cultural operating system, interleaving it with our personal affections, deinterleaving it with our experiences memories, and then spreading it again as a meme that is thrown again in the affections network of noisescape. Some of it vibrates us to action and some just leave us without control.

Rings: Monophonic listening as the gregorian chant's musical monody works with the addition of binary information set to sound, giving a two dimensional figure of a three dimensional process, the same way a blade of ring growth of a tree log. A monophonic ringtone creates a dimension opening as it makes communication ubiquity possible. Polyphonic listening wider this experience using midi language at the same time it gives the conscience of the media itself as a language to be written. The clearest example of this sort of programming language is the Ringing Tone Text Transfer Language (RTTTL) format. Midi multiplies the musical calculation of listening possibilities with the hexadecimal scale of machinery post-dialectics, bits. Polyphonic ringtones were made a cultural product (culturem) with the arise of a ringing culture of culture ringing (globaltribalization and meme virology).

Truetone listening is even more complex then the previous ways of hearing in the same way timbre scaling (klangfarbenmelody) is much more complex than instrumental music parameters, even with the serialistic studies. Samplerology is the spectral continuation to the musical three dimensional grids of heights and bits. The transition from midi to sampling is close to a passage from narrative description to photography. The realistic driven fidelity search of the audiophile gadgets industry created a peculiar aspect in mobile listening through ringtones due to the difficulty of achieving low tones with small speakers inside a cultural industry based in a continuous musical hypnosis of bass repetitive patterns. Ringtones make mobile phones insects trying to sound with trains timbres.

Tone: To understand the effects of timbre in human listening we must appeal to a schizoacoustics and realize the myths involved in the musical technique. The most important idea of occidental listening of music is based on the idea of tone. Tone is, in the accepted psychoacoustic by musicology, a return area for the psychical resolution of sound/hearing dissonances. In grammar, tone is the manner in which the author uses words to convey a mood; and in linguistics it is the pitch and pitch changes inside words of certain languages. In a limit of the hearable, every tone is but a note since every noise has a main oscillation wave. The continuous playing of different ringtones around us in urban environment creates different tone melodies. These tone melodies affect each one differently, depending on their previous relation with the acousphere (sound environment). In painting, tone is a property of a color, or a dimension of a color space, that is defined in a way to reflect the subjective brightness perception of a color for humans along a lightness窶電arkness axis. A color's lightness also corresponds to its amplitude. Acousphere is a painting of the possible listenings of an environment. Now, what do you hear here? We could say that all tone references take their metaphor from the muscular tone that the sensible organs needs to capture a sensation, and the subsequent psychological effects of that action (in phonology, the creation of words begins in the phonation tone production of the larynx ring.) Ring is known to be an olympic sport which consists of swing, strength and hold elements around an apparatus, the same way a music is a swing, expansion and hold around the tonal center (or apart from it in the case of serial hypertonalism and other no-fi sound arts and noise crafts). A ringtone tensions the nerves and changes the synesthesias and memories harmony as it makes listening a vocalization of the environment. A song is a tone and a modulation of tone.

Tone Modulation: On the sounding source we may distinguish four forms of musical tone modulations - between different tonal centers (as from a Do to a Sol), between different tonal types (major and minor tonalities), tonal to pluritonal modulation (as in electro acoustic) and enharmonic modulations (as in noisecraft and soundart). On the medium we may perceive four acoustic modulations of sound: metric modulation (such as pitch and rhythm speed shift), reverberation (complexification of the sound wave due to space reflection), movement (as in Doppler effect) and delays (transformation of the sound due to time changing and speed fragmentations). On the listening, psychoacoustics uses the parameters of fluctuation intensity (or allure) to measure slow tone perception modulations, and roughness to measure the perception of fast tone modulations (as inside timbres).

Pulse-Code Modulation: We could say that musical patterns of sounding and listening are a form of pulse-code modulation (PCM) just like (in different scales) with ringtones: this is, a digital representation of an analog signal where the magnitude of the signal is sampled regularly at uniform intervals, then quantized to a series of symbols in a numeric (usually binary as in tone/half-tone) code. Music is the encoding of noise through the programming of listening.. At its core, a ringtone is simply a computer program stored on the cell phone's memory chip like a song you whisper from heart. This program's sole purpose is to tell the microprocessor what the phone's speaker system should do when the phone's receiver picks up an incoming call, as if there was an ear inside each chip. A ringtone modulates all the aspects of the hearbility in a stop-mobility of eardrum frames, all the aspects of sound change each other and themselves: the listening perceptions, the sound objects musical subjectifies and mainly the medium between acoustic propagation in air and radio waves transmission shows itself to the listen that understand its point of listen.

Ring Modulation: Ring modulation is a signal-processing effect in electronics, related to amplitude modulation or frequency mixing. As all post-electrical facts, modulation can be analogous or digital. Think of when you're listening to someone talking to about love on your cell phone and someone talks right beside you about noise, than by analogy you speak to both a poem in your ear of love as noise based on the amplitude of both informations in your cultural operating system in that given situation of your tonal melody in the contextual harmonic or one of the pieces can't decide which bit is running its code and you, one of the persons, or the apparatus communication make a feudian slip. The product is zero when either wave is zero, which shows why when the process is alienated from the user, one feels no differentiation of its use: and communication machines make us stop communicating and music becomes noise and art pure marketing alienation.

Mobile Cell Radio Telephony: A mobile phone sends and receives information (voice messages, fax, computer data, etc) by radio communication. Radio frequency signals are transmitted from the phone to the nearest base station and incoming signals (carrying the speech from the person to whom the phone user is listening) are sent from the base station to the phone at a slightly different frequency. Base stations link mobile phones to the rest of the mobile and fixed phone network. Each base station provides radio coverage to a geographical area known as a cell. Base stations are connected to one another by central switching centres, which track calls and transfer them as the caller moves from one cell to the next. This beehive way of thinking is closely attached to the meme cellular listening. The radio-waves cooptation happened using the hypnosis of musical memes under the surface ideology of collective hearing. The marshall was an important icon on this capitalist usage of communist concepts for the info propagation industry (propaganda). Viral marketing is connected to the feeling of being part of a listensphere, not throughout participation but merely through consumption of this ideology. It is still to be done a world tone mapping in the ways noise pollution abatement groups made worldwide with the soundscape projects.

Spectrum Modulation: Radio spectrum is a precious natural resource with many different demands upon it (radio and TV broadcasting, emergency communication, navigation aids etc).

Consequently the amount made available to each mobile phone operator is limited and this means base stations can only carry a limited number of calls at any one time. Listening is an even smaller spectrum, so we limit it to give ourselves an hearing focus. To accommodate the steadily increasing volume of users, network operators have to use the limited number of radio frequencies licensed to them to support the maximum number of mobile phones. The same made the average listening focus attention to diminish which also made a meme culture of music possible, from symphonies to jingles. This is achieved by re-using any given frequency many times in a network and carefully controlling the base station so that signals arising in different parts of the network do not interfere with each other. This will result that we listen to Rock the same way we listen to samba (apart from our cultural history), as pure data. Radio made music close to everyone inside their homes, but then people stopped playing for each other, now we music to play on the radio. Spectrum was the phantasmagoria of the 20th century as is nanology to us now.

Illusory Continuity of Tones in Modulation: The illusory continuity of tones is the auditory illusion caused when a tone is interrupted for a short time during which a narrow band of noise is played, as when you are talking on your mobile and crosses a tunnel. Whether the tone is of constant, rising or decreasing pitch, the ear perceives the tone as continuous if the 50ms (or less) discontinuity is masked by noise. Because the human ear is very sensitive to sudden changes, however, it is necessary for the success of the illusion that the amplitude of the tone in the region of the discontinuity do not decrease or increase too abruptly. Most probably, this happens because of the way that the human ear adapted to filter out the background noise from signals (visual, acoustic, tactile, etc) in order to show one signal disturbed by noise as one event, not several. (A longer change in the signal could mean a different event). That is why most of us won't actually listen to anyone in here, unless he or she speaks about the tonal focus we already had before coming.

Listening Cell: Cell represents the smaller portion of living matter. It is the structural and functional unity of living organisms. In the structural level cells may be compared to bricks of a house, and in the functional level it can be compared to the electrodomestic equipment that makes the house habitable. Body is a house of mobile walls that communicates using language games that rings the nerves. with a listening timbre. In listening, timbre (sountint or soundtone) plays the part of functional structure unity, since it focuses on the atomic (indivisible) duration of frequencies and can be described through a spectral analysis. Any sound can be decomposed into its constituent frequencies and amplitudes, named envelope. An ADSR spectrogram is a plot of the frequency content of a sound as a function of time. Envelope is the letter's tone. The Animal magnetism attacks, the vegetable electricity in nerves decay, the mineral voice sustains a cellular listening of sound logics composing musical affections until they release listening to silence (its own noises) again. Cellular (fracto-memetic) listening, is a component of hearbility between inner logics of sounds connections, & poetic-political feelings of connection to music.

Ring Cells: A highly malignant type of cancer typically found in glandular cells that line the digestive organs. A signet ring cell multiplies itself indistinctively as a tumor, in which these cells are filled with overgrown proteins vacuoles that push the nucleus to one side, making the whole cell die. Noise is the cancer of music in its overgrowth.

Cell Listening: The word cell comes from the Latin cellula as in a small jail room, or even better: a cage. Cell listening is cage's audibility; we listen in mobiles the bricks of our walls.

Recall and ask her. Small melody riffs making as in ringtones is part of the same process that creates pop charts and radio repetition of listening fields, degradation of musical person-to-person connectivity and noise pollution due to excessive amount of musicality in the environment. Music is the cage of sounds in listening. How many ringtones are needed to fill a room and how much sound does it take to fill an ear? How much sound?

Cell Ring: The cell ring, or cell-division cycle, is the series of events that takes place in a cell leading to its division and duplication (replication of meme in a culture cell). The cell-division cycle is a vital process by which a single-celled fertilized egg develops into a mature organism (you share your culture cell with your works of art), as well as the process by which hair, skin, blood cells, and some internal organs are renewed. Cellular listening is the organ without body of the acousphere multiplying through our listenings. A deregulation of the cell cycle components may lead to tumor formation (meme noise). Thus there is a net increase in cell number as the number of cells that die by apoptosis or senescence remains the same. That is to say, there is a net increase in pseudo-formants (music) as the numbers of real music is dead due to its need of transients to surpass the spectrum tone imposed to musicality, listensphere and hearbility. In order to keep its mobility, music had to overcome the pleasure-pain axis in aesthetic.

Formant and Transient: Formant is a concept that refers to a peak in the sound envelope and/or to a resonance in sound sources as well as that of sound chambers. Listening cells of informations inside the continuity of noise creates, from formants in ubiquous events, a musicalscape in noise. Today market logic charges listeners for the illusion of a formant-only listening that they call music.In parallel, transients are short-duration signal of non-harmonic attack phase in a musical sound or spoken word. It contains a high degree of non-periodic components and a higher magnitude of high frequencies than the harmonic content of that sound. The 'new' elements in a pop cult music, taken as attitude currency. An excess of transients equalizes the system, making it a noisescape, a margin of the system needed to its negentropy. Electroacoustic research always took this for advantage, as a way of machine vocalization of sonems. The same way birds only sing, once culture only had music and computers midi. Mobile phones are cells on the world sprachtgesang. Voice itself is an invocation-expulsion instrument, working through a becoming-desire rhythm, a timbre in ring modulation of its formants-transients. Talking on a phone, you always have a vocoder.

Tone Ring: There is a modulation ring between ring modulation and the whole listeningsphere (contextual harmony) that generates an electro-magnetic tone modulation, a tonering. In intimate communication, let's say as in a sexual relation or a phone call, there is a ring modulation between the two or more persons' bodies' tones. In the listeningsphere of ringtones we find the same marketing logics that affected most of the musical areas, where intimacy is sold as representation of call itself. In between your voice and the call, there is the ringtone. How would be a phone that would automatically accept calls as like our ears that or accept sounds or create numerous fictions not to focus on it? esides, therefore, the realm of electromagnetic nature and the realm of radio cult is emerging a third kingdom which embraces what is no longer natural or cultural, a kingdom of garbage, with its own logic and its stark urgency to be properly evaluated and redeveloped. Both, by the digital apparatus (and this includes legislation and philosophy) and poetic analogies by users. How much listen?

Listening is a complex subjective composition of a point of noise-musicality. When will we take interaction seriously enough to pay listeners? Or will criptopathy encodes all poetic senses of life in products, their merchandising, and niches resistances? We generally conceive mobility as a possible movement in space. This says little. A journey inscribes itself simultaneously within space, within time and within the social hierarchy. Every impression is only definable when relating it jointly to these three axes, and because space has three dimensions, five would be needed for getting a suitable representation of mobility. At the same time it may move thousands kilometers away, mobility causes to climb or go down the social ladder. It moves and downgrades â&#x20AC;&#x201D; for better or for worse â&#x20AC;&#x201D; and the color and the taste of acouspheres cannot be dissociated from the rank always unforeseen where it locates you to hear them. How to keep our minds in mobility and our listenings in fest? Babel is the myth of technical-practical languages devoid of poetical action. I wonder how numerology takes part in the paranoid machine presented in the telephones dialers and how to daily change our ways of listening. I'm but a dilettante trying to tell myself to ring my tones. Send a poem to a friend, now! Call an unknown! Talk to persons around.

On Dialogue

"Talk about music is nonsense, executing it is madness.

Poetry without music fades, music without dance deceases."

Nobody listens None: If someone asks, I don't know.

- If someone answers, I doubt.

- No one is listening, you may be honest.

Museum of Listenings "So they may listen to us, we shall walk in silence."

A shark in formolhyde. The pictures they hang on restaurants are not worse than the food of museums. A portable memorial. A sculpted head from one own blood. Enter a hurricane.

Satyrical reutilization of popular icons. Hue modifications. Comic without books. Vynil hamburguers. Bathe honey. Paint your face with corrosive ink. Airports for lights, sounds and particles. Grab chickens and cover your body with beefs. Tortoises with lanterns tied to their backs. Erase pictures. Fatsy people. Skinny sculptures. Paint edredons. Climb inside museums.

Singing with flashlights in their mouths. Glasses with special effects. Stairway to a yes. With our special guest #$%. Visual hallucinations. Sweet graffiti cuddly. Scrawls and scribbles.

Assimetric room. Anything, whatever. Lock inside a room with an elephant. Piano wrapped in felt. Filming the heart of the dying grandmother. Throw yourself over things. Breaking the silk to entry. Veil of water designed. Swimming through the televisions. Change your own body. Wrap all museums in the world. Flags of money. Itself as others. Open a tear in the entire building. A suburban intimacy. Bring your own room for the museum, transforming it into a cell. Object edible. Repeating a symbol within itself ad infinitum. Map empty houses in town.

Clothing junk makes fantasy doll. Giant living flowers' puppy. Ridiculing the sacred cultural symbols. Desecrate the form. Penetrate. Toilet paper flying. Fake hole in the ground. Record messages in products. The programming of this works looks after... Take every trash you find in your way and attach it to your body. Change barcodes. Invade house to leave gifts. Dance on the streets. Toys made of foldings. Let an arm heavy and the other light. Scar oneself. All characters and facts in this movie are ficticious and any resemblance to actual ones are mere coincidence. Scrambled maps. Lead shoes. Irregular puffy floor. Draw with illegal drugs.

Release a red smoke cloud over the city in summer. Take the public space back. Little smoke coming out of a hole. Wax on the corners. Ink throwned over any given object. Drink ink. Make music with other senses. Collage of collages. Writing sensible phrases over little drawings. Use cheap third world work to draw with trash. We used only free software under gpl gnu licensing. Just sign anything. Designed decoration. Love. Sculpting lights. Do what you can with what you get. Bury your head. Scribble photos. Bodies mixed. The backs of the statues.

Old things. Decontextualized animals. Dog dying of hunger. You battle is a bodyground. Many scenes of movies with the same object. Biomechanical beings. Ask a thousand persons to answer a letter for you. Medicine shelves. This is not a work description.

Visual paradoxes. Collecct auction houses. Upside down bicycle wheel. Shed full of smoke.

Mystic fractals. Cosmic infographics. Multidimensional lines and planes. Hued hyperrealism.

Pictures of serial killers. Dancing meats. Aesthicize the suffering of others. Head of things.

Paint lakes. Repeat the mistakes. Dig books. Bring back again forgotten and overused materials in singular works. Unmade bed. Do with less. Beatiful, sad and happy, people. It's an unexpressable combination of colours, lines and patterns. Ink dripping. Sad people. Diamond skulls. Human pyramids. Amusement train. Handmade seeds. Put an ear on your forearm.

Water molecular drawings. Astonishing aerial view of rivers destroyed by mining.

Decontextualize objects. Vacuum pack people. Things filmed very slowly or fast. Dress for five persons. Curate references. Soup opera alternative version. Religious cults dettached from mystic content. Taking care of people. Hammer nails as if you were drawing. Imitate scientific or machinery processes. Wow, what an ironic catch! Rugged thin foil, rotten wood or flipflops making animal totens in public areas. Prismatic structure carefully taking layers of pages. And educational operation of ideologies? Rocks attached to clouds. A book on jets, aetherial

paintings and transcendental viewpoints. Here lies the last specimen of the extinct Homo Stupidus Corruptus. Blown pipes over beetles wings. Recycled fracture in postapocalyptical landscape. Square wheel. No work of art was damaged for the making of this movie. Pratically ilustrates the evolution of graffiti. Knotting a pistol down. Neon animation. Classical books in alfabetical order. Labyrinth library. Since it was forbidden to film we made this stop motion animatio using sixty pictures a second. Crossword championship. Messed up and tied cables.

Advertising without product. We are mute. Stick up that microphone up your ass. A hyperecumenic chapel. Dioramas pareidolias. Credits.

Copyduties' Genealogy "Children must merely respect their parents, but it's the parents duty to love their children."

Then came to me an old deaf hermaphrodite and tried to convince me of how the laws of music composition should be expanded to all faculties as an aura genealogy, here is what I could recall: Total freedom of edition of the work, be it by fragments or rigging in later works. As a father or mother (authors) could not look to prevent their children were changed by their relationship in the world, a creator can not avoid the fact that his work will be modified by those who experience it. As it is the duty of a father and a mother raising their children to the world, so with work and copyright process. All editing tools and dissemination are formatted to facilitate this unrestricted delivery, if you have questions read the privacy agreement.

Complete freedom of unrestricted access to the process by any interested party. Just as a child can not grow without social support (without severe disabilities) from community, the whole creative process should be open to social collaboration. Just as knowledge of child rearing were passed from one generation to a father and a mother, all of human history reaches someone in authorship. And, as it is the duty of parents being honest with their children about the capital state of affair (through consumption of culture and bureaucracy of emanations), it is the duty of the author to be transparent in its processes and works (making clear their own psychic conditions). Eggs have no doors.

Promulgate everything as art (not sacred nor secular state) as the future of capitalism. Just as parents are forced to put their children in schools and vaccinate them, works of art are allocated within the economic system of the culture and are labeled (either by their techniques or styles) and is therefore the duty of the author to take into account such relational valuations, in order to enact an improvement to the current state of cognitive state capital. As parents (authors) influence the religiosity of their children (football team, product brands, etc..), so the artistic crafting itself corroborates with the capital system which manages the maintenance of art's econology.

Delivery to the collective unconscious and continuous performance as medium (medium media) by emptying the ego. Like parenthood occurs as a natural act, instinct of continuating the jouissance of a meeting with others, so the work and the process of any authorship is a life on its own and must be free to act. As a parent would die for a son, it is necessary that the author the artwork dies for the work and that the work dies for the process.

Accept sacrifices, don't deny offerings and doubt any valuation. As a father or a mother never expects to be recognized as someone important to their chidren growth, an author should not expect his work and process to bring them benefits (in fact, great are the sacrifices to be made by the workers of pleasure). As a father or a mother must trust their child before they listen to third parties, the author should not ever stoop to criticism. Think of the pelican that rips their own flesh to feed their children in times of hunger.

Bind to the maximum possible active collectives. As families are formatted according to business rules (mobster nepotism affections economy), also works and processes need empathy (or retronecessity of metaprostituition) of networks in order to maintain their livelihood. As is expected that parents incite their children's competitiveness, the author must remain in contact with the most influential networks and acquire the titles that will give access to the works and more pleasurable processes; example of this can already be seen in poletics changing residencies around the world, which had previously paid stipends to artists from the third world so that they could be tooled for their knowledge, something that is no longer needed leading them to charge rates that first world creators can pay when they seek creative holiday.

Control procedures implement networks of intersecting non-linear functions.

Hierarchies of parent-child relations map these control procedures to different aspects of the form of the output. The generative organization of such a parent-child control structure can be demonstrated with an example which depicts the generation of a single stream of grains. A particular child may have multiple parents, each parent-child controlling some unique aspect of the generative process while a particular parent may have similarly multiple children. In addition, a child itself can be a parent in another parent-child control structure, and vice-versa.

As a consequence of this complex organization and of the non-deterministic nature of the generative functions used, the behavior of this system -- and thus its outputs -- is indeterminate, though not random. Some aspects of its behavior can be predicted down to a low level, while others are more difficult. At what point does such variance impact our experience of one output such that we no longer recognize it as related to outputs generated by very similar executions?

Auriculture Fields "Poems are rough notations for the music that we are."

Philosony As A Discipline • Ontological and epistemological questions about what is music, sound, noise and listening: artefacts/structures or human processes?

• What is listening cognition and understanding of noise/sound/music?

• What is a musical experience? What is a noise experience?

• What is the place of musical experience in traditional acoustical analysis?

Listening Analysis • Can traditional analysis be helpful in explaining listenable experience: tension or complementarity?

• Interdisciplinary and transdisciplinary approaches to listening.

• Formal and informal analysis beyond the score: analysis by ear.

• Cognitive maps and music.

• Analysis and experience.

• Analysis and validity: psychological and ecological reality of existing and future approaches of listening.

Sound Pragmatics • Sound as felt, as experienced.

• Sound and its inductive power.

• Sociology of listening.

• Music and entrainment.

Vocal Pragmatics • Voice as tool for communication (e.g. prosody, techniques, etc.).

• Voice as tool for expression.

• Voice and emotions.

• Communicative and affective functions of human voice.

Intermediality Of Listening • Opera, musical, concert albums, song cycles, etc.

• Text, performance, music.

• Intermediality and communication: role of listener as target or actor.

• Intermediality as persuasive instrument.

• Attentional strategies: how to capture the attention of the non-schooled listener?

• Soundart Intervention.

Biophony Noise, Sound And Music Semiotics • Neurobiology of listening.

• What is musical sense-making?Sense-making • Physiological responses to listening. and signification: same or different?

• Music/noise and the brain.

• Levels of listening sense-making and its • Music/noise and the hormone system. correlations to noise, sound and music: syntactic level, semantic level, pragmatic level. Listening And Time • Semantics and hermeneutics.

• Time consciousness and music.

• Semantics and narrative.

• Musical time and realtime.

• In-time and out-of-time experience of music.

Listening Semantics • Perception, memory and imagination.

• Music as reference: self reference or extra-musical reference.

Ecological Approach To Listening • Program music/absolute music.

• Music as sounding environment.

• Sintagmatic referentiality in sound and • Sound as listening environment. noise.

• Coping with the sounds.

• Functional significance of sounds.

• Musical affordances in sociological structures.

Listening As Experience • Listening as temporal art.

• Music as sounding art.

• Sensation, perception, cognition as applied to music.

• Experience and cognition.

• Embodied and enactive approach to music cognition.

• Listening And Emotions • Chills and thrills.

• Music and arousal.

• Biological foundations of musical emotions.

• Cognitive foundations of musical emotions.

• Physiological aspects of musical emotions.

• Listening and direct perception.

Music As Sound • Impact of sound.

• Spectrographic approach to music listening.

• Music and overtones, resonance, drones., vibration., the body, movement. and dance.

• Action and perception, perception as simulated action.

• Music and rhythmic entrainment.

• Bodily resonance to music.

• Music and trance.

Evolution Of Listening • Origins of music: why is there music?

• Comparative approach: what are the functions given to listening and music all over the world.

• Musical sense-making between nature and culture.

• Listening instinct/faculty versus language instinct/faculty • Archeoethnomusicology.

Listening Universals • Psychophysical commonalities.

• Listening and psychobiology.

• Universals of music/noise perception.

• Universals of music/noise cognition.

• Sound/music and Gestalt perception.

• Auditory scene analysis.

Visualizing Listening • The musical score: limitations and possibilities.

• Existing animation software: two-dimensional and three-dimensional.

• Iconic versus symbolic approach.

• Discrete versus continuous approach.

• Spectrogram: limitations and possibilities.

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T he Marriage of Music and Noise "Blessed be all metrical rules that forbid automatic responses, force us to have second thoughts, free from the fetters of Self."

When Cecilia and William died singing, I could read their lips and kiss their words.

All sheet music or score composition have been the causes of the following Errors. That noise is one when music is many. That wars are made from the guns noises and not the national hymns. That noise is a torment of energies and not an energy itself. That there is a distinction between noise and music, separating the immanent heart from the ear's aesthetic transcendence. That listening is to find what is unwanted and what is desirable from that which arises in the audible mass. That we are confined to a auditory prison of pentagrammatic bars, that voice is enjailed to a palette of modulations of sound waves and that music is a science. That colortimbre, melodyharmony, pulsrythtm are not shelters of our dream values, but gargoyles that freezes flows into Moiras and Morus. That music is naked from morality due to its crossing of the space as a soul through any onslaught of word and vice versa. We feed from the sources that we retain in these plots, we are as we sound.

Acousation â&#x20AC;&#x153;T he blame in listening is that of being.â&#x20AC;?

A+las, Argos!

Wax ship of changing mwoods Night nothing of port Won't change no more Left the bard, gone the birds Instead of songs, gold Bet and cheat Beg and weep Forgotten the sea In floating misery When the band passes Heroes of the opera fight Against wild life world Nail its symbol the Sun In the concrete house The river goes the other way No march for the flowers of may I couldn't stay or wait Listen to yourself, sailors!

No humanhood can be found In the beast which you wear Peacocks of anger rath Demanding hunger vengeance Now that the loot is gone Behold the supper fancies Eat in silence and prepare For it is time for music

T he Sphinx's Reasonance â&#x20AC;&#x153;In our solitariness... great depths are sometimes sounded. Truth hideth in company."

Lick my ear and tear my nose Stretch thy back on the earth Howl and purr like a bull Behold that shell of mystery Do not think too early That it's solved in the oil eye It is music in our conscience, Dance in our spirit prison, To which litanies wonâ&#x20AC;&#x2122;t chime Listen of the lion ants' volcano Urbejackals turn garbage s Diadems drum the laurel wreath Sling the torch one who possess keys Clock on the top of the staff The sower holdeth works of wheels Idea is the hour of aeon Second to the later mirror Broken by the pendulum That blooms the gills with bells Axiom vertex turnaround Mark in the promontory's canopy Orchestra that conducts itself Art nakedness' of human flask No matter, how many faces the geodesic Or averse, yet ever-changing score repertoire Itlogic of abandonment and its inaffections Individuating exclusion of the legs in the air My feet knows what to do facing a song But If I tell it would be too late And I'd forever be trapped in stone

Saga Samizdat Saga samizdat. Exerlogia ÿs gimnosofia cladística n'acaoso yêt operogenia ontente semítica à fluxristal matíris cromáquina e sinaestística floractais mardentes, a úra vora ástelas áuna druma greu noýr, sencia vü tiir djinjah pirn latura nauon teleofática d'en le ahargia cifralábios u tron u apfelt uch érfil musitetural lanac signpressa paraose loguntária triabo pentado limidiaracne drevroam zadvo nihilo mentlira fotógica ópesa psicósmica oer vartre ida dancaelo aesum lauta nouan pome haptonum transótica potem soos átema labras owu vádrede ocração mroa sich llib los sued stras velto cocito malahoite premote vni camanhir geliraa drempertra rotma lesinvesel gilagen gito eav domico soan pruzóird celiramonateon voccena unt coriá só sizígia pareidolia obrigabilitedade e responsassão signimínia cógita riócor luzigsagz sobrasão heroéldico contária engohe freudal arracifa catavesses seré darjim tabista jureza stadt d'ística orma lab lab lab lab lab lab lab lab lab transmutálida cristação lóticcanre fleugmna ilamente navah ür proximesté peribólide bup ajeu velita serpa inerxitia ensífal x'auf olir stral esc gasa amisat dzu brunäan uncasi zeixes dremam ucé lidralhian bárdoda metresreo cuseta gnosética patestática l'ir jabatará proinuí daseinbahn progematane cĺuos daladema tsolie dátasa forino cosabat drepa sãp laguínia ni tingave, cedacência intarassente hatibação amr mifram ed ue vratapa coláes raaie zula altraboz desaiv mjo boçanla me snó odan ídanti rofal od otpo charo rinoimê arba rocação oã inifito drmaa gratédia gritádea trigd'eaá taradeg tárdega truilmana tsolie ier lisarb dameira ertra choaceira odan idanti rofal od otpo charo rinoimé bustãmaco hodiensta ogará dárana úsade lhome izrá noceoãx troah erap lácor tragnio ceul vantos drivaça cosaimo lhabó côba cerscan caliensamt vrapo lifugem lhéso ossôvai ráperis toépaci teracina coed ruca dout midraj are asuriaqú dosetá locoeiga cainciê magemi proerá droma rufempe glisa vádi lhifa macisu samizdat saga.

Sophia Harmonia "Among all aspects of knowledge, the knowledge of sound is supreme."

The Occult Sound. Much nothing about ado. Sampling dreams, the burglar rested in the chest of my voice. Noise is not measured by disorder, but by the infinite speed with which it dispels all form that outlines in it. Listen presses the body, or it decides to do something else at the same time, it histericize and is compelled to dance, or assigns musical meanings obsessively.

Remember amnesia. The vocabulary of nature. The more I think, more I forebode. The more I listen, more noise appears. Music is a drug, each one finds in its effects what already brings within. Psychedelic auras. Listening wisdom is the subject to which more desinformation ever had. One day this silence shall take us, one by one, no sys. The labyrinth, also known as the inner ear, brings together the functions of hearing and balance. Is imbedded in the temporal bone with various structures that inform the movement of fluids in its small cavities about the direction of movement of head and body (up, down, from side to side, forward and backward rotations). The labyrinthine system is the information center that collects the impulses from all of the sensors and sends to the central nervous systemfor review. The arrival of conflicting information can result in dizziness and nausea until the system gets used to this new reality.

Much rituals of bodily bliss are based on a programmed labyrinthine imbalance.

Non-meritocratic technopaganism. Enlightenment, the medieval cognition is the birth of understanding of media itself. Ancient Vedics considered two musical aspects: Marga permanent laws, archetypes of the collective unconscious, volksgeist; and Deshi fads, stereotypes, zeitgeist. They recorded the effects of music as energy or vibration influencing plant growth and temperament of animals. Later a treaty of healing music of the Persians claim that music soothes the beast and this axiom would spread throughout the Greco-Roman world. The movement of natural energies to create a change required. As Ulysses tied to the mast without wax in the ears to cross the ocean of mermaids, unable to distinguish the fields of activity from the moral gears of cryptonesy: hell, purgatory, paradise. When our hearts beat for the first time in the womb of our mothers is the first assertion of existence and also the first perception of dissonance. When can be said we are, we are already noises. Everything sounds.

Everything that exists has some kind of reflection in the sound body. Sound is prior to every experience - that something is so. It predates the how (listening), but is not earlier than what (noise). Cosmophone, the material machine sounded before the big bang. Birth of entropy to the stipulation of musical taboos, stochastic resonance. TV off the air, yin and yang entrainments, penetrating modulation of black and white hair in a molecular zebra. Nature is already a cultural category. The false silence read through real noise, that is the nature of caged listening. Fake has long been treated with inferiority, perhaps since the cave, but with the emergence of savage systems of the spectacular societies, false assumes authenticity. Not only is nature cultured increasingly, but culture also by the process of complexification approaches natural aspects. The high definition ideal applied to realistic soundscapes narrative is fantastic.The eardrum resounds the whole skin. The languistic of birds, solar or adamic language, preceding the idiomatic way of communication division, explained the myth of ideological structuring of Babel (fractal complex semantic hierarchies), where indinstincts are still the signs of the verb and the rhythms of the verse (means of access to altered states of listening consciousness). It is said that Tiresias, Thales Melampus and Apollonius of Tyana had access to this Rebis. Each drum (and many are their names, all sacred) is a womb dug in a trunk through noisy nail-tools, where they post a fur-animal instinct to make (after heating the surface of two-dimensional strain) emanate a intensive deity. Drumming is an atom and a universe of sound. When I speak about us, I talk about many few. Applying microtonalism, we completely lose track of where we are. The sure is uncertain, and this uncertain becomes certain in another spatial distribution of system ranges in use, which remain the same, but in broader colorful. As a research methodology, sounding enables the momentary knowledge of a universe of elements, a descriptive and quantified perspective. The choice and analysis of data are based on a sample of elements that should allow extrapolation interpretations of the entire universe. A sound set to point score, colon notes create a separate range by a rope-line cut drumming, three intervals generate a melodic scale and a harmonic field, and four scales or harmonic fields unfold movements in modern pentagram score as the fetishistic talisman of both high and low magic. When music aspires to the nonsense asignifiers of science it concludes that the unexplained judgments about like or dislike a song just do not matter.

Solfejo of sound objects, singing of cure for the music therapy. Music also suffered from the sounds metempsychosis, the transmutation of the spirit of the world between itself throughout time. Pythagoras: Pythian (Apollo as it destroyed the serpent Python). Python was regarded as the terrible longing spirit of the center of the earth (geocentrism) and Apollo is the clarity and precision to handle a lyre. Agora is the public square of human political discussions (Olympus has no agoras). Thus, we can translate Pythagoras as "the rationale that eradicates the desires of centralization of the world in matters of mere human policy". The persecution of musicians subversive sonic focus (noise wider range than the contemporary hearing mass) is also a historical constant. The exile of the poets and songwriters in the Atlantean Platonic republic to the laws of urban silence (sic). Among the ancient Egyptians, frescoes show always kneeling musicians dressed as slaves, as the god of wisdom religiously the head of Ibis, the bird singer intellect. How the distopian blues merge? My ear will take much time to lose its illusions.

Bourgeois society and the christian brotherhood work under the nepotism of nearness, like the mafias of the twentieth century and the genetic dominance of archaic patriarchates.

Theater and opera are like voodoo, sympathies based on mimetic representation of entities and tendenciations of their movements. Eschatology is a part of the literature dealing with the recent events in the history of an order or the final destination of a kind commonly termed as the end of the world, whether fictional or documentary.

It is absolutely intricate to the fugues, themed fantasies and especially the eternal return to the lost paradise of the tone in the christian culture tonal {see Jacob's ladder}. Harmonics are fractal, their timbre prism projection in space infinitesimalize as we move away from the tonal center of gravity, tail of a sound. Contrary to what is commonly professed, the harmonic field is not the only criterion of instrumental timbre body, usually the dynamic shape is even more characteristic. Quietude of a tomb without vermin. The possibility of being part of a music is essential in the nature of sound. Our apprehension exceeds our understanding which causes both displeasure and the strength to overcome it by musical listening faculties. Noise sublimes listening, on the failure of understanding, we recognize the supremacy of our cognitive rational faculties over our sensitive matter. Silence is round. Sound and Dreams. Noise is the listening of others. Listening is a priori, the subjective creation of sound does not fit in its information data. The critique of a musical reason through the understanding of the ways of noise focus is a condition for the existence of music. Music is self-hortatory argument of otherness noisification. Music is only distinguished from other arts in modern individualism.

Music is born with urban noise. The music composer reveals the innermost essence of the world and the deepest wisdom in a language incomprehensible to his reason, as does a magnetic somnambulist. composition is a dramatic science, a science of lie. Noise silences the listening. From a noise or music we can't conclude its denial. From society's secrets we can't get to secret societies. Improper days are fun as well, during which talk is listening. How random is random? How generous the host of a planet? Listening is our heroic opening for the problem and diffusion. To become the change we want to hear in the world we must be its symptom first. Noise is incomprehensible and is still noise that really tried, since the larger

truth behind the largest resistance. The most disgusting in Roman Catholicism music, is what was ruminated by all its theomusicologists, myopic ears, then served as bad bread for the faithful that Beauty would be absent from the world. Through music the ear finds peace as a toothless lion. Better a living dog than a dead lion, but teeth have never prevented us kisses.

What's more enticing in this cultural mafia abstainers of the sublime, is what it could harmonize after looting the mysteries of Orphism and the initiation rites of ancient Egypt and India. What is the role of ritual in the sacralization of a given sound event? Listening, as contingent filter, generates sound images that line sound like a mosaic of perceptions. We never get sure about the point of emanation of a sound, this spreads between the toes of the eyes of the ear. Music only exists while hearing lasts, as divinity during its ecstasy. The supreme art and supreme being have in common that they depend totally on us. Th affective image attachment of the sound flow in thought images. And would not the philosopher be just that who listens to everything? Myth is the symbolic music. An analogy can be made with respect to the score, with some weaker cadences acting as commas, indicating a pause or momentary rest, while a stronger cadence will act as the point indicating the end of a musical phrase or sentence. Even in such plays with perpetual motion there are cadences. About the dynamic of any piece you may think about your own life. An anthropology of music hears the way it is part of culture and social life. In contrast, a musical anthropology looks at the way in which musical performances create many aspects of culture and social life. Instead of studying music in culture, a musical studies the social life as a performance. Only noise would make us rulers over our inner silence and music pulsing drive. Why then we attach so much respect for old musical laws? By the very fact of being old, but tacit consent is presumed from silence, and the sovereign noise implicitly confirms them not repealing music, altough it could. All that was said to be desired once, we always wants, unless it is invalidated. Musical listening is the continuing desire for noise, since it can't ever be disproved. Music has failability, noise and silence don't. Culture sour of fear of death and indiference nurtures in violence a work of artistic control. Listening opening the body. Competence in incompetence, as a form of cultural cultural resistance in the antindustries. We must let sounds be what they are not.

Music being the cultural sacrifice of liberty in noise, invented the martyrdom of the listener.

To know how to listen with justice to hear with prudence to dare understandment with strenght to silent knowledge of temperance to know the knowledge of strenght. Every love song makes love a political and cultural burden. When the distance between source and receptor, intensity falls a third. A sound source produces pressure variations in the air, decreasing its density, compressing it in a progressive wave, whose spherical shape moves in paradoxical spirals at the speed of 335 m / s.The short and tangible reasons of the dance music seem to refer only to the easy and common happiness; moreover, the allegro maestoso, in large grounds, long strokes, extensive deviations, designates a nobler and greater desire for a distant goal "Have a great explosion of movement through infinite time to fractal dimensions of paradoxical noise designating a desire for the ontogenesis of music on the edge of the world.

Individual temple of erotic misery recomposed with garbage. Sound intimacy. The auditory sensation of proximity of the sound source. As a room has acoustic intimacy, the sound carried sounds as if it were performed in a small room, that is, there is the feeling of being in a small room even if it is not the case. In a closed room, the sound wave is reflected several times by the walls, ceiling, floor and intensity is more or less invariant. The third kind of knowledge, from common notions by means of a new dramatic turning (coup de thÊâtre), we get to join this third sphere of the world: the world of essences. While acoustic production, propagation and reception of sound, somisonic. The concert halls are born after the plates of ceramics.

Theater with its army of worker musicians led by general-priest-conductors as well as the academy and its mediocratic laws leveling insights they had already cast. They still have the manger. See! Don't say the song is lost. The miretions come from the echoing sound of the forest that finds the bodies pierced by their roots, the city has a sound gear ruminating on combustion. There is too much clutter in the street Harmonia. The purposes of rituals are varied. They may include compliance with religious obligations or ideals, satisfaction of spiritual or emotional needs of the practitioners, strengthening of social bonds, demonstration of respect or submission, establishing affiliation, obtaining social acceptance or approval for certain event - or, sometimes, just the pleasure of the ritual itself. A systematic study of the distribution of noise allows to classify them into different categories: random, persistent and anti-pesistent, or white noise (white noise), brown noise (brown noise) and pink noise (pink noise). Beethoven changed our own conception of art to underbirth of the implicit psychological element in the language of sounds. Thanks to him music lost its innocence, but gained in return, a new dimension of depth. Beethoven is the first musical point of view toward the crumbling complexificante. When Cage says that "Beethoven was wrong." That's right, he was also. Music takes on a particular architectural character because it has freedom to express any emotion, it can build on its own, with a wealth of invention, a regular building of sounds. The rhetorical pentagram according invention, disposition, speech, action and memory. Music and sound-effects meet at the rhetoric of sound. Reoric and deafness of God for the beautiful voice of the muses in prayer for us. Where we judge by the sounds based layout (melodic space) or intensive drawing, in order, by groups, backgrounds and figures, or their absence, by contrast, by the tonal perspective and the timbre color. Music takes on a particular architectural character because it is free to express any emotion, it can build itself bytself, with a wealth of invention, a regular building of sounds. Every sound has its fair share of unlimited.

G minor serious and magnificent, malaise. Musical composition is a sound understanding of the semantic conformation to the prejudices of listening. Music is the ineffable subjectivity of form, antiflow structure strategies. At sound, the envelope is within the note.

Metamorphopoiesis and intricacy between process and product, the speaker will not talk more, but only incite the present to action. Such forgetfulness is caused by rating divine listening on a musical economy. Criticism comes with the capital structure. Score is a form of money paper.

Why the Rolling Stones has neither a column on sound physics? Aren't there any reasons so that people are better informed about cloning and authorship, genetic counseling and aural ontogeny, genetically modified musical organisms and auratic force fields of sampling, nuclear energy or space exploration among other molecures gossip? Through the theories of musical meaning that excluded the fractal range of timbres. Donkey ears to Tmolo in his selfcentered judgement. Donkey ears on Apolo and his vain anger. Midas must be forgoten for his pain is already to much for him to not be forgiven by at least one Muse, and that would be enough to end the rush. A persistent noise interferes with the communication process, but does not prevent the convergence of information for an expected state. This type of event communication depends strongly on the frequency of the signal being transmitted. Music expresses only the quintessence of life and its processes, to things is left noise. I just believe a Pope who only hear one note for a lifetime, nothing of the phonic pantheism. The Secret Doctrine, or listening to silence, just try to restore the sense of mystery that insistence on rational and pseudo-scientific standards of objectivity, accuracy, distance and neutrality, and that had been banned by the modern world. This apparent randomness is guaranteed by the sensitive dependence on initial conditions in which the temporal evolution of the system prevents any prediction reasonably accurate when measuring their status in a range of

considerably long time, this is due to non-linearity of this and also because they are small perturbations inherent in the system or external influence him considerably. Small perturbations added to other small also can generate large effects. Although the physiological sound qualities are physically measurable, is observed an absence of objective criteria and or even quantitative tools that can be used in the analysis of musical compositions. There is only the criteria used by a critical, although justifiable and comprehensible by their socio-historical experience, it is not in a sense accepted by another critic who has not shared in any way that experience; although they are understood, they also ae seen as a arbitrariness for this purpose.

Western music has a limitation of possibilities of combination of frequencies, even with the physical possibility of endless sound frequencies, while restriction that makes possible the construction and analysis of full musical pieces of plastic and power to make people aware.

Combinations of frequencies and rhythmic formulas seem saturated in the eyes of music critics, yet there is still the occurrence of aesthetic innovations. It's certainly because of this that the tone is never loved enough nor it is abandoned at the end of a song or even before that: the demand of a philosony seeks connection with the multiplicity of discordant world listens, it's a religious thing the noise of friends, it is delivered only when between good people and just gets caught in much esteem; remains not so much as through benefits but more through a good life, which makes it a sure friend the other is the knowledge we have of his integrity safeguards that have are their natural goodness, faith and constancy. Well I know that any music is not worth the life of any person. There can be no friendship where cruelty, which is disloyalty, where is injustice, between the bad guys, when they get together, there is a conspiracy, not a company, they are not between love, but between fear; are not friends, but accomplices. The music of the Sadduceeis born and dies with the body. The Essene preexisted to sound, and is joined in the birth of a listening by sensual attraction: but, as soon as able to break free of this influence, returns with pleasure to the primitive condition of a heavenly immortality. The music of a Pharisee receive rewards and punishments for their sound work, but never definitively due to its object metempsychosis. The stars, angels and demons, all disembodied audibles, are equipped only with sonemes.

All of us are born as musical instruments. Sounding is an act of irresponsibility before silence, but the sounding of the oracle being born, can not understand itself, it is not critical as God is not a theologian. The fractal sets are used to model a multitude of natural phenomena such as the erratic movements of the molecules on the surface of a fluid, cellular automata that possibly favored the origin of the universe, how sounds are dispersed in signals; how galaxies are distributed in the universe, the turbulences, the ramifications aggregations, crashes, phenomena of economic flows and social crowds. Also can still be used in the study of the courses of the rivers, in the deposition of nature reserves, some biological events, or even musical compositions in linguistic analysis. Ears are the guardians of sleep. The mummy is hollow and clean inside as the sound is formatted to the melody-affective logic. The tune tells the story of the enlightened will by reflection, which in actual reality consitutes print series of its acts. If you want to control a lot of people you need to disconnect them from their listenings, the infinite potential of their own noise in expressing their own sounds and their own lives in music. You have to convince them that they are negligible and listeners helpless spectators. That is why religion, this mix of contradictory temptations, has been one of the most effective weapons of the Illuminati disguised as masons. It fills people with fear of a vengeful God {the Valkyries punidoras of dissonance and noise} out of the camera and says that unless they believe that "truth" can all be found within a book of sheet music or belief system musical, they will go to hell noise or else experience other extremely unpleasant consequences such as deafness of Beethoven and clairaudient visionary blindness Borges. Hegemony is monotone, polyphony is the love of the saints for the devil. Listening infuences acousphere through a system of signification through where a pleasure does not paralyze us. Luthiery evaluates the instrument with the body, itself incorporates the dimensions and directions of action, settles on the organ as we settled into a house. What it learns for each key and for each chord positions are not in the objective space and not to its memory that trusts them. Among thevmusical essence of the piece, as it is indicated in the score, music resonates effectively around the body establishing a direct relationship between the body of the organist and its instrument are only a passacaglia of this relationship. The last tune between stars no longer sounds. Prisma, son's swan. Not to know more, but to ignore less. In contrast to the random music there is brownian music, created from a pattern without any explicit rule of combination of their linguistic elements. This kind of music is not highly valued in Western culture since it does not contain a pattern apparent at first glance, easily classifiable, the guiding elements of its evolution. Thus it is seen simply as a noise, a sound that bears no musical information. In this context the atonal music, with the various beats, with numerous bars and temporally unique with all the possibilities for durations of notes; listed as major exhibitors of this reality. The strangeness of random music lies in the fact that it contains an excessive number of different information in a short time interval. A citation is an open listening mode to another port. Score: obituary. Charts: obituary. Musicology: autopsy.

Musicologists: pathologists. Sound Effect is the audio element with the largest playing field in an audiovisual work, the different levels of interference in relation to the image called cognitive dissonance: can be very distant noises, or in the background in relation to the action, or even be featured as an explosion of immense sonic range. So work with sound effects is what has more subdivisions in the work of post-production audio and also demand from producers arcane listenings, or aural causes. A complete eleventh chord containing almost all the notes of the diatonic scale. Noise is intrinsically linked to paraphilia, not so much for its looks perversion of systemic pattern, mor for its denial of copulation, between signifier / signified.

Functional harmony of hierarchical scales. The mythical suffering of the boss under the

theological before the daily pain of the subjugated under the aegis of dissonance. Some tone keeps us separated and humiliated asaugmented and (or) diminished. It's as if the stars began to sing a short aria of bells of cows, a small pastorale. Then its reverse, the bells of cows suddenly are elevated to the status of heavenly or hellish noise. Half-dead musical religions continued to fight aural science, while the grimy smokestacks of the industrial revolution (sic) reduced the singing peasants to proletarians of orchestras, and elevated the capitalist merchants and moneylenders to the category of cultural producers. Inflation music deflation is proportional to the spectral density. Musical state should interfere as little as possible in the economy of the songs. Future is the next big thing. Modernism is surfing the sprockets. Noise is machine. Only some are not born obsolete, but every religion is sacrifice. It is possible to postulate a sampling conjugation of the ancestral recapitulation of the imperfect future at the promulgation of the future of the past happened in mashups. Plastiphony, process of musical arquitexture of prototypophony. For example: Talking conscious process, Sound Effect processed conscious of unconscious processes, MĂşsic unconscious process. There are at least three different time scales for sound and they are perceived in ways completely different: In the sonar scale of time we feel the frequency of various sine waves o components of a sound signal as height and color of a stationary sound (from 0.0001 to 0, 01seg). Scale realized in transient changes in sinusoid content sound like attack, fall, etc.. (10 C-100/sec). Musicolepsia.

Music seduces. But it is even more expensive if you do not hear. Music is not opposed to never alleged silence of his utopian space encrypted on their breaks, but the noise that the collapses and ridicule before the materialism of sound and listening senseless senses. Noise remember listening that outside is strength, anonymity is strategy.

Syntonality, affectionate tuning of ones sounding and listening. The young progressive still had a belief in modernism of musical forms and served as noise to the economic system of the rock {hear Joe's Garage}, while the punks turned the clacissist cynicism hypermodern kitsch rubble tho generate the noisy background of the critique of meritocracy of performers. Today we already see these two strands converging on bauhausroque multimedia. Parametanoia, it doesn't matter if others listened or understood what we sound. The direction of the audible must be outside, as the focus mutes noise. Knowledge is neither affection or opinion, either this is true or false. Economy, nominal resonance, reflexive series of sound images between two values of listening, two ears that mirror. Isomorphism between the semiotic coherence of porosities and the latency of the cortex. Ecology, conceptual resonance {refractive series of concepts through the acts, verb reverb}. Ecosophy, syntony of the calculations of a-rythmetics intuitive resonances of acusophic philosphere through listening the time. Zeitgeber, noise donor of time synchronizer. Every time sound is doubled cell loop, it also doubles the rhythmic chromosomes, and the duplicated chromosomes go to the new cell and the originals remain in the old cell that is bound to die. This process shortens telomeres of rhythmic cells through noisythms, so theoretically you can define exactly the life expectancy of a rhythm as analyzing noisythm remaining in their cells, ie, how many times cells can also duplicate your binary before stabilizing. Noise is a sophisticated biological clock. In music, syncopation is a rhythmic tool characterized by the execution of a note played on a weak beat, or weak part of time that extends to the downbeat, or strong following part-time, creating a displacement of rhythmic accentuation. Notes that are losing rhythmic center of gravity, creating a climate of psychological insecurity that in the end is that you can get to produce this rate of some

sensitive people, breaking the natural rhythms of the heart. And only a remnant of the orbits, hears. Intelligence dances music, dance sounds wisdom? We are in tune with stones. We hear the clocks' cesium atomic particles that standardize the time of the internet, the temporal assembly line of world order. The voice, the boundary between musical and symbolic noise, instance of unconscious presentation, instinctual energy of desire, occupies a privileged space in conceptual and practical field of psychoanalysis. Music is a form of rational immunization of listening. Timbre is the affection of the sonorous body, its musical passion. Timbre unites sound to music. Density of acousphere noise at the solfeggio of the sounding subject. Logic of energetic resonances in force fields. The Indians imagined all instruments and all music, but abandoned them in the name of the flute, natural extension of the voice. Voice and flute have the same name: chiru. Only worthy of competing with the screaming animals. This, color chemistry wouldn't be enough for the oversolar oceans, is our cage. This is useless. Tubes the scream through the flute, noise is the music of sound. Noise is the transparency of sound while music is its opacity shine. Tone is not merely the color of a sound, but its color palette. A color is a wavelength, but the melody timbre is one of many formal dynamics of range of envelope.

Percursivity of centipedes emanates noisythms of harmonies in stochastic resonance. White noise as that color, should fill all areas of listening and would require an infinite energy charge and an infinite time. Put noise transience in relation to color stability. Timbredeafs. Rythm throws futurations in the gerund arch, bed of the delicate noise. A scale of timbristic intensities.Demiurge the luthier of the superstrings. The musical instrument is both a measurement tool for the knowledge of the unit systems' weights through scientific trials {eg. micrometer beats in bits} as a surgical instrument that operates the listening of the interpreter composer {listening is itself a scalpel}. The sound of the spear kills the target. If you want a perfect copy, learn from your ear, if you want to ensure that it changes with time, write.

The delirium of a timbre melodies' scale would have to surpass. Hotter the noisier. The valve amplifier is a noisy heart warming the most popular frequencies, hot distortion. We use sounds in music to listen to what is between them, their modulations. The noise temperature is equal to the sound intensity multiplied by feeling their voices divided by temperature acusfĂŠrico listening in noise. Futurism is the last religion of the machine, the body velocity. The apathetic aphasia automatism. The ear of the glorious face. Arranger of oneself, sings. Passed melodies between stars do not sound anymore. The beasts socorrerĂŁo engine, the feather, the city removed remade themselves without blow. Empire renewed the dark burden, exaltation to distant paradises patrols, clarity about the propeller, corner clearance of siongs. Where the anthropologist arrives, the gods are gone. What don't we want to listen? We feel the sounds and mean songs. Noise is pure power. Music also serves to ward off, to create distances. What we actually ignore, what did we thought useless, that is art. But the musical crisis reaches the limit of absurdity, because its incommunicado are not limited to the relationship between composer and audience. It also happened to the relationship between composer and performer. The musical work came to the brink of humanly impossible to be read and executed. Human limits will be challenged both in regard to the motor speed of the interpreter and the perceptual ability of the listener. Audible is the acouspheric listening.

Culturedelic ignitorance of automedia. Hackulture, sensibility for the brutalities of llistening.

Noisetherapy mines for gaps. Resound the untouched sounds, dance until the encounter of unison harmonics. Interface (and music is one) is noise understood in its silences, make0up is accepted dirt. Within the atom, there are chirping sounds, dozens of octaves above a violin, composing the atomic nucleus which surround the timbre orbits molars. Hearing it carefully we realize that this music is much more complex than the most complex sacred chants. There

are more complex dissonant chords in them even than those found in modern compositions.

There is still much to search on the deaf hearing, its nuances and subtleties of shades that only a deaf can teach. Listeners can feel it in the body symphony of Libra language dance. Reduce the sound to the eared listening is nonsense, oblivion of skin. Libras are a more important breakthrough in the research of musical languages that anything that the maestros may have done, opening unprecedent regimes between regency, chirology, dance and signic mesmerism. Still to come deaf musicologist to clarify the final works of Ludwig Van for a deaf conductor to make sounds for the glory of the composer and his composition. I will find the deaf soprano who will sing my opera Gallaudet. How to think the unheard? Music is good to the melancholy, bad to those who mourn, and neither good nor bad to the deaf. The best Sitar is that without ropes because it expresses only the ultimate emotions of the heart.

Anthropophony is absolutely histheorical. Audio addiction, better to listen the wise reprehension and the song of the fool. Noise is nofx. Listening, a grinder of sound. Sound is the relational object par excellence. Shines, frantic and perpetually drunk to cross from one body to another vibrating them and the world teetering black streamer. Rumor is also a god. Rumor is the infinitesimal noise of listenings intertwining in the social body. The sound of blood, art of shit and heart of gold. Music and its enthusiasm contains the roots of prophecy, the sacred madness, universal emotion that drives us to the cosmic depths. The meastro listens with its the fingers, oftenly trying tocatch it with the whole hand. Score, the culture of points. The missing, the enigma, the symbolic field, which are exactly the conditions of thought. The anxiety of Zaratustra to speak. A hit? Certain favors to the listener, some structural concessions, appropriate title, mediatic micro-power [payola], composer charisma or animal magnetism, and a mafia [record label, producer, distributor, agency]. Signflow of passions that gives origin to noise words. Planetary stage (gesamtkunstwelt), noise is the multitude of mass listenings. About the contextual harmony, music is a phenomenon that involves interaction between different agents for itsr existence and development; musical meaning is a particular case of a general process of meaning (just as one can establish a continuum between cognitive processes and natural ones) and music cognition is a particular case of a general description of cognition. The music political apparatus is the noise war machine toward other means. Noise is the body of listening, music is its soul, silence could perhaps be the spirit. The distance between the source and the ear, the eardrum and the cortex. Ornithology of corpses. The dance of the listeners' listens. Music centers listening, noise is peripheral. Either one or the other move in the depth of aural figures. An open hearing (agorauria) designs the composer listener to release a promise of adventures in the public formal domain. A closed listening [claustrauria] ensures the biological coziness of privacy. Pope is definitely an aural pantheistic (panauratic around the wake panphonic tower), and probably also a musical. Either he stops his ears with condoms. Numbers themselves bear insoluble irrationalities. Mime is the method of the mode. Ado of sea, eclipse in the sky. Music is the sign that carries love and also cages it.

Differentity. The one who knows all the pretty songs. Noise the monarchy of spectator is to extirpate any privilege that music may have. Music is utopias, listening is the confluence of these in topophilia. As thinking is always a strategy, the think ear is with but also against the acousphere. Because this music is not a privilege is given to all and is the work of all. World, son of music, unrational para-consistent passion logics. hyperclusters of listenings, between listenings link sound chains. From time to time raises a voice saying this or that sound isn't culturally good, don't we be affraid of them. Our assumptions of music as a mere public sphere is a mistake. Acousophy: Just another silence. Do you know what silence is? It is us ourselves too much.

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