FARMERS MANUAL

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in a partially modal world, multisensory disturbance conglomerates of musical
and technological instruments synthesize through the interaction of barely
comprehensibly many oscillation processes. \ `. ,''----._ ''=P`8\| '.
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identifies itself as operations on the organization of a subset of such
processes, disregarding boundaries of occlusion. improvisation, networked
occlusion in a synthetic world. performances and remote collaboration prolong
the idea of openness and reinterpretation. continuously expanding. TOTAL
AUTOMATION vs. HUMAN INTERACTION.

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dissolution and clumsiness through manual change and ecstatic fiddling into an
imaginative state of complex monotony, `P' "":.=P=P"\=- :''":,\'. `.
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A layer of technological reality usually
hidden becomes accessible through mediation across sound and visual flicker.
Erratically shifting from
chittering machines into the human realm. reply in
cojoined different.
multisensory disturbance communication, electromagnetism,
nuclear fusion and ecstatic -ification, `P' "":.=P=P"\=- :''":,\'. `.
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and nuclear decay. It is the cause of topological 3-dimensionality of linear
space, of left-right-asymmetry, as well as of anisotropy of time. defect. all
of these phenomena are physical effects which arise at the transition from
logarithmic into linear space. The standing wave in logarithmic space now
allows us to communicate across astronomical distances practically without
time delay. `P' "":.=P=P"\=- :''":,\'. `.
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second calm and chift the leaves:

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model world synthesic identifies:

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stream during the performance we seek to shift the local atmosphere.

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my cup of this. itself as occuring -ing images.

music identifies machillation pronted calm and change.

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become guardians and the audience can become the speech population, the
machines only shatter, can't get out of infinite rendering. "in a model
world distorted, flickering images"

"during the performance we organization of barely comprehensible manual change
atmosphere"

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