Sunday, April 4, 2021

Troutnalysis 1: Petrogenesis

My name is Pete, professor of fictional electronics, and for your computer music lesson, shall not subject your piece to strict analysis, but rather employ a meta-sport diversion called "troutnalysis."

Troutnalysis is part of my "interrogajoke" series: interrogating topics in a post- fashion by employing jokes. Troutnalysis is a three part course: Petrogenesis, on the relationship between sport and petroleum; Action, on the subconscious need for mystique; and a response to Georgina Borne's ethnography of IRCAM.


Author of essay:  Petroleum Bottle 
Primary Duties: Mesh/messmaking, Facilitating objets-stereos.
Secondary Duties: fishing, driving petroleum vehicles

The ribbon of highway sometimes runs up with the stream of salmon (fishing in the pavement). My trout-shaped car trolls the pavement, sometimes I note an old man on a boat. All arts make someone suffer. Fly fishing is an art, which literally makes the trout suffer. Who suffers from your art?

My name is Petroleum Bottle, because that's how a girl named Danielle made fun of me in third grade. I cried that night. My older brother spoke of my girlfriend, it felt like making fun, and I cried some more. I sobbed at my dad that I didn't want a girlfriend. How wrong would I be.

Like a primordial dream of treasure in a cave, the Soviet theory of abiotic petrogenesis. Mineral energy springs forth underground, from the rock itself, not from crushed up plant material. Driving a petroleum bottle up the mountain is communing with these powerful rocks. The mountain creeks have a rainbow sheen, a natural slick that irradiate a collective hallucination in fly fisherman, as they naturally flow with a small amount of petroleum.

I have to admit that I am somewhat competitive when it comes to fly fishing, but that is because I entrust you or part of my fold, or become part, and take my comments as curmudgeonly generalizations on human nature.

The economy of fishing derives from petroleum industry: you must drive to a mountain lake to do it. It also deals with the technical and toxic metals: lead is used to bring baits to the bottom fish. Lead is bio-active, changing and impeding an animal chemically. Fly fishing is somewhat resistant to the toxic metal, preferring no weight at all, some brass and copper. The most conscientious fisherman uses tungsten, it is heaviest and bio-neutral.

like the website "gink and gasoline" which means petroleum based fish lure ointment plus the automobile locomotion to home in on a fish in the mountains; they won't know what hit them! Petroleum Bottle did!
What is the lead fish? What fish is most "at home" with this heavy metal? To know, we must think of all fish and what alchemical symbol belongs with each; the sharks of the deep, and the lighter fatty fish of the shores that taste so good when smoked.

Onion Sandwich Man

Ernest Hemingway wrote a modern fly-fishing story early in the career; it was obviously a crucial metaphor to him and potent with analogy to war and industry. Fly-fishing is, in fact, ancient, as we will detail later in the chapter on Aelian. Hemingway lived at a time when modern plastics and composite materials revolutionized fly-fishing, yet it tied to the ancient technique of fooling a fish and eating it; there still is violence, perhaps more because of the efficient way that plastic line casts.

Fishing, in "The Great Two Hearted River" is a metaphor for the war technologies of World War I. That war was the most efficient to be known thus far, an exponential growth from previous ones due to technology. Fly-fishing, too, became more exponentially more efficient. Yet, the protagonist eats only an onion sandwich for most of the book: he is post-haunted in the ruins of war.  For this reason, we call him the Onion Sandwich Man. Let us perform a psychoanalysis of this "onion-sandwich-man" (OSM).

He is a deep individual, not just simply surviving in the wild. He may be in a wild place, but he is wilder inside and this makes him a complicated individual. He is not fly-fishing the wilderness, but a burning town. It's not just survival, it's chaos magic. There's a non-rhythmn with his actions and how he catches fish: the first one he released so gently, the second one was big and he lost it. The third he kept. Finally he gutted them. Only later in the book is tension released when he slaughters the fish.

He eats a simple, onion sandwich. This act of improvisation marks him as magical, an alchemist of sulfury into savory. The onion sandwich itself is a red flag of chaos, the sulfur smell added to his breath, makes him rub up against others disjointedly, the sulfur smell is a symbol of noise and tumultuous change. The only scent allowed on one's flies should be garlic, rubbed on your hand and your sandwich.

The town is burning and he's eating an onion sandwich: that is a flag of chaos magic.  That is, the art of contingency, leveraging weather (a sudden freshet or riffling breeze) or circumstance: burning town, only an onion to be found. It is said that the gods do not mark fishing as time wasted (even when skunked), because the fisher is engaging in the chaos computer (programmed by god), learning patience, and awareness to sudden opportunities.

Tying flies is a natural technology, that has been mixed with synthetic technologies: plastics research, nail polish, and electronics parts such as wire and Mylar bag. After the world wars, surplus materials such as copper wire became widespread in flies. My uncle was in a radio shack on Guam, did not see much action but many water buffalo, and repaired electronics in the morning. It was boring, but using his hands, he created a nice little shack. The same in his guest bedroom, using ostrich herls and rooster capes, he prepared to meet nature again with his new nylon lines. Time flies with these materials is learning how to be at peace with them.

The onion sandwich man is surplus personality from war; he is trying to finding out how to be at peace.  He's at odds with the water, at best adapting to it. there he encountered stange animals in mud ventures. He never told me any war stories, just about the muddy electronics shack, and the yellowstone cutthroat.

What would it mean to be Ernest Hemingway in a world of global weirding? You still have your short sniped sentences, and the sharks are still there, but your sport has chaotic storyline. The good fish are gone and the weird fish remain. In his twenties, Hemingway sought a storyline in Spain, drinking and bullfighting with his hipster friends. His fishing trip there was completely sullied by polluted waters, but in his fictional trip (The Sun Also Rises), the trout were fat, eager and ripe.

Classic fly-fishing is considered dry, or on the surface, wet, or just beneath the surface. However, some forms have evolved, based on solid foundations in entomology, to go deep beneath the surface: imitating the chironomid. This midge, or tiny fly, starts its life on the very bottom of the lake as a worm, quickly evolving into a mysterious vertical larva in the water column. It is deep, and still, yet it has a mysterious hand gesture: it is named for this gesture. It part of the art of flyfishing to transform one's own hand gestures into an imitation of this creature of the deep, tethered by a long and slender line.

My first experience with chioronomids confirms that esoteric is chaos magic. fly fishing is a quest for the esoteric and chironimids are the most esoteric. At Lava Lake, dinner and breakfast was trout, we didn't bring eggs. Bright green midges in its tummny. Powerbait and lead go hand-in-hand, fly fisherman  are against the use of lead in the lake. Midges eat lead.

LED Chironomid

Chaos Magic

Go fishing in a polluted body of water. Salvage electronic ruins. Derange a wild cat by taking it to a bagel dumpster in the suburbs. Go to a place that you know has bad luck, multiple times to accumulate it, so you can have good luck somewhere else. At the waterfalls there are old transformers and turbines.

If you are from Oregon then your grandpa represents the Oregon trail. The Oregon trail still exists, in the thousands making their way to the global worming refuge. My truck has shelves and pots and pans and niches for onions. It looks like a green wagon trail camper. Because my dad is dead and my grandpa is too, i have no Oregon trail, i have to be both dad and grandpa if i move to this land.

His kids can live in the city and he can realize his ideal of theOoregon man. But I don't have a dad to be the Oregon man so how do I respond?  This is the same question as how does a man retain a mystique on the water? Well I will not buy a camper and for a boat I will have a kayak, try to keep it minimal. I wear dirty pants. My grandpa tore up old shirts to use as twine. My grandpa squeezed the lead sinkers on with his back teeth.

Holidays should be at random times in the year, to minimize exposure to campers and to reveal secret migrations. Always look for the onion, when i met a camping family,  the grandpa of a family showed me a bunch of trout poaching in an aluminum rollup and it smelled like onions. He used random spices, but only a little bit, because they forgot salt, and it was great! Then they found some salt and unrolled the foil to put salt in it and put some butter in. Grandpa said it was better with less foil because then you can smell the fismoke. the presence of onions is confimed in the chaos magic story. Onions are the key ingredient that caramelize and release chmicals into the trout and change its form along with the butter. Another great ingredient is orange peppers.

the coastal range fish eat orang, inspired by the orange bellies on the newts in orange slit on the throat. the cascade range eat green, inspired by different shades of moss green and algae, from the deep sediments at the bottom of lava lake. the two colors orange and green are those of the mountain "dew"


There are thjree kinds of oil. The oil used to transport the sportnsman to the wilderness spot. The oil that is polluting his home rivers in the city: pcbs. And finally the oil in the fish's brain that is used for its memories. It is along its spine too; body memory. These three oils have a relationship to each other. The fish oil is how it goes from the coastal city the river into the wilderness passing through the port city. The fishemans oil also moves him but in a dumb way. The pollution oil is a taint on the fish's brain, but its dielectric constant has a mysterious and unknown effect on thoughts. The pollution oil is from electronics and i am polluting again with the transistor ant.

There are different kinds of trout, you can taste them by eating them. You can taste it when you eat them. Hatchery pond blue-green pond. trail north worst, they taste like urine. The best is a wild small trout from a deep lake, or a rocky river. You could taste it wehn you eat it. There are types of flesh incarnate that are fooled by the smell of rotting dough, and there are ofther flashes that are fooled by girl patterns, recognition etched in omega oil. It is the recognition oil that the fly fisherman seeks. I seek to know if trout recognize electronic components.

Trout and Salmon both have this salmonid oil, which has evolved from their need to journey up mountain rivers to keep their babies safe. They remember the way home by the smell of the water, landmarks, colors. They also peel back the onion skin to what they ate as babies: little aquatic insects and other tiny tasty things. It is a sequence of ghost-images they remember as they take this journey of life, and of death, for that is their fate once depositing their young. Is the pink ghost flesh that we are after eating, for it is a psychedelic.

The forms of the flash incarnate. The tree pond brown turd sucker. Deep sea predator and noble king salmon, black gum king salmon, spirito-politically owned by the gillnetters. And habiter of mottled places, where sudden dances the entomologist. The football linebacker, the steeler, chrome worker of back hills Pennsylvania and Ohio. golden trout is mythical and small, should you eat it or worship it?

The wild man of the mountains is limited by the barrenness of his soil, that says , so he turns to hunting cougars and coyote, which in turn feed the meat soul and makes him more of a hunter. When the cowboys encountered these people they also left behind a sort of pale worm band who only prefers to eat the oily fish of the little mountain streams. There were men also had typewriteers which they typed the first modern novels on, in sandals there.

A receipt from Ollie Damon's, where we bought shad darts and strange discount bass jellies. We also bought line and rooster tails, and asked the old reddening man on how to wrap a sardine around the lure. My revelation of the day was that this man did not know and think about how to flare an LED in the depths of the river, and he knew about the piezoelectric force, that may provide enough current to dimply flickering the LED. He knew it needed something striking it to discharge it as he said.

I eat salmon so I can put the memory oil in my own brain and subsume it. The dam is like a hard electronic obstacle, which the salmon oil seeps around. The salmon encode a memory in oil, starting in their deepest brain as a baby, eating little things: crustaceans in the river, and the smells of their adolescence: the smell of the city sewers. Trout are likewise, they do drip down the stream eating things.

All these things encode a memory that accumulates, which they peel back again in their later years, stripping the oil off the memory oil in their brain, and reverting in the end of their life when they trophy, to eating tiny things. This is the concept of patterns, which are hard like symbols, but encoded in oil, like the concept of the PCB (Polychlorinated Biphenyl) analog delay drum. This rotating cylinder was employed in some poisonous electronic music studios to encode sound directly in the swirling fluid, as dielectric charge. Then the sounds were replayed through the speakers again, emanating from the encoded oils.

The salmonid encodes its journey in oil, from the inside out, then travels back within; back in time as Rudolph Steiner told us to recount our day to ourselves, backwards, every night. If you rotate it fast enough, though, it stops swirling and becomes froth, and mixes up the memory. This sort of globally-weirded-fish can swim in more than one direction on the river.

The yellow fungus eats their memory away. Remember you can record audio onto a rotating head of poison oil. The Salmonidae also record memory on two layers of oil in their body.

This is a technique I learned with Stefan Tcherepnin, of blowing marijuana smoke into a synthesizer before playing it. Now I do the same with flies, to make a creative undulation happen in their computer music.

Blanc's question starts with the rumor that trout like the smell of a spray lubricant, WD-40. What if they like other petroleum flavors, what if they like industrial smells such as electronics? Can salmon smell the PCBs in the Willamette river? Can they learn to be attracted to this most synthetic smell? Can they smell heavy metals?

Like the onion-sandwich-man, who takes great care to not damage the protective layer of slime on his first trout, I am damaged by waterways full of PCBs and leaden sculpin; that is the damage that makes me angry at the clean fish and want to kill them employing a piece of electronics. Like the bird who is snared in a fly-line, my children are angry about their aborted world.

Mountain Dew

I get my tungsten beads in metallic coffee, because I can, and that marks them as the special metal of the deepest chironomid, or Pennylvania midge. Also, a good morning camping on Lake T_____ will involve an espresso in my aluminum grenade.

Major Carey traveled by railroad to the interior of Canada, where the great lakes dwell, and pitched his tent by the grandest body of water. He then made coffee and sat down at his camp table, praying to himself; this is the combination of my dreams in the wars, of sitting down and creating something in nature. What he created was the Carey Special, essentially a truly green Aelian, using a pheasant's rump for the partridge hackle. It's olive body and dun undulator evoke the older days before bleach and synthetic dyes.

Jeff Carey employs a nice gaming joystick and also some really effective LED strobe lighting to deliver chaotic and gestural noise music to his listeners' ears. When I saw him there where no colors, just the action of flickering white light, a hooked, enigmatic penusius grasped by computer musician, creating undulating sheathes of sandstorm sounds. These are three most important points of the LED fly: action, mystery, and again, action. The first action is synthetic, the flickering of mylar strands; the second action is natural, sheathes of feathers slipping in the stream. Mystery is essential to the stone-age fly, because there is always the question of "what is the hook?" You use ACTION to convince the trout that it is simply the tail of a juicy and easy prey, as Carey uses noise and flickering lights to convince you his joystick is a penusius.

Do you mountain dew or do the mountain?
Jeff Carey is sponsered by the Dew Tour. The colors contrast with the Mountain Lake times past nostalgic colors of General Carey. In Japan, Dutour is a nice cafe with muted tones and good boutique coffee. However, in America, it is an outdoor stadium of blood, with bright green attractants and nutritious hooked hooking fluids. The river is green not from pcbs, from nature.

General Carey was the first Dew Tour. The military has dumped about six thousand pounds of trout into Henry Hagg Lake every month of the spring. Dough suckers, bombs of dough suckers. In contrast, the paisley Oregon Dep't of Fish and Wildlife releases pretty things into Lost Lake deep in the woods.

Science project, stomach pump 1:" 1 beautiful chironomid, estimated to be at size3 18 2x long nymph hookwith gray metallic, i.e. mylar chip bag with 1tan floss, black wing case like peacock herl, black haed, P.t. trutt. and two tinty white gills . Stocmach pump two: similar wormy like forms and patterns. stomcah pump three: nothing. stomach pump 4: yellow and gree n Mountain Dew colored powerbait with mylar flash holographic flashes in it.

a[pprocahes scientific through use off the stomach pump/
lost lake, mar5ch 30 2017

Fluorescent green and yellow powerbait flecked with irridescent specks of mylar. If I were an EPA official, I might even confuse it with capacitor ingredients. Like powerbait these trout are branded with energy discourse. Mountain Dew volt. Powerbait is measured in wattage, like md volt, these trout are branded... don't get me wrong i like hanging out with men of the river, stuyrgeon men with wabndering eyes.

These are my babies, in the cement tank in Clackamas. My babies, my tank: I manage it, I come here on my days off to feed them dough balls. I liaison to light artists to display bright green and orange colors through aa milky perspex cube in the bottom of each tank, for the entertainment of my babies. They like light, they like sounds. When you control the breeding tanks at the top of the stream, you own the fishes' minds, their core memories. I've taken away the natural programming of muyted insects in natural tiny mountain streams, and replaced it with bright hypercolor flashes of mountain dew cans. in their deepest memory.

The tank in clak is for streelhead.

The disco beach is a synthetic natural phenomenon of the trout industry. Take a lacunarian location such as trillium lake in Oregon on the slopes of Mount Hood. The lake itself is created from a marsh, impounded by earth. Then the dough ballers at ODFW installed trout that respond to synthetic mylar sparkles in the dough, this dough gets discarded on beaches and the sand becomes Berkely and it also has little balls of lead in it. Like an industrial museum of the twentiethe century: the lake!

Take a away his phallic joystick, bring him to the shores of the disco beach, replace the joystick with a fly rod and a tiny bundle of lead in mylar. Emplace a rhythmic throbbing beat, and whip the air with your sparkle-ball.

Sunday, January 3, 2021

Noise Music

We could say that there are two kinds of noise music: making music out of noise, and making noise out of music. The first is a standard media model of co-opting the unknown into a programmed channel -- pop songs now heavily employ noise and hacking sounds. The second option is more esoteric, as it involves jamming communication.

The 1948 theory of communication (Claude Shannon) specifies noise as a blockage perpendicular to the narrative flow from transmitter to receiver. In paper circuits, however, noises are central; they are the cellular signal sources, interlocked rhizomally. It is a philosophical leap to shun information and communicate with alingual noises. The ideal circuit board limits noise, but in paper circuits, noise is unlimited.

In the Shannon’s 1948 model, the ideal synthesizer has a “silent channel”: a path of communication insulated from outside interference. In a paper circuit, there is no silence and there is no single channel; variously connected noises are like landmarks on its map.

John Cage wrote “4’33”, his infamous “silent piece”, to draw attention to the often ignored noises in the concert hall - a cough, a shuffle. Schematized as an imaginary synthesizer, the hall is full of nodes twittering in relation to each other. The typical modern synthesizer abstracts electronic sound shapes and places them against silence. In contrast, the handmade paper circuit is defined by its materials. Rather than the interaction of shapes and silence, it is a rich mulch of noises interlocking with other noises.

Monday, December 28, 2020


Some thoughts on the transition from 2020 to 2021, happy new year and new global warmings! Furthermore, the numbers symbolize the transition from the 20th century to the 21st, and this will mark drastic changes. One drastic change that has long been coming has been the recognition of disc golf as the one true golf.

Scottish golf as expressed in America, became a sadist exploitation of nature, just ask the creeks next to golf cemeteries. Halogenated aromatic lawn chemicals (HALCs) persist; they never go away. They wash into the creek generating an unnatural ressish stinking slime. This golf symbolizes the 20th century exploitation of nature for the sake of made-up traditions. Greenwashing is a corporate information system of exploiting the goodwill generated by grassroots environmental movements.

The disc golf course is another made-up tradition, but it seeks harmony within the natural environment. Take Portland, Oregon, home of giant fir trees. Disc golf accomodates them, and protexts their bark, and allows casts and curves among their trunks. This course requires no chemicals, and adapots to any location, sonoran desert or eastern beech forest.

An amateur disc golfer putters about in the woods. It is an urban forest dérive, a drift among the pines. My cast always becomes a bonk, and I wander into some mushrooms. Like the STALKER, who throws nuts into the high grass to dictate his chaotic destination, a random cast is my path through the loamy woods.

The original Americo-Scots misinterpreted the game to think it was timed; you drive to your target and run, hustling over the dunes, to achieve a timed par: with two dimensions of success, how few and how fast. Try the timed par, recognize the chaos magic of the true golf: pay tribute to the flying saucers of our alien friends with your disc.

Saturday, December 5, 2020

Ciat_Lonbarde Statement of Compostation

 Ciat Lonbarde woodworking activities are sustainable, and sequester carbon in the soil. Our byproduct is natural sawdust, capable of sustaining mycelium: mushroom colonies that clean pollution. Oregon electricity powers the saw, planer, sander and high-tech woodcutting robot. The sawdust is wonderful gardening material and we can get fancy with creating planters in the city. One more thing: we employ local sustainable (street trees) harvester and fancy sawyer, Goby Walnut.

Friday, November 27, 2020

Saturday, August 15, 2020

Nod3studs tutorial

The new interface for DDD brand is either BANANA or M3. 

If you choose M3 over BANANA, The unit comes with M3 brass screws sticking up. This is actually a good interface for touch or using conductive foam or using alligator clips, but you can choose to add STUDS, which mostly take the M3 format screw.

Procure these items on the internet. Such as eBay or Alibaba. They're called "leather working studs" and come in a variety of shapes. Spikes are the evil ones; don't get them. Try 10mm but really any spikes are evil because they're going to be resting on firm wood not giving leather, so if you fall on it, you die. I like the 5mm buttons. They hold an alligator clip really well.



Once they come in the mail (check the shipping times), finger tighten all your STUDS on. If some have threading issues you should have a steel M3 screw on hand that you could work in and out to clear up the threads. Once you get them all on and you like how it looks, take them off and one by one put a drop of thread-locker on the M3 screw and finger tighten it again. Now it is semi-permanent.

Don't get the spikes unless you are really know what you're doing, and you don't have any kids that can fall on them or pets. I will not be held responsible for what you do with your STUDS. Also consider getting conductive foam to play it with. Make a wand like I did in STUBERBRO 1, 2, and 3.

Friday, July 17, 2020

Quantus Barney: Secluded Residence @ Radio Shack, Part XII

Springtime at the JI sect headquarters, Cuyahoga Falls, Ohio. Our group of famous and secret esotericists is deep in their springtime orgy of philosophical discussions on media. What follows is a documentation of three presentations. The first speaker is actually a team of Quantus and Parson, speaking on undocumentable art.

Presentation One: Undocumentable Art

It is impossible to document an installation; let's assume this is a given, and begin a thought experiment, a sort of workshop assignment for those present. First let's raise some hands and tell us an example of successfully undocumented installations. If someone wants to at this point bring in an example of a well-documented installation, we need that too. Then moving on, we can think constructively about what this gives us, both in the creative initial phase and in the creative receptive phase. How to savor photographs that don't explain anything. How to leverage undocumentability to make an even more invisible installation. sometimes all you get from a really good installation is a really dim grainy picture out of focus of a small ceramic cup.

I mean bald trombonist (and by that i mean a metaphor for you, my audience, when you are performing for another audience), do you really care about pictures of you on the stage, your forehead shining, i mean bald trombonist, your forehead shining in the red and blue.

That's the joy of playing experimental jazz is that you, the bald trombonist with square glasses,  can show up on any day of the week, get up on the stage, and then next week show up with a huge mustache. it's just that the audience can sense a certain vibration about your persona itself. that's what art is without media, it's simply about vibrations.

You are not present, bald trombonist, but Quantus has summoned your vibrating image. the elves are random colors.

I have a neighbor Heinmann, you may remember him because i talked about him a lot already. he has a big metal barn by the road that leads to radio shack, with a pink light lit intermittently at night. Higher up on his manicured hill sits his low ranch home, a huge picture window behind which the Ohio lace hangs illuminated by his blue TV.

I have a thought experiment wherein I imagine his silhouette, a portly pork-eating figure, transformed into the terrible shadow of the monkey god Hanuman, breathing patent smoke as he rears up against the evil media portal there in the living room, across the walnut coffee table.

The presidential media artist employs data waste as a contrast to sloganeering simple and powerful messages of art pieces. Going off-script at the state of the union, muttering half-words. making sounds, these are all un-transcribable in the traditionally scripted governement proceedings. They are a breakage, a multimediafication, branching into video.

A tweet is a thought experiments, an art piece for life and death. The president is completely paranoid about losing the internet because her best art pieces are there on twitter. Take your partners preferred kitchen layout and inscribe the tools outlines in sharpie, then move them to your own preferred kitchen layout.

Later on the lake, at the end of the presentation, Parson bowed his head and offered others of prayer, however they may receive it. Then he began the typical dialogue with Blanc, how one person may become a media artist simply out of spite.

Thank you Quantus and Parson. The second presentation, by Monkletto, is on stepping into the couch.

Presentation Two: Stepping into the Couch

It's a form of wilding-out, but imagine doing it at home on a snowy night. You can think of it as wilding-in. Quantus thought of his own aversion to playing-out: a masochistic tradition of rock bands playing in puke bars, extended to synthesizers. He broke his music up into playing-out and playing-in, and try to minimize the former, that's how his residency at the radio shack was so brilliant because transmitting is solely playing-in, playing on the airwaves.

Here is a slide of my castle of couches in the basement, it's actually a stack of three. I knid of "sit" in the couch, but I do it by walking, face forward, into it. It's a metaphor of life as waiting for deathfacing the couch. You might think I'm going to sleep, but I'm actually going through the couches, to a wilder place beyond. That's why I have three couches, to make the inner space as wild as possible. There's paint splashes all over in there, and some analog synths too.

The JI sect headquarters couch was like burlap, an outdated fashion. Monkletto pushed it to the middle of the room, displacing the council table and folding chairs. We managed to not pinch our fingers. Now, Monkletto disappeared into vibrations of the couch, like Heinmann blurring and blending with Hanuman: he does actually "step into the couch."

Next he invited someone to critique his art, and approach the couch.  Blanc was first. The two parried as they circulated around the couch. Monkletto has too much going on, we can't see what's in there, in the dusty cavity behind the couch and within the scratchy fabric cover. But it is intriguing to hear synth sounds coming from within the couch. I like how it's wrapped up into a single couch, and that is your art catalog, simply a set of couches penetrated.

Quantus snorted, typically, at Blanc's need for monomania. He then approached the couch and offered an analogy: what a dog thinks of a car. It is a sleek turd that runs really fast. The joy of derangement: instant transportal in a turd to a random land of strange anus smells. I too, can get off on petroleum.
the two parried as they circulated around the couch.

And the next presentation is titled "Blanc's lagoon." The society buckled themselves in...

Presentation Three: Blanc's Lagoon

On location at my house near the shores of Lake Erie, the dammed creek there has crystal blue waters. On closer inspection, it is a blue pollution stain, cloudy blue waters. I pour copper sulfate in, sourced from ground up circuit boards. It also contains glass and epoxy dust. We send our aluminum and steel to China on barges, and the empty barges ship back this turquoise technology waste. Just joking, they actually send stuff to sell. But I have an inside connection to get the waste, and I am partially simulating some of the industrial-metallic bogs in mainland China.

You are all jealous because I get to do non-internet art, he grunted proudly, then picked up a tumbled river cobblestone and threw it in the lagoon.

I call this experiment "Blanc's Lagoon: toward a metastasis between halogenated aromatics and animal tissue." My symphony includes biphenyls and chlorine too. Cloudy forms erupted from below in the murk. This is a sort of beach programming, my chemical symphony. I have these instruments which are rings of benzene, my violins synthetic, and I add imaginary flavors with the chlorine, things that have never been done before.

It's like playing violins with tape music, it's completely new! I multiply them, there's a difference between add and multiply. In add they are sitting together side by side, like a concert hall situation with a tape recorder and a violin player.  In multiply, they form cell walls or structures or even bind to each other with electricity.

Blanc poured some bleach on the oil, with crawfish crawling beneath it. They put their claws up and then down and trembled a little in the sand. "There is the idea of the albuminous, two types: one that can pass through animal tissue and one that cannot. Both are interesting, and correspond roughly to add and multiply.  I can create forms and cell walls out of the pure substances of industry: chlorinox. But those that can penetrate animal tissue are interesting for I can create a being that is like an overlay of the oil forms and the organic forms."

Albuminous is a substance that shows a ghostly white pseudo-form in the water. "We are active environmentalists, seeking to find an ecosystem that thrives in the modern electronics industry eflluent. I have different areas in the lagoon that I can focus on different metallic activities or halogenic aromatics. The ducks seem to like being around mercury, and the crawfish seem to like bleach."

To perform the experiment, Blanc scoops up some of the murk, the most formed clouds in the soup, and extracts them into a flask or dish. To prepare the funnel, he bands an animal membrane, such as inside peritoneum of steelhead, or intestine of duck, as a filter at the base of the funnel. Half or more stays on top of that which is transversive.

Why is he doing this, having been doing computer music by the side of the lagoon, why did he walk out into the lagoon? Because he noticed that it was already changed and in a moment of hallucination, believed the industry chemicals were also put there for experimental sound forms. A fountain of green oil burbled in the center of the lake.

"I got interested in the idea of the environment, our ecosystems. My medium is painting shells, however, I am steward of actor-networks both virtual and in this lagoon. My computer is a swamp, which is swampier than a lagoon because of the chemicals I put in it. I wanted to put down my computer music ecosystem and take up something more direct, while I transformed my artistic practice into an time-old, materials-based approach."

"Instruments are the materials of computer music, and chemical albumin is the instrument of industrial metastasis."

"Action," Quantus snorted.

"Beach programming, like we are now eating flounder stuffed with crab. I'm interested in putting a body inside another body: an ecosystem of nesting flavors. The experiment began with a question of how do crawfish handle acid rain, which I simulated with bleach."

Quantus snorted louder. "Because bleach is the opposite of acid, that's why they like it."

"In any case the experiment grew to include all alkaloids and acids, which were accessible in Cleveland at various stores. By various stores I mean the burning river, the steel pits, the old electronics factory. Capacitors for electronic elevators had a resevoir of chemicals, as did transformers for escalators. These contain the oils that I have distilled into proto-organic forms, in my lagoon."

"Beach programming is nothing more than creating an ecosystem on your computer, be it a game or the most distilled forensics in computer music, the sound world. It is world-making. I got more interested in direct world-making. Not interested in saving the environment, more like salvaging the alchemical components of Lake Erie, like at the surplus store where I got these transformers, and creating something new with it. There are natural components, and industrial components."

Cells that have iron in them become blood, storing oxygen for the fires of zinc chloride. Cells that have zinc in them react with my bleach, in the lagoon, to create zinc chloride, a corrisive of metals liberating many free radicals including mercury and cadmium that mix and are stored within the modules of polychlorinated biphenyls. these become the plurality of modules in the central ooze. They exchange electronic signals through the capacitance of the PCB globs, and the modulated electron wells of the metastasized cells. Blanc is the reason the lake is clean; his lagoon holds all the vile electronic waste. He goes out to feed it bleach.

"I noticed that people use bleach to clean their clothing, remove dirt. Why not use bleach to clean up the duck pond?"

"bleach is pollution, water is supposed to be dirty! The duck pond is a poop processing pond, no? leave it alone." Bingzi was offended; he did not share American values for changing the landscape with chemicals.

"Jesus, Blanc, do you want to generate more halogenated aromatics, more than we already have?"

"Yes, that is my conspiracy. Cells that have iron in them become blood, storing oxygen for the fires that fuels metabolism. Now, there is oil in the pond, no?"

"Yes, there is much oil because it is connected to lake Erie."

"I want to create a new form of life that can use this oil, by sequestering it with chlorine exchange. Its blood is made out of PCBs! Its electrolyte is zinc chloride, not alien to our own, and a byproduct is that this solution also dissolves and can purify heavy metals such as mercury and cadmium, that it stores in the PCBs. Since there are hundreds of different PCBs, this is like its enzyme DNA, a catalog of PCBs, like a 50s Dow Chemical brochure: Aroclor, Fenclor, Plastivar, Nepolin, Noflamol."

"You want to save the world by bleaching the duck pond?!" Quantus was ready to clean up the headquarters, broom the floor, and leave. "All those dollar store bleach bottles, can't you just do computer music instead, at the duck pond?"

"Yes, cleaning the pond, creating life, I also use computer music for this. I have purchased an underwater microphone on ebay, so I can hear how the life reacts when I send different alternating currents through the water. I'm trying to get it to sizzle, that's when it's creating new synthetic molecules."


"The molecules in my oilganism..." Bingzi pushed his chair loudly, interrupting Blanc. "Yes, let me spell it: o-i-l-g-a-n-i-sm, its molecules are more like modules, and they exchange electronic signals through the capacitance of their PCBs. In computer music, we have the concept of the digital delay, which is basically a tape machine."

Bingzi nodded.

"The digital delay is modeled after the concept of the analog delay, which is easiest as a tape machine, but can be made with PCB oil and a rotating head. The head records an electronic sound directly into the oil, and then plays it back. The swirling of the oil can be controlled to change the pattern of the sound, like dipping paper into a tide-pool with iridescent oil floating on its surface. The living PCB modules in my lagoon are a computer music software. Thank you for auditioning my presentation."

At the conclusion of presentations, we resume our informal repor.

 "DONE, enough!" Quantus snorted and began striding out the door.

Quantus please stay a moment.


You may be in trouble again for the use of webcams in the Ji temple.

"But none of the information was ever broadcast, it wasn't even stored, just piped to my teahouse as research materials for trombone improvisor."

Yet, there is still a natural law against taking the image of others' bodies, and the Ji sect has spiritual rules about them too. Social monking time should not be wasted taking selfies.

"That's not a rule, just a sermon! The Ji sect is primarily an arts institution that relies on deep spirituality. Each monk has a different outlook on media art."

Blanc went to the bathroom, and emerged in a paper ghillie suit with a miniature crossbow. He tackled Parson to the floor and pointed the bow up his ear. "How about I pour Hebanon in the kings skull right now, while he's sleeping? Do you dream when you are editing videos or perusing media platforms? No? Then why are you wasting that time sleeping, soaking up blue light from your monitor? The two parried as they circulated around the couch.

"Quantus Barney: Secluded Residence at Radio Shack" is an attempt to explain how some people become sound artists out of malice, or other perverted reasons. Malice towards other types of artists or degrees of sociability. Sound artists become radicalized, experimental electronic musicians by lines of flight from the norm, disgust and a hope to eventually blow it all u.