Allan Kaprow, 1927-2006
Dear all,Allan Kaprow has passed away.Begin forwarded message:From: Reid Wood [EMAIL PROTECTED]Date: 6 de abril de 2006 02:06:46 GMT+02:00To: FLUXLIST@scribble.comSubject: Re: FLUXLIST: Re:Allan KaprowReply-To: FLUXLIST@scribble.com Judith-Thanks for the information - sad news, as more and more of the artists who I feel connected to are leaving us.ReidOn Apr 5, 2006, at 7:44 PM, Judith wrote: Allan Kaprow passed away early this afternoon at home with his family aroundhim.He has been ill for about two years. A memorial for him will be plannedlater this year.He has influenced many, many people, not just artists, and his memory willbe part of allour lives. We are diminished by his loss.Judith A. Hoffberg Kamen Nedevc/Pelayo Nº38, 5º Izda.28004 MadridEspaña(+34) 649 77 80 37[EMAIL PROTECTED]http://emitmedia.blogspot.comhttp://emit.omweb.com
M.A.N.
This is sooo coool: http://mothersagainstnoise.us/ Cage! Radiohead! Cabaret Voltaire! Gee, I'd sign up for their mailing list, if I could find the link...
Re: Happy Holidays, too!
Argh, Missed his show in Barcelona with D.J. Spooky a few years back. Thought I'd be able to catch him again sometime. K On 27/12/2005, at 5:25, Steve Dalachinsky wrote: sad news the great experimentor / quitarist/ musician/composer / improvisor / human DEREK BAILEY has passed away on christmas eve
Re: NEW [N]+Semble MP3 Album
Aye, caught the guy supporting Mogwai here in Madrid a couple of years ago. Majestic. Almost stole the show. Eventually, he did an encore with them: My Father, My King. Almost half and hour of mindblowing sonic violence. Hasn't kept me interested, though. Best, Kamen On 18/12/2005, at 2:38, phanero wrote: you heard the Lesser + Kid 606 stuff? that track Catnap (speaking of people that is hot.. (to me) the track hydrophycyclic feels like your coming in fast over mos eisely in a sky ambulance OW.. that is HOD.. catnap is pure bootytremor, its all booty: Kid 606 is one of the pseudonyms of 19-year-old Michael Trost Depedro, a nine-fingered electronic musician living in San Diego, with releases on the Vinyl Communications imprint. His styles range from abstract Merzbow-like noise and digital ramblings through obnoxious hardcore/gabber, grating techno, media- error FX, the occasional fucked beat/break combination, and, more often than not, combining most of the above in one track. He attributes the diversity to something like musical multiple personality disorder or creative short attention span. While the music suggests a repressed individual exploding cathartically, the Kid stresses he is a really nice guy, addicted to diet soda and Miami bass, with an obsession over Opposite of Sex-era Christina Ricci. His first release, Don't Sweat the Technics, was a 70-minute excursion delving into diverse expressions of audio-fuckery. Glimpses of gabber, abstract noise, and digital mucking about all come through, incredibly noisy and obnoxious, yet almost hypnotic. Nothing is spared the treatment, not even a cheeky department store advert for a teen fashion show. Taken as a whole, the Kid seems to be way ahead of himself on this one. The music evokes the bizarre feeling that you've caught a glimpse of future nostalgia. The music is from the 21st century (not so far off anymore), yet viewed from the perspective of a music historian of an even later time. It's like catching a glimpse of the degradation of a CD-R of mind-blowing music from the future, with the sonic glitches and drop-outs not being intentional but part of the decay process over the years. Confusing. His other two releases, one split CD each with labelmates Lesser (my bandmate/mentor/best friend) and Omnibot , are outward extensions of what's found on his first release. The LSR/ KID-606 CD travels a more pounding, rhythmic route, whereas the Omnibot release, (not my most inspired moments, some from when I was 16), while keeping with an aggressive rhythm, travels a harsher, crunchier route, and ends in a cacophony of white noise. Kid 606, a.k.a. Tigerboy, Scsi Bear, Ariel, Compact Digital Audio, and 1/3 of Disc with Matmos and Jay Lesser, is set to unleash a bunch of new tracks and remixes for labels Vinyl Communications, Alien8, and more . The Kid was nice enough to engage in an interview via email with Grooves. Grooves: Wassup with the titling on your releases? They seem to be really personal. Kid 606: Absolutely, most definitely. I get all personal with song titles, because if I wrote poetry, I would feel extremely troubled! I am very sensitive, and to quote the Big Worm (who was the big fat drug dealer/ice cream truck driver) from Ice Cube's marvelous epic movie Friday, I don't like people messing with my emotions. Pretty much the only way I know of venting or at least thinking I am getting something off my chest is by getting all Bukowski on the song titles. All my song titles are about experiences and mainly about being young (and dumb!) and weird relationships. I also like them to not ever have a chance of showing up on another artist's record, especially since I am super against different artists using song titles over and over again (examples: lies, fire, pain, despair, red, love), so... Grooves: Are you trying to excise demons with tracks like Fuck off Sarah or trying to convey a message/emotion, or am I reading way too deep? Kid 606: You can definitely never read too deep into any song title or liner note on anything I do. Lots of musicians just use random things and expect or hope people to attach meaning to them or have it just be vague, but absolutely everything I do has intricately planned and carefully placed messages or emotions I am trying to convey. I kind of think I get way too obsessive about it and am weirding out people (definitely myself!), but I am pretty sure most listeners don't even notice or care. It's also a comment on how electronic music has almost done away with the need for song titles, and they might as well be numbers that carry no meaning to people and just signify the order which they are in. I feel rebellious having a song title that has deep personal meaning when the music is just me trying to figure out how to make a beat sound as fucked as possible and have no bassline or something. I have had people tell me that think a certain song title means something to them or they think it is really funny every
Re: [_arc.hive_] NEW [N]+Semble MP3 Album
Hmmm, has anybody here ever tried a Theremin? Moog used to make a MIDI-compatible one, two. Sound... Best, Kamen On 19/12/2005, at 6:58, Alan Sondheim wrote: Re the first paragraph, my apologies as well; we're going to Utah tomorrow and I'm a bit tense, also feeling physically ill. - Needless to say I agree with you. I also think there are things like the old Casio midi sax - you blew into it, and so there's all sorts of possibilties for interfacing. Most Midi people though use keyboards; they can be taylored (misspelling but it's a great pun!), but the tendency is of course towards either cleanliness or controlled/chaotic noise... Then there's granular synthesis which seems something else utterly different and exciting - Alan On Sun, 18 Dec 2005, mwp wrote: (Thanks for the clarification, AS. I sometimes tend to read an implied hostility into people’s writings where it is not intended, as I am sure they sometimes unintendedly read it into mine. I’m very tense tonight for some reason. Sorry if I overreacted.) My short, silly list was meant to apply to written compositional variables, or to switches on a foot pedal for live performance. For instance, you want a particular passage you are playing on a MIDI instrument to sound breathy, you press the ctrl-B button on the pedal. Crude, simple stuff, like a guitarist has with fuzzboxes, wahs, etc. only more localized and nuanced in the effect. I don’t think that an Ayler of today would feel too deprived of his “black spirituality” if he was playing a MIDI instrument of sampled sounds. He simply would find workarounds to create the effects he wanted, and while he wouldn't be the Ayler we know and love, he still would sound marvelously human. Look at somebody like Sun Ra, who was playing a clunky old DX7 when I saw him a few times. I don’t think that the rise of session players using digital instruments has much to do with the coldness of today’s music, as there were plenty of cold, boring session players working in places like Hollywood and Tin Pan Alley many decades before there were commercial digital music programs and instruments. I see today’s “coldness” has as much to do with a basic shift in attitude towards performance, -- from an existential “being-in-the-world” attitude, such as you described so well, to a more aloof, canned one that you get in rap, raves, etc. I don’t see the latter necessarily as a musical regression of any kind, or as a diminishment in music’s spirituality. If that causes Ayler to spin in his grave, well, every new generation has that effect on its elders! I haven't addressed your point about live vs computer at all, even though it was fundamental to what you were saying, because I basically agree with you and see nothing to add. m being preposterously verbose, as always, and now I will shut up and go into a long self-imposed glottal hibernation... On Dec 18, 2005, at 8:46 PM, Alan Sondheim wrote: On Sun, 18 Dec 2005, mwp wrote: [Arggh, I feel the hostility meter starting to flutter into the red… If that’s the case, I’m outta here.] No hostility intended. Don’t know why such a list of commands wouldn’t cut it to bring some sense of life to a piece. Composers use such notations all the time to indicate precisely what they need from performers, and Talan M’s work is a composition, not a performance, however much he may intend it to sound “performed.” And there’s no reason these controls couldn’t be implemented live in real time with foot pedals or something, so there’s plenty of room for overlap between composition and performance. It may well bring life into a piece. That's not what I was on about; of course I agree with you here. I don’t believe improvisation can ever be totally in the “moment.” Improvisors are always recycling and borrowing from buried experience and spinning motifs, etc. The idea of the mind as blank slate creating order out of nothingness just doesn’t “cut it” for me. No one ever said improvisation came out of a blank slate; of course it doesn't. But it is in real time, and all that recycling etc. - more important where you are in the piece - can't be a second-take; what you do then is what you get. And there's no 'nothingness' - there are chops and what you're doing. There's a whole politics behind this, which Ayler and New Thing music in general came out of. It came out of the black revolution of the 60s as well, and the rhetoric around it was part of it; with people like Baraka it entered linguistically into the pieces as well. And this politics was connected with notions of black soul, black body, black spirituality, even the black church. At least for myself, I can't put this aside. In other words improvisation - being-live-in-performances was _inherently_ part of the music of these musicians. And by ctl doesn't cut it, what I meant was, take your
Re: [_arc.hive_] NEW [N]+Semble MP3 Album
Alan? He not real, man. He one of them secret MIT AI Lab experiments from back then in the 1960s. Ya thought AI was a bluff, didnt'ya? Well, Alan, he's one of *them*. Mark V. Shaney was only a prototype. A rather dumb prototype. But Alan? The Alan Sondheim project was for real. But, I mean, he not real. The pictures? Ah, boy, never used one of them digital imaging tools, have ya? Alan is a collective intelligence agent. He scans, reads in, analyses the Net and spews back the results. Look at the timing of his posts. Does he ever sleep? Sleep? Well, occasionally the sysadmin adjusts his nice value. Otherwise, he's there. No, he's here. Best (sorry, been drinking) Kamen On 19/12/2005, at 17:44, Steve Dalachinsky wrote: alan do yo ever slow down like a cronenberg film you are waht you eat is that machine attached to you computer dialisis y
Re: [_arc.hive_] NEW [N]+Semble MP3 Album
On 20/12/2005, at 18:45, mIEKAL aND wrote: Just got my son one of Moog's Theremins for his birthday it was really hard to part with it, what a blast to play, it worked really well for communicating with my parrots. An Etherwave? They're cool. I'm thinking of one of those spare parts kits they sell you (for more or less the same price). I just feel like welding things together. It's nice. The Ethervox (no longer produced) was the one with MIDI connectivity. I got a toy one as a birthday present from my girlfriend (a musician here in Madrid makes them as a hobby). I real pain to tune and adjust, but, indeed, hard to part with at any time of the day. Your parrots? I'm sure your son won't mind sharing it with you. Best, Kamen ~mIEKAL On Dec 20, 2005, at 5:10 AM, Kamen Nedev wrote: Hmmm, has anybody here ever tried a Theremin? Moog used to make a MIDI-compatible one, two. Sound... Best, Kamen On 19/12/2005, at 6:58, Alan Sondheim wrote: Re the first paragraph, my apologies as well; we're going to Utah tomorrow and I'm a bit tense, also feeling physically ill. - Needless to say I agree with you. I also think there are things like the old Casio midi sax - you blew into it, and so there's all sorts of possibilties for interfacing. Most Midi people though use keyboards; they can be taylored (misspelling but it's a great pun!), but the tendency is of course towards either cleanliness or controlled/chaotic noise... Then there's granular synthesis which seems something else utterly different and exciting - Alan On Sun, 18 Dec 2005, mwp wrote: (Thanks for the clarification, AS. I sometimes tend to read an implied hostility into people’s writings where it is not intended, as I am sure they sometimes unintendedly read it into mine. I’m very tense tonight for some reason. Sorry if I overreacted.) My short, silly list was meant to apply to written compositional variables, or to switches on a foot pedal for live performance. For instance, you want a particular passage you are playing on a MIDI instrument to sound breathy, you press the ctrl-B button on the pedal. Crude, simple stuff, like a guitarist has with fuzzboxes, wahs, etc. only more localized and nuanced in the effect. I don’t think that an Ayler of today would feel too deprived of his “black spirituality” if he was playing a MIDI instrument of sampled sounds. He simply would find workarounds to create the effects he wanted, and while he wouldn't be the Ayler we know and love, he still would sound marvelously human. Look at somebody like Sun Ra, who was playing a clunky old DX7 when I saw him a few times. I don’t think that the rise of session players using digital instruments has much to do with the coldness of today’s music, as there were plenty of cold, boring session players working in places like Hollywood and Tin Pan Alley many decades before there were commercial digital music programs and instruments. I see today’s “coldness” has as much to do with a basic shift in attitude towards performance, -- from an existential “being-in-the-world” attitude, such as you described so well, to a more aloof, canned one that you get in rap, raves, etc. I don’t see the latter necessarily as a musical regression of any kind, or as a diminishment in music’s spirituality. If that causes Ayler to spin in his grave, well, every new generation has that effect on its elders! I haven't addressed your point about live vs computer at all, even though it was fundamental to what you were saying, because I basically agree with you and see nothing to add. m being preposterously verbose, as always, and now I will shut up and go into a long self-imposed glottal hibernation... On Dec 18, 2005, at 8:46 PM, Alan Sondheim wrote: On Sun, 18 Dec 2005, mwp wrote: [Arggh, I feel the hostility meter starting to flutter into the red… If that’s the case, I’m outta here.] No hostility intended. Don’t know why such a list of commands wouldn’t cut it to bring some sense of life to a piece. Composers use such notations all the time to indicate precisely what they need from performers, and Talan M’s work is a composition, not a performance, however much he may intend it to sound “performed.” And there’s no reason these controls couldn’t be implemented live in real time with foot pedals or something, so there’s plenty of room for overlap between composition and performance. It may well bring life into a piece. That's not what I was on about; of course I agree with you here. I don’t believe improvisation can ever be totally in the “moment.” Improvisors are always recycling and borrowing from buried experience and spinning motifs, etc. The idea of the mind as blank slate creating order out of nothingness just doesn’t “cut it” for me. No one ever said improvisation came out of a blank slate; of course it doesn't. But it is in real time
Re: [_arc.hive_] NEW [N]+Semble MP3 Album
The band was a bit before my time, but everytime anyone mentions the Theremin, they pop up, so they must have been really interesting. On 20/12/2005, at 19:59, David-Baptiste Chirot wrote: oh yes--i had a friend who had a Theremin and have tried it--many times, years ago-- does anyone remember the band Lothar and the Hand People? they used a Theremin- there is a video of a documentary on Theremin--it was on PBS Tv in the middlle 1990s--you may easily find--(they had it at Blockbuster last time i was in there--) From: Kamen Nedev [EMAIL PROTECTED] Reply-To: WRYTING-L : Writing and Theory across Disciplines WRYTING-L@LISTSERV.UTORONTO.CA To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: Re: [_arc.hive_] NEW [N]+Semble MP3 Album Date: Tue, 20 Dec 2005 12:10:08 +0100 Hmmm, has anybody here ever tried a Theremin? Moog used to make a MIDI-compatible one, two. Sound... Best, Kamen On 19/12/2005, at 6:58, Alan Sondheim wrote: Re the first paragraph, my apologies as well; we're going to Utah tomorrow and I'm a bit tense, also feeling physically ill. - Needless to say I agree with you. I also think there are things like the old Casio midi sax - you blew into it, and so there's all sorts of possibilties for interfacing. Most Midi people though use keyboards; they can be taylored (misspelling but it's a great pun!), but the tendency is of course towards either cleanliness or controlled/chaotic noise... Then there's granular synthesis which seems something else utterly different and exciting - Alan On Sun, 18 Dec 2005, mwp wrote: (Thanks for the clarification, AS. I sometimes tend to read an implied hostility into people’s writings where it is not intended, as I am sure they sometimes unintendedly read it into mine. I’m very tense tonight for some reason. Sorry if I overreacted.) My short, silly list was meant to apply to written compositional variables, or to switches on a foot pedal for live performance. For instance, you want a particular passage you are playing on a MIDI instrument to sound breathy, you press the ctrl-B button on the pedal. Crude, simple stuff, like a guitarist has with fuzzboxes, wahs, etc. only more localized and nuanced in the effect. I don’t think that an Ayler of today would feel too deprived of his “black spirituality” if he was playing a MIDI instrument of sampled sounds. He simply would find workarounds to create the effects he wanted, and while he wouldn't be the Ayler we know and love, he still would sound marvelously human. Look at somebody like Sun Ra, who was playing a clunky old DX7 when I saw him a few times. I don’t think that the rise of session players using digital instruments has much to do with the coldness of today’s music, as there were plenty of cold, boring session players working in places like Hollywood and Tin Pan Alley many decades before there were commercial digital music programs and instruments. I see today’s “coldness” has as much to do with a basic shift in attitude towards performance, -- from an existential “being-in-the-world” attitude, such as you described so well, to a more aloof, canned one that you get in rap, raves, etc. I don’t see the latter necessarily as a musical regression of any kind, or as a diminishment in music’s spirituality. If that causes Ayler to spin in his grave, well, every new generation has that effect on its elders! I haven't addressed your point about live vs computer at all, even though it was fundamental to what you were saying, because I basically agree with you and see nothing to add. m being preposterously verbose, as always, and now I will shut up and go into a long self-imposed glottal hibernation... On Dec 18, 2005, at 8:46 PM, Alan Sondheim wrote: On Sun, 18 Dec 2005, mwp wrote: [Arggh, I feel the hostility meter starting to flutter into the red If that’s the case, I’m outta here.] No hostility intended. Don’t know why such a list of commands wouldn’t cut it to bring some sense of life to a piece. Composers use such notations all the time to indicate precisely what they need from performers, and Talan M’s work is a composition, not a performance, however much he may intend it to sound “performed.” And there’s no reason these controls couldn’t be implemented live in real time with foot pedals or something, so there’s plenty of room for overlap between composition and performance. It may well bring life into a piece. That's not what I was on about; of course I agree with you here. I don’t believe improvisation can ever be totally in the “moment.” Improvisors are always recycling and borrowing from buried experience and spinning motifs, etc. The idea of the mind as blank slate creating order out of nothingness just doesn’t “cut it” for me. No one ever said improvisation came out of a blank slate; of course it doesn't. But it is in real time, and all
Re: text from Miami University (Ohio) performance tonight:
This is brilliant. I've always been intrigued by the relationship between 'live' art or performance and performative text. Unfortunately, I never found a decent way to tackle it. I remember trying to introduce a conflict between performance documentation and the live act itself, but both strata just kept pulling things apart. Come to think of it, maybe I should have just accepted the 'pulling apart' and tried to let it find its own way. OK, I'm just babbling. Best, Kamen On 02/12/2005, at 5:55, Alan Sondheim wrote: text from Miami University (Ohio) performance tonight: Once We begin we march to our deaths yes yes we do or or do we do we march to our death? Is our death collective? Universal? One or many? I'm sorry I'm much better at sound than visual. No wait I meant to say much better at ... not at writing ... I'm much better not at writing. Wait, you have to see this. But I'm not so good at thinking. How does one do something at writing or something at thinking? Excuse me, I'm cold; my clothes are lost in a suitcase somewhere outside Chicago.You're early, we're running tests here, although the performance won't be all that different. If you look for about ten minutes you'll have had enough and then you can leave and make room for the lines of people outside. Signed, Henry Potter. Man tries to climb so high and then He falls and falls ALAS Man likes to fire off his Thing ALAS This is me playing a waltz. That was me stopping a waltz. This is Anja Schmidt. This is me and Sandy Baldwin discussing the phenomenological distinction between analog and digital. This is me and Sandy Baldwin flying through the air across the river in New Jersey (from New York). We can fly. I should tell you the performance won't be any different from what you're seeing now, honestly. I might be a bit more nervous, that's all. Graphics are graphics. Well, anyway these were done around the time of the scandal over the Abu Gharayb prison in Iraq. And some of the guards involved in that, they were from West Virginia. And this was produced near the area where the guards, some of them, were from. So it was natural for me to work with disturbed, torn bodies - here's another one - you might have already seen this last night - I'm supposed to start in six minutes but this is only forty seconds long! I've used up all my material! FUCK! Maybe you'd like to hear a kid screaming. This kid from West Virginia can do this! I can't. I don't know how he does it. His family doesn't encourage him. You just can't get enough of screaming kids! Think positive, think MARTHA STEWART! (Have you seen Wednesday's The Apprentice? I had to show this stuff instead. I don't know who got kicked off. Pleas see me later and letme know.) - on the right, one of the major scenes of car wrecks in Orange County California. That curve sneaks up on you! Ok, me, age fourteen. I knew a girl. I fell for her. More of the West Virginia work. Somewhere between avatars and shamans and the torture at Abu Gharayb there lies a whole politics. I can't tell you the politicxs but I can tell you this/ These figures were animated by using motion graphics - a motion graphic device - by messing with the mapping of the sensors that are placed on the body - rearranging them - just as figures are rearranged in torture - just as torture (and Merce Cunningham for another example) pays little attention to the natural attitudes of the body. So the body - with the motion sensor stuff - was divided and splayed and redivied and the result is a remapping back on to bodies that makes little sense but for a kind of emotional economy (TURN AWAY YOU MIGHT NOT WANT TO SEE THIS BLUSH!) Instead of being introduced, think of this as an introduction: MY NAME IS ALAN SONDHEIM AND I AM NOT ON MY MEDICATION !! !!!WWELL, hmm, that's enough of that... See, what happened, my baggage was lost by American Airlines (PLEASE KILL AMERICAN AIRLINES BURN THEM IN HELL HAHAHAHHAHAHHAHHHZ) and so I'm working without my PLENIPOTENTIARIES - part of what I'm doing, trying to control these images - so they make some sort of sense - at times they seem to take over, take control - I'm wll aware of the sexuality/politics of the images, I'm not imagining things...I'm spoiling things, this is the grand finale and it's hardly just started. Terrific, so much stuff to look at. I'll try and tell yo what's here - the antenna movie in the upper left - searching for places to set up low frequency radio antennas - they need to be away from civilization - in the wilderness away from power lines - the recordings you're hearing are fromm the radio somewhat modified - then the category of natural/industrial - two films going through my images trying to find those which fit (I think ) into oene or another - I've got two naturals running, gotta tkae one out - Let's listen to the kids. Okay it's like this, THE KIDS ARE
cicatrices
C I C A TUS R I C D E BESOS JCICATRICES N
script
l Pete wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'.l Tip of TongueA blue-painted room, bare of furniture, with a corridor leading east. You can see Susan and Marvin here. Pete strolls in from the Back of Mind and breaks out crying. Marvin wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'. weather man strolls in from the Back of Mind and breaks out crying. Ralph strolls in from the Back of Mind and breaks out crying. Susan wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'. Ralph wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'.x meAs good-looking as ever. talk Ralph strolls in from the Back of Mind and breaks out crying.talkt o marvinThat's not a verb I recognise. George strolls in from the Back of Mind and breaks out crying.talkt o marvin George wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'.talkt o marvin Ralph wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'.talkt o marvin Susan strolls in from the Back of Mind and breaks out crying.talkt o marvin weather man wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'.talkt o marvinThat's not a verb I recognise. Susan wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'. Pete wanders off into the Back of Mind screaming 'I've lost it, I've lost it!!!'. George strolls in from the Back of Mind and breaks out crying. Ralph strolls in from the Back of Mind and breaks out crying.e Back of MindA red-painted room, bare of furniture, with a corridor leading west. You can see Pete, Susan, weather man and Marvin here. Ralph strolls in from the Tip of Tongue and breaks out crying. Marvin wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'. weather man wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'. weather man strolls in from the Tip of Tongue and breaks out crying.treecompass (6) the north wall the south wall the east wall the west wall the northeast wall the northwest wall the southeast wall the southwest wall the ceiling the floor the outside the insideDarkness (19) (Inform Parser) (21) (Inform Library) (22) (LibraryMessages) (23) Tip of Tongue (25) Marvin GeorgeBack of Mind (29) weather man Ralph yourself Pete Susan Marvin strolls in from the Tip of Tongue and breaks out crying.putloi Susan wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'. George strolls in from the Tip of Tongue and breaks out crying.purk weather man wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'.purloi weather man strolls in from the Tip of Tongue and breaks out crying.purloin susanYou can't see any such thing. purloin susan Marvin wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'.purloin susa Pete wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'. weather man wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'.purloin SusanYou can't see any such thing. weather man strolls in from the Tip of Tongue and breaks out crying. George wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'.purloin S Susan strolls in from the Tip of Tongue and breaks out crying.purloin M Ralph wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'.purloin MarvinYou can't see any such thing. Pete strolls in from the Tip of Tongue and breaks out crying. Marvin strolls in from the Tip of Tongue and breaks out crying.purloin lightYou can't see any such thing. Pete wanders off into the Tip of Tongue screaming 'I've lost it, I've lost it!!!'. Pete strolls in from the Tip of Tongue and breaks out crying.qAre you sure you want to quit? y
Re: layers
On 9/28/05, Dan Waber [EMAIL PROTECTED] wrote: layers layers layers layers layers
come come elucidate your thoughts
I am the psychotherapist. Please, describe your problems. Each time you arefinished talking, type RET twice. Hi! I'm Eliza. What's your problem? How do you do? What brings you to see me? Why do you say what brings me to see you? Why do you ask? Is it because do I ask that you came to me? We were discussing you--not me. Earlier you said do I ask? Oh, i said do you ask. Maybe your plans have something to do with this. You don't seem quite certain. Is it because of your life that you say I do not seem quite certain? Why are you concerned about my life that I say you do not seem quite certain? Does it bother you that are me concerned about your life that you say I do notseem quite certain? You're not really talking about me, are you? You mentioned that do I ask? We were discussing you--not me. Is it because of the people you hang around with that you are going through allthis? Oh, i hang around with that I am going through allthis. When did you first know that you are going through all this? Does that question interest you? Is the fact that question interest me the real reason? Say, do you have any psychological problems? What makes you believe say do I have any psychological problems? What answer would please you the most? Are you sure that are me concerned about your life that you say I do not seemquite certain? Why are you interested in whether or not I am sure that am you concerned about my life that I say you do not seemquite certain? Does the fact that are me interested in whether or not you are sure that am meconcerned about your life that you say I do not seem quite certain explainanything else? What makes you think I am sure that am meconcerned about your life that you say ix? Are you sure am you concerned about my life that I say ix? Would you prefer if I were not sure are I concerned about your life that you say ix? Is it because I say ix that you came to me? You're not really talking about me, are you? How do you reconcile problems at school? What do you think? Is it because of any hobbies you have that you say what do I think? We were discussing you--not me. Earlier you said do I ask? Oh, i said do you ask. Perhaps this has something to do with your sex life? What about your own sex life? Have you been afraid of sex? Have you been afraid of sex? I would appreciate it if you would watch your tongue! We were discussing you--not me. Do you really think you were discussing me not you? Oh, i really think I was discussing you not I. You mentioned that you are going through all this? You're not really talking about me, are you? Possibly hangups you have are related to this. We were discussing you--not me. Is it because of your inhibitions that you say you were discussing me not you? Why are you concerned about my inhibitions that I say I was discussing you not I? Are you annoyed that are me concerned about your inhibitions that you say youwere discussing me not you? Perhaps in your fantasies I am annoyed that am you concerned about my inhibitions that I say Iwas discussing me not you. Have you been annoyed often? Oh, i been annoyed often. What causes you to be annoyed? Are such questions on your mind often? Why do you say question interest me? What is it that you really want to know? know what ? What makes you believe I might want to know know? Have you asked anyone else? Is it because of some problems in your childhood that you are going through allthis? What about your own childhood that I am going through allthis? When did you first know that you are going through all this? Have you asked such questions before? Are you sure that have I asked such questions before? Why are you interested in whether or not I am sure that have you asked such questions before? Is the fact that are me interested in whether or not you are sure that have Iasked such questions before the real reason? Does it please you to believe I am sure that have iasked such questions before the real reasx? Does the fact that have you asked such questions before the real reasx explainanything else? You're not really talking about me, are you? Earlier you said are me concerned about your life that you say I do not seemquite certain? We were discussing you--not me. How do you reconcile some problems at home? What else comes to mind when you ask that? What happened when I ask that? Why do you ask? Are you positive do I ask? Would you prefer if I were not positive do you ask? Do you really think that? Oh, i really think that.
Re: as when I sleep most free of the adverbial
This is really nice, Sheila _ a long, sweeping landscape in permanent movement. Hadn't read the list for a while (a couple of years?). This sounds different. Best, Kamen On 9/22/05, Sheila Murphy [EMAIL PROTECTED] wrote: the adages themselves grow tanned to pax hominibusthen sung things loiter. are you anywhere near morning (watch me drift to) lorca situ pacing floorspace if Ileverage siftlike reason as a way of confiscatingscenery itself.these ball peen flings turn almighty overtones intodefinite articles thus ice the Thames not near I desertly inform my gentlers that the eastpace glowswhen only an endorphin set could liven rifts.go on and poach the daylights out of synchrony. I'mruned right where I'm planted where the blinds slant up to help each visual retrieve metonymistencumbrances. unless less tidy daytime rings into ahelpmeet sensory induction.
come come elucidate your thoughts
I am the psychotherapist. Please, describe your problems. Each time you arefinished talking, type RET twice. Hi! I'm Eliza. What's your problem? How do you do? What brings you to see me? Why do you say what brings me to see you? Why do you ask? Is it because do I ask that you came to me? We were discussing you--not me. Earlier you said do I ask? Oh, i said do you ask. Maybe your plans have something to do with this. You don't seem quite certain. Is it because of your life that you say I do not seem quite certain? Why are you concerned about my life that I say you do not seem quite certain? Does it bother you that are me concerned about your life that you say I do notseem quite certain? You're not really talking about me, are you? You mentioned that do I ask? We were discussing you--not me. Is it because of the people you hang around with that you are going through allthis? Oh, i hang around with that I am going through allthis. When did you first know that you are going through all this? Does that question interest you? Is the fact that question interest me the real reason? Say, do you have any psychological problems? What makes you believe say do I have any psychological problems? What answer would please you the most? Are you sure that are me concerned about your life that you say I do not seemquite certain? Why are you interested in whether or not I am sure that am you concerned about my life that I say you do not seemquite certain? Does the fact that are me interested in whether or not you are sure that am meconcerned about your life that you say I do not seem quite certain explainanything else? What makes you think I am sure that am meconcerned about your life that you say ix? Are you sure am you concerned about my life that I say ix? Would you prefer if I were not sure are I concerned about your life that you say ix? Is it because I say ix that you came to me? You're not really talking about me, are you? How do you reconcile problems at school? What do you think? Is it because of any hobbies you have that you say what do I think? We were discussing you--not me. Earlier you said do I ask? Oh, i said do you ask. Perhaps this has something to do with your sex life? What about your own sex life? Have you been afraid of sex? Have you been afraid of sex? I would appreciate it if you would watch your tongue! We were discussing you--not me. Do you really think you were discussing me not you? Oh, i really think I was discussing you not I. You mentioned that you are going through all this? You're not really talking about me, are you? Possibly hangups you have are related to this. We were discussing you--not me. Is it because of your inhibitions that you say you were discussing me not you? Why are you concerned about my inhibitions that I say I was discussing you not I? Are you annoyed that are me concerned about your inhibitions that you say youwere discussing me not you? Perhaps in your fantasies I am annoyed that am you concerned about my inhibitions that I say Iwas discussing me not you. Have you been annoyed often? Oh, i been annoyed often. What causes you to be annoyed? Are such questions on your mind often? Why do you say question interest me? What is it that you really want to know? know what ? What makes you believe I might want to know know? Have you asked anyone else? Is it because of some problems in your childhood that you are going through allthis? What about your own childhood that I am going through allthis? When did you first know that you are going through all this? Have you asked such questions before? Are you sure that have I asked such questions before? Why are you interested in whether or not I am sure that have you asked such questions before? Is the fact that are me interested in whether or not you are sure that have Iasked such questions before the real reason? Does it please you to believe I am sure that have iasked such questions before the real reasx? Does the fact that have you asked such questions before the real reasx explainanything else? You're not really talking about me, are you? Earlier you said are me concerned about your life that you say I do not seemquite certain? We were discussing you--not me. How do you reconcile some problems at home? What else comes to mind when you ask that? What happened when I ask that? Why do you ask? Are you positive do I ask? Would you prefer if I were not positive do you ask? Do you really think that? Oh, i really think that.
Re: clarification
Hmmm, what about gorilla warfare, then? K On 9/17/05, Ana Buigues [EMAIL PROTECTED] wrote: -gorila: es un tipo de simio.-gorrilla: es un indigente que se coloca una gorra y pretende ayudar al conductor a encontrar unsitio para aparcar, buscando una propina.-guerrilla: grupo de luchadores organizados, que no pertenecen a un ejercitooficial de un país. Dictionary.comA list of the pronunciation symbols used in this Dictionary is given belowin the column headed AHD. The column headed EXAMPLES contains words chosen to illustrate how the AHD symbols are pronounced. The letters thatcorrespond in sound to the AHD symbols are shown in boldface. Althoughsimilar, the AHD and IPA (International Phonetic Alphabet) symbols are not precisely the same because they were conceived for different purposes.EXAMPLESAHD EXAMPLESAHDpat bootpay out oucareârpop p fatherä roarrbib b sauce schurchchship, dishshdeed, milledd tight, stoppedtpet thinthbee thisth fife, phase, roughf cutgag g urge, term, firm, word, heard ûrhat h valve vwhich hwwithwpit yes y pie, by zebra, xylemzpierîrvision, pleasure, garagezhjudge j about, item, edible, gallop, circuskick, cat, piquek butterr lid, needle*l (nd'l)mum mno, sudden* n (sd'n)thing ngpot FOREIGN AHDtoe French feu, German schönFrench oeuf, German zwölfcaught, paw, for, horrid, hoarse**ô French tu, German überü noise oiGerman ich, German ach, Scottish lochtookFrench bon (bô)In English the consonants l and n often constitute complete syllables bythemselves.**Regional pronunciations of -or- vary. In pairs such as for, four; horse, hoarse; and morning, mourning, the vowel varies between (ô) and (). In thisDictionary these vowels are represented as follows: for (fôr), four (fôr,fr); horse (hôrs), hoarse (hôrs, hrs); and morning (môrning), mourning (môrning, mr-). Other words for which both forms are shown include more,glory, and borne. A similar variant occurs in words such as coral, forest,and horrid, where the pronunciation of o before r varies between (ô) and (). In these words the (ôr) pronunciation is given first: forest (fôrist, fr-).***The Dictionary uses to reflect that the preceding vowel is nasalized. InFrench four nasalized vowels occur, as in the phrase un bon vin blanc: AHD ( bô v blä)The American Heritage DictionaryPronunciation Key
