Your browser lacks required capabilities. Please upgrade it or switch to another to continue.
Loading…
<<masteraudio stop>>
<<if $prosecco is "0">><div class="bigtext">Animations and Noise</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1YJpETzjWdPfV_bkpf35U58hhIkTM4kAs/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''Animations and Noise''
//Animations by Gino Ballantyne performed as hidden QR codes at Analix Forever by://
Laurent Estoppey
Maria Sappho
Brice Catherin
Henry McPherson (telematically)
and Barbara Polla
</div>
<p>I thought I heard text, [[what is being read?->gino]]
Is it a graphic score, is it a graphic language? Where else can I go for more of this? Maybe [[Watching Paint Dry->wpd]] or [[Raymond MacDonald->raymond]]
More [[Laurent Estoppey->endgame live]] , [[Maria Sappho->mariaspace]], [[Brice Catherin ->snow suite]], [[Henry McPherson->babies]]</p><</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Animations and Noise</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1YJpETzjWdPfV_bkpf35U58hhIkTM4kAs/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''Animations and Noise''
//Animations by Gino Ballantyne performed as hidden QR codes at Analix Forever by://
Laurent Estoppey
Maria Sappho
Brice Catherin
Henry McPherson (telematically)
and Barbara Polla
</div>
<p>I thought I heard text, [[what is being read?->gino]]
Is it a graphic score, is it a graphic language? Where else can I go for more of this? Maybe [[Watching Paint Dry->wpd]] or [[Raymond MacDonald->raymond]]
More [[Laurent Estoppey->endgame live]] , [[Maria Sappho->mariaspace]], [[Brice Catherin ->snow suite]], [[Henry McPherson->babies]]</p></div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Animations and Noise</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1YJpETzjWdPfV_bkpf35U58hhIkTM4kAs/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''Animations and Noise''
//Animations by Gino Ballantyne performed as hidden QR codes at Analix Forever by://
Laurent Estoppey
Maria Sappho
Brice Catherin
Henry McPherson (telematically)
and Barbara Polla
</div>
<p>I thought I heard text, [[what is being read?->gino]]
Is it a graphic score, is it a graphic language? Where else can I go for more of this? Maybe [[Watching Paint Dry->wpd]] or [[Raymond MacDonald->raymond]]
More [[Laurent Estoppey->endgame live]] , [[Maria Sappho->mariaspace]], [[Brice Catherin ->snow suite]], [[Henry McPherson->babies]]</p></div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Animations and Noise</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1YJpETzjWdPfV_bkpf35U58hhIkTM4kAs/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''Animations and Noise''
//Animations by Gino Ballantyne performed as hidden QR codes at Analix Forever by://
Laurent Estoppey
Maria Sappho
Brice Catherin
Henry McPherson (telematically)
and Barbara Polla
</div>
<p>I thought I heard text, [[what is being read?->gino]]
Is it a graphic score, is it a graphic language? Where else can I go for more of this? Maybe [[Watching Paint Dry->wpd]] or [[Raymond MacDonald->raymond]]
More [[Laurent Estoppey->endgame live]] , [[Maria Sappho->mariaspace]], [[Brice Catherin ->snow suite]], [[Henry McPherson->babies]]</p></div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Animations and Noise</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1YJpETzjWdPfV_bkpf35U58hhIkTM4kAs/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''Animations and Noise''
//Animations by Gino Ballantyne performed as hidden QR codes at Analix Forever by://
Laurent Estoppey
Maria Sappho
Brice Catherin
Henry McPherson (telematically)
and Barbara Polla
</div>
<p>I thought I heard text, [[what is being read?->gino]]
Is it a graphic score, is it a graphic language? Where else can I go for more of this? Maybe [[Watching Paint Dry->wpd]] or [[Raymond MacDonald->raymond]]
More [[Laurent Estoppey->endgame live]] , [[Maria Sappho->mariaspace]], [[Brice Catherin ->snow suite]], [[Henry McPherson->babies]]</p></div><</if>><<if $prosecco is "5">><div class="bigtext">Animations and Noise</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1YJpETzjWdPfV_bkpf35U58hhIkTM4kAs/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''Animations and Noise''
//Animations by Gino Ballantyne performed as hidden QR codes at Analix Forever by://
Laurent Estoppey
Maria Sappho
Brice Catherin
Henry McPherson (telematically)
and Barbara Polla
</div>
<p>I thought I heard text, [[what is being read?->gino]]
Is it a graphic score, is it a graphic language? Where else can I go for more of this? Maybe [[Watching Paint Dry->wpd]] or [[Raymond MacDonald->raymond]]
More [[Laurent Estoppey->endgame live]] , [[Maria Sappho->mariaspace]], [[Brice Catherin ->snow suite]], [[Henry McPherson->babies]]</p><</if>>
<<if $prosecco is "0">><div class="bigtext">Watching Paint Dry</div>
<div class="placard">//by Mariabrice Sapphocatherin
Performed by Dejana Sekulič + Raymond MacDonald + Colin Frank + Laurent Estoppey + Christophe Schweizer//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1BqywIU9l-6vlR5CSDWX5Mn5NHUgNeXCI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Now you love Mariabrice so much, you want to hear it play. Go to [[Mariabrice’s Pianocello Sonata->mbpiano]].
Now you love Mariabrice so much, you want to see it dance. Go to [[Mariabrice’s Sticker Album For->stickeralbum]].
Now you love Mariabrice so much, you want to make it drink [[Prosecco]].
Now you love Mariabrice so much, you want to read about its previous adventures in [[The Noisebringers’ Samples->novel]].
Now you love Mariabrice so much and this love is so much pressure on your shoulders that you want to focus on something completely unrelated. Go to [[The Ornithologists->orni]].
Now your whole life is about studying Dejana Sekulič’s works. Where will you go first? [[Candle]] or [[Fragment#51->fragment51]] or [[Saadet’s Performance->saadet]]?
Now your whole life is about studying Raymond MacDonald’s works. Where will you go first? [[Hotel Dilettante->raymond]] or [[Theatre of home->home]] or [[Singing in The Hotel Dilettante->raymond]] or [[Glasgow Improvisers Orchestra Live->giolive]]?
Now your whole life is about studying Colin Frank’s works. Where will you go first? [[Rotting Fruit Still Life->rotting]] or [[Anyways]]?
Now your whole life is about studying Laurent Estoppey’s works. Where will you go first? [[Endgame->endgame]] or [[Endgame live->endgame live]]?
Now your whole life is about studying Christophe Schweizer’s works. Where will you go first? [[S:C:O:R:E->score]] or [[Worldwide Anthology->wwanth]]?
Drink a glass of [[Prosecco]].
<</if>>
<<if $prosecco is "1">><div class="blur"><div class="bigtext">Watching Paint Dry</div>
<div class="placard">//by Mariabrice Sapphocatherin
Performed by Dejana Sekulič + Raymond MacDonald + Colin Frank + Laurent Estoppey + Christophe Schweizer//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1BqywIU9l-6vlR5CSDWX5Mn5NHUgNeXCI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Now you love Mariabrice so much, you want to hear it play. Go to [[Mariabrice’s Pianocello Sonata->mbpiano]].
Now you love Mariabrice so much, you want to see it dance. Go to [[Mariabrice’s Sticker Album For->stickeralbum]].
Now you love Mariabrice so much, you want to make it drink [[Prosecco]].
Now you love Mariabrice so much, you want to read about its previous adventures in [[The Noisebringers’ Samples->novel]].
Now you love Mariabrice so much and this love is so much pressure on your shoulders that you want to focus on something completely unrelated. Go to [[The Ornithologists->orni]].
Now your whole life is about studying Dejana Sekulič’s works. Where will you go first? [[Candle]] or [[Fragment#51->fragment51]] or [[Saadet’s Performance->saadet]]?
Now your whole life is about studying Raymond MacDonald’s works. Where will you go first? [[Hotel Dilettante->raymond]] or [[Theatre of home->home]] or [[Singing in The Hotel Dilettante->raymond]] or [[Glasgow Improvisers Orchestra Live->giolive]]?
Now your whole life is about studying Colin Frank’s works. Where will you go first? [[Rotting Fruit Still Life->rotting]] or [[Anyways]]?
Now your whole life is about studying Laurent Estoppey’s works. Where will you go first? [[Endgame->endgame]] or [[Endgame live->endgame live]]?
Now your whole life is about studying Christophe Schweizer’s works. Where will you go first? [[S:C:O:R:E->score]] or [[Worldwide Anthology->wwanth]]?
Drink a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Watching Paint Dry</div>
<div class="placard">//by Mariabrice Sapphocatherin
Performed by Dejana Sekulič + Raymond MacDonald + Colin Frank + Laurent Estoppey + Christophe Schweizer//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1BqywIU9l-6vlR5CSDWX5Mn5NHUgNeXCI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Now you love Mariabrice so much, you want to hear it play. Go to [[Mariabrice’s Pianocello Sonata->mbpiano]].
Now you love Mariabrice so much, you want to see it dance. Go to [[Mariabrice’s Sticker Album For->stickeralbum]].
Now you love Mariabrice so much, you want to make it drink [[Prosecco]].
Now you love Mariabrice so much, you want to read about its previous adventures in [[The Noisebringers’ Samples->novel]].
Now you love Mariabrice so much and this love is so much pressure on your shoulders that you want to focus on something completely unrelated. Go to [[The Ornithologists->orni]].
Now your whole life is about studying Dejana Sekulič’s works. Where will you go first? [[Candle]] or [[Fragment#51->fragment51]] or [[Saadet’s Performance->saadet]]?
Now your whole life is about studying Raymond MacDonald’s works. Where will you go first? [[Hotel Dilettante->raymond]] or [[Theatre of home->home]] or [[Singing in The Hotel Dilettante->raymond]] or [[Glasgow Improvisers Orchestra Live->giolive]]?
Now your whole life is about studying Colin Frank’s works. Where will you go first? [[Rotting Fruit Still Life->rotting]] or [[Anyways]]?
Now your whole life is about studying Laurent Estoppey’s works. Where will you go first? [[Endgame->endgame]] or [[Endgame live->endgame live]]?
Now your whole life is about studying Christophe Schweizer’s works. Where will you go first? [[S:C:O:R:E->score]] or [[Worldwide Anthology->wwanth]]?
Drink a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Watching Paint Dry</div>
<div class="placard">//by Mariabrice Sapphocatherin
Performed by Dejana Sekulič + Raymond MacDonald + Colin Frank + Laurent Estoppey + Christophe Schweizer//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1BqywIU9l-6vlR5CSDWX5Mn5NHUgNeXCI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Now you love Mariabrice so much, you want to hear it play. Go to [[Mariabrice’s Pianocello Sonata->mbpiano]].
Now you love Mariabrice so much, you want to see it dance. Go to [[Mariabrice’s Sticker Album For->stickeralbum]].
Now you love Mariabrice so much, you want to make it drink [[Prosecco]].
Now you love Mariabrice so much, you want to read about its previous adventures in [[The Noisebringers’ Samples->novel]].
Now you love Mariabrice so much and this love is so much pressure on your shoulders that you want to focus on something completely unrelated. Go to [[The Ornithologists->orni]].
Now your whole life is about studying Dejana Sekulič’s works. Where will you go first? [[Candle]] or [[Fragment#51->fragment51]] or [[Saadet’s Performance->saadet]]?
Now your whole life is about studying Raymond MacDonald’s works. Where will you go first? [[Hotel Dilettante->raymond]] or [[Theatre of home->home]] or [[Singing in The Hotel Dilettante->raymond]] or [[Glasgow Improvisers Orchestra Live->giolive]]?
Now your whole life is about studying Colin Frank’s works. Where will you go first? [[Rotting Fruit Still Life->rotting]] or [[Anyways]]?
Now your whole life is about studying Laurent Estoppey’s works. Where will you go first? [[Endgame->endgame]] or [[Endgame live->endgame live]]?
Now your whole life is about studying Christophe Schweizer’s works. Where will you go first? [[S:C:O:R:E->score]] or [[Worldwide Anthology->wwanth]]?
Drink a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Watching Paint Dry</div>
<div class="placard">//by Mariabrice Sapphocatherin
Performed by Dejana Sekulič + Raymond MacDonald + Colin Frank + Laurent Estoppey + Christophe Schweizer//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1BqywIU9l-6vlR5CSDWX5Mn5NHUgNeXCI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Now you love Mariabrice so much, you want to hear it play. Go to [[Mariabrice’s Pianocello Sonata->mbpiano]].
Now you love Mariabrice so much, you want to see it dance. Go to [[Mariabrice’s Sticker Album For->stickeralbum]].
Now you love Mariabrice so much, you want to make it drink [[Prosecco]].
Now you love Mariabrice so much, you want to read about its previous adventures in [[The Noisebringers’ Samples->novel]].
Now you love Mariabrice so much and this love is so much pressure on your shoulders that you want to focus on something completely unrelated. Go to [[The Ornithologists->orni]].
Now your whole life is about studying Dejana Sekulič’s works. Where will you go first? [[Candle]] or [[Fragment#51->fragment51]] or [[Saadet’s Performance->saadet]]?
Now your whole life is about studying Raymond MacDonald’s works. Where will you go first? [[Hotel Dilettante->raymond]] or [[Theatre of home->home]] or [[Singing in The Hotel Dilettante->raymond]] or [[Glasgow Improvisers Orchestra Live->giolive]]?
Now your whole life is about studying Colin Frank’s works. Where will you go first? [[Rotting Fruit Still Life->rotting]] or [[Anyways]]?
Now your whole life is about studying Laurent Estoppey’s works. Where will you go first? [[Endgame->endgame]] or [[Endgame live->endgame live]]?
Now your whole life is about studying Christophe Schweizer’s works. Where will you go first? [[S:C:O:R:E->score]] or [[Worldwide Anthology->wwanth]]?
Drink a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "5">><div class="bigtext">Watching Paint Dry</div>
<div class="placard">//by Mariabrice Sapphocatherin
Performed by Dejana Sekulič + Raymond MacDonald + Colin Frank + Laurent Estoppey + Christophe Schweizer//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1BqywIU9l-6vlR5CSDWX5Mn5NHUgNeXCI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Now you love Mariabrice so much, you want to hear it play. Go to [[Mariabrice’s Pianocello Sonata->mbpiano]].
Now you love Mariabrice so much, you want to see it dance. Go to [[Mariabrice’s Sticker Album For->stickeralbum]].
Now you love Mariabrice so much, you want to make it drink [[Prosecco]].
Now you love Mariabrice so much, you want to read about its previous adventures in [[The Noisebringers’ Samples->novel]].
Now you love Mariabrice so much and this love is so much pressure on your shoulders that you want to focus on something completely unrelated. Go to [[The Ornithologists->orni]].
Now your whole life is about studying Dejana Sekulič’s works. Where will you go first? [[Candle]] or [[Fragment#51->fragment51]] or [[Saadet’s Performance->saadet]]?
Now your whole life is about studying Raymond MacDonald’s works. Where will you go first? [[Hotel Dilettante->raymond]] or [[Theatre of home->home]] or [[Singing in The Hotel Dilettante->raymond]] or [[Glasgow Improvisers Orchestra Live->giolive]]?
Now your whole life is about studying Colin Frank’s works. Where will you go first? [[Rotting Fruit Still Life->rotting]] or [[Anyways]]?
Now your whole life is about studying Laurent Estoppey’s works. Where will you go first? [[Endgame->endgame]] or [[Endgame live->endgame live]]?
Now your whole life is about studying Christophe Schweizer’s works. Where will you go first? [[S:C:O:R:E->score]] or [[Worldwide Anthology->wwanth]]?
Drink a glass of [[Prosecco]].
<</if>><<if $prosecco is "0">><div class="bigtext">Endgame Live</div>
It is 1844 in Japan. You are one of the thirteen Noisebringers. You just crossed the mountains and reached Ochiai to fight and defeat the evil Lord Matsudaira Naritsugu of Akashi. You are a fantastic improviser and a great warrior but you get easily distracted. As Naritsugu’s men attack on their (literally) high horses, you briefly glimpse the chin of one of them. It is shaped like the chin of one of your former lovers, who, herself, reminded you of Laurent Estoppey. These were too many thoughts for the battlefield. Already a spear has traversed your heart. Actually a fair part of this organ is now at the tip of the spear, some thirty centimetres behind your rib cage. During your last breath, you first smile because you remember a joke, and then you think ‘oh but Laurent could do a live version of his Endgame installation’. This thought travels and reaches 2021 Laurent Estoppey. He does it, thinking it was his own idea. You have been dead for one hundred and seventy-seven years.
<div class="placard">Endgame live
//Laurent Estoppey//
<div class="centred"><iframe src="https://drive.google.com/file/d/10WQRosH_v7oeHytbP2uLNFOpxLnb7S0M/preview" width="1080" height="720" allow="autoplay"></iframe></div></div>
Wait, you are not sure what happened in 1844 in Japan. You’ve been suffering from memory loss since you died. Go read about it in [[The Noisebringers Samples->novel]].
Wait, you are not sure what Endgame is any more. You’ve been suffering from memory loss since you died. Go check it out on the [[Endgame->endgame]] page.
Wait, you are not sure which former lover you are referring to exactly. You’ve been suffering from memory loss since you died. Go find her portrait in [[Rhododendron Normal->rn]].
Wait, you are not sure what [[Prosecco]] is any more. You’ve been suffering from memory loss since you died. Have a glass of it.<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Endgame Live</div>
It is 1844 in Japan. You are one of the thirteen Noisebringers. You just crossed the mountains and reached Ochiai to fight and defeat the evil Lord Matsudaira Naritsugu of Akashi. You are a fantastic improviser and a great warrior but you get easily distracted. As Naritsugu’s men attack on their (literally) high horses, you briefly glimpse the chin of one of them. It is shaped like the chin of one of your former lovers, who, herself, reminded you of Laurent Estoppey. These were too many thoughts for the battlefield. Already a spear has traversed your heart. Actually a fair part of this organ is now at the tip of the spear, some thirty centimetres behind your rib cage. During your last breath, you first smile because you remember a joke, and then you think ‘oh but Laurent could do a live version of his Endgame installation’. This thought travels and reaches 2021 Laurent Estoppey. He does it, thinking it was his own idea. You have been dead for one hundred and seventy-seven years.
<div class="placard">Endgame live
//Laurent Estoppey//
<div class="centred"><iframe src="https://drive.google.com/file/d/10WQRosH_v7oeHytbP2uLNFOpxLnb7S0M/preview" width="1080" height="720" allow="autoplay"></iframe></div></div>
Wait, you are not sure what happened in 1844 in Japan. You’ve been suffering from memory loss since you died. Go read about it in [[The Noisebringers Samples->novel]].
Wait, you are not sure what Endgame is any more. You’ve been suffering from memory loss since you died. Go check it out on the [[Endgame->endgame]] page.
Wait, you are not sure which former lover you are referring to exactly. You’ve been suffering from memory loss since you died. Go find her portrait in [[Rhododendron Normal->rn]].
Wait, you are not sure what [[Prosecco]] is any more. You’ve been suffering from memory loss since you died. Have a glass of it.</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Endgame Live</div>
It is 1844 in Japan. You are one of the thirteen Noisebringers. You just crossed the mountains and reached Ochiai to fight and defeat the evil Lord Matsudaira Naritsugu of Akashi. You are a fantastic improviser and a great warrior but you get easily distracted. As Naritsugu’s men attack on their (literally) high horses, you briefly glimpse the chin of one of them. It is shaped like the chin of one of your former lovers, who, herself, reminded you of Laurent Estoppey. These were too many thoughts for the battlefield. Already a spear has traversed your heart. Actually a fair part of this organ is now at the tip of the spear, some thirty centimetres behind your rib cage. During your last breath, you first smile because you remember a joke, and then you think ‘oh but Laurent could do a live version of his Endgame installation’. This thought travels and reaches 2021 Laurent Estoppey. He does it, thinking it was his own idea. You have been dead for one hundred and seventy-seven years.
<div class="placard">Endgame live
//Laurent Estoppey//
<div class="centred"><iframe src="https://drive.google.com/file/d/10WQRosH_v7oeHytbP2uLNFOpxLnb7S0M/preview" width="1080" height="720" allow="autoplay"></iframe></div></div>
Wait, you are not sure what happened in 1844 in Japan. You’ve been suffering from memory loss since you died. Go read about it in [[The Noisebringers Samples->novel]].
Wait, you are not sure what Endgame is any more. You’ve been suffering from memory loss since you died. Go check it out on the [[Endgame->endgame]] page.
Wait, you are not sure which former lover you are referring to exactly. You’ve been suffering from memory loss since you died. Go find her portrait in [[Rhododendron Normal->rn]].
Wait, you are not sure what [[Prosecco]] is any more. You’ve been suffering from memory loss since you died. Have a glass of it.</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Endgame Live</div>
It is 1844 in Japan. You are one of the thirteen Noisebringers. You just crossed the mountains and reached Ochiai to fight and defeat the evil Lord Matsudaira Naritsugu of Akashi. You are a fantastic improviser and a great warrior but you get easily distracted. As Naritsugu’s men attack on their (literally) high horses, you briefly glimpse the chin of one of them. It is shaped like the chin of one of your former lovers, who, herself, reminded you of Laurent Estoppey. These were too many thoughts for the battlefield. Already a spear has traversed your heart. Actually a fair part of this organ is now at the tip of the spear, some thirty centimetres behind your rib cage. During your last breath, you first smile because you remember a joke, and then you think ‘oh but Laurent could do a live version of his Endgame installation’. This thought travels and reaches 2021 Laurent Estoppey. He does it, thinking it was his own idea. You have been dead for one hundred and seventy-seven years.
<div class="placard">Endgame live
//Laurent Estoppey//
<div class="centred"><iframe src="https://drive.google.com/file/d/10WQRosH_v7oeHytbP2uLNFOpxLnb7S0M/preview" width="1080" height="720" allow="autoplay"></iframe></div></div>
Wait, you are not sure what happened in 1844 in Japan. You’ve been suffering from memory loss since you died. Go read about it in [[The Noisebringers Samples->novel]].
Wait, you are not sure what Endgame is any more. You’ve been suffering from memory loss since you died. Go check it out on the [[Endgame->endgame]] page.
Wait, you are not sure which former lover you are referring to exactly. You’ve been suffering from memory loss since you died. Go find her portrait in [[Rhododendron Normal->rn]].
Wait, you are not sure what [[Prosecco]] is any more. You’ve been suffering from memory loss since you died. Have a glass of it.</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Endgame Live</div>
It is 1844 in Japan. You are one of the thirteen Noisebringers. You just crossed the mountains and reached Ochiai to fight and defeat the evil Lord Matsudaira Naritsugu of Akashi. You are a fantastic improviser and a great warrior but you get easily distracted. As Naritsugu’s men attack on their (literally) high horses, you briefly glimpse the chin of one of them. It is shaped like the chin of one of your former lovers, who, herself, reminded you of Laurent Estoppey. These were too many thoughts for the battlefield. Already a spear has traversed your heart. Actually a fair part of this organ is now at the tip of the spear, some thirty centimetres behind your rib cage. During your last breath, you first smile because you remember a joke, and then you think ‘oh but Laurent could do a live version of his Endgame installation’. This thought travels and reaches 2021 Laurent Estoppey. He does it, thinking it was his own idea. You have been dead for one hundred and seventy-seven years.
<div class="placard">Endgame live
//Laurent Estoppey//
<div class="centred"><iframe src="https://drive.google.com/file/d/10WQRosH_v7oeHytbP2uLNFOpxLnb7S0M/preview" width="1080" height="720" allow="autoplay"></iframe></div></div>
Wait, you are not sure what happened in 1844 in Japan. You’ve been suffering from memory loss since you died. Go read about it in [[The Noisebringers Samples->novel]].
Wait, you are not sure what Endgame is any more. You’ve been suffering from memory loss since you died. Go check it out on the [[Endgame->endgame]] page.
Wait, you are not sure which former lover you are referring to exactly. You’ve been suffering from memory loss since you died. Go find her portrait in [[Rhododendron Normal->rn]].
Wait, you are not sure what [[Prosecco]] is any more. You’ve been suffering from memory loss since you died. Have a glass of it.</div><</if>><<if $prosecco is "5">><div class="bigtext">Endgame Live</div>
It is 1844 in Japan. You are one of the thirteen Noisebringers. You just crossed the mountains and reached Ochiai to fight and defeat the evil Lord Matsudaira Naritsugu of Akashi. You are a fantastic improviser and a great warrior but you get easily distracted. As Naritsugu’s men attack on their (literally) high horses, you briefly glimpse the chin of one of them. It is shaped like the chin of one of your former lovers, who, herself, reminded you of Laurent Estoppey. These were too many thoughts for the battlefield. Already a spear has traversed your heart. Actually a fair part of this organ is now at the tip of the spear, some thirty centimetres behind your rib cage. During your last breath, you first smile because you remember a joke, and then you think ‘oh but Laurent could do a live version of his Endgame installation’. This thought travels and reaches 2021 Laurent Estoppey. He does it, thinking it was his own idea. You have been dead for one hundred and seventy-seven years.
<div class="placard">Endgame live
//Laurent Estoppey//
<div class="centred"><iframe src="https://drive.google.com/file/d/10WQRosH_v7oeHytbP2uLNFOpxLnb7S0M/preview" width="1080" height="720" allow="autoplay"></iframe></div></div>
Wait, you are not sure what happened in 1844 in Japan. You’ve been suffering from memory loss since you died. Go read about it in [[The Noisebringers Samples->novel]].
Wait, you are not sure what Endgame is any more. You’ve been suffering from memory loss since you died. Go check it out on the [[Endgame->endgame]] page.
Wait, you are not sure which former lover you are referring to exactly. You’ve been suffering from memory loss since you died. Go find her portrait in [[Rhododendron Normal->rn]].
Wait, you are not sure what [[Prosecco]] is any more. You’ve been suffering from memory loss since you died. Have a glass of it.<</if>>
<<audio warpeace play>><<if $prosecco is "0">><div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. <<if $name is "Maria">>Welcome home hermana.<</if>>Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Should I get you a beer?
[[Yes->m2yes]]
[[No->m2no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. <<if $name is "Maria">>Welcome home hermana.<</if>>Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Should I get you a beer?
[[Yes->m2yes]]
[[No->m2no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. <<if $name is "Maria">>Welcome home hermana.<</if>>Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Should I get you a beer?
[[Yes->m2yes]]
[[No->m2no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. <<if $name is "Maria">>Welcome home hermana.<</if>>Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Should I get you a beer?
[[Yes->m2yes]]
[[No->m2no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. <<if $name is "Maria">>Welcome home hermana.<</if>>Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Should I get you a beer?
[[Yes->m2yes]]
[[No->m2no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "5">><div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. <<if $name is "Maria">>Welcome home hermana.<</if>>Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Should I get you a beer?
[[Yes->m2yes]]
[[No->m2no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>>
<<if $prosecco is "0">>In a massive building, somewhere in former East-Berlin. Berlin is communist. A building is built. It's brutal, out of proportion, but the walls are actually quite thin. And it smells funny. Used to be an administration, a hospital, who cares, same style, same technique.
Berlin is not communist any more. A building has been built. It's not an administration any more. It's not a hospital any more. It's given to artists. When you've got an empty building that no one will buy, lend it to artists.
Berlin needs to build new buildings. The building that had been built must now be built on. In order to proceed, the second step is to tear it down. The first one is to empty it from the artists. (Swapping this order technically works too.) Erase the building. Erase the artists. Erase the art. Before the erasure, a ghostly dancer dances in the ghostly building.
<div class="bigtext">Snow Suite</div>
<div class="placard">//Film and choreography : Manon Parent
Dancer : Brice Catherin
Music : Manon Parent, Brice Catherin, Moo Kim
Duration: 12’50//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ZLV6H57Hl2q9yykf8ALWEAsayAVxQaxN/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More East Berlin? Try [[Worlwide Anthology->wwanth]].
More snow? Try [[Eternal flowers->eternal flowers]].
More North Berlin? Try [[There will be wine->wine]].
More magic? Try [[Remembrance of the First Water-Ritual->water]].
More Prosecco? Try [[Prosecco]].<</if>><<if $prosecco is "1">><div class="blur">In a massive building, somewhere in former East-Berlin. Berlin is communist. A building is built. It's brutal, out of proportion, but the walls are actually quite thin. And it smells funny. Used to be an administration, a hospital, who cares, same style, same technique.
Berlin is not communist any more. A building has been built. It's not an administration any more. It's not a hospital any more. It's given to artists. When you've got an empty building that no one will buy, lend it to artists.
Berlin needs to build new buildings. The building that had been built must now be built on. In order to proceed, the second step is to tear it down. The first one is to empty it from the artists. (Swapping this order technically works too.) Erase the building. Erase the artists. Erase the art. Before the erasure, a ghostly dancer dances in the ghostly building.
<div class="bigtext">Snow Suite</div>
<div class="placard">//Film and choreography : Manon Parent
Dancer : Brice Catherin
Music : Manon Parent, Brice Catherin, Moo Kim
Duration: 12’50//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ZLV6H57Hl2q9yykf8ALWEAsayAVxQaxN/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More East Berlin? Try [[Worlwide Anthology->wwanth]].
More snow? Try [[Eternal flowers->eternal flowers]].
More North Berlin? Try [[There will be wine->wine]].
More magic? Try [[Remembrance of the First Water-Ritual->water]].
More Prosecco? Try [[Prosecco]].</div><</if>><<if $prosecco is "2">><div class="blurrier">In a massive building, somewhere in former East-Berlin. Berlin is communist. A building is built. It's brutal, out of proportion, but the walls are actually quite thin. And it smells funny. Used to be an administration, a hospital, who cares, same style, same technique.
Berlin is not communist any more. A building has been built. It's not an administration any more. It's not a hospital any more. It's given to artists. When you've got an empty building that no one will buy, lend it to artists.
Berlin needs to build new buildings. The building that had been built must now be built on. In order to proceed, the second step is to tear it down. The first one is to empty it from the artists. (Swapping this order technically works too.) Erase the building. Erase the artists. Erase the art. Before the erasure, a ghostly dancer dances in the ghostly building.
<div class="bigtext">Snow Suite</div>
<div class="placard">//Film and choreography : Manon Parent
Dancer : Brice Catherin
Music : Manon Parent, Brice Catherin, Moo Kim
Duration: 12’50//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ZLV6H57Hl2q9yykf8ALWEAsayAVxQaxN/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More East Berlin? Try [[Worlwide Anthology->wwanth]].
More snow? Try [[Eternal flowers->eternal flowers]].
More North Berlin? Try [[There will be wine->wine]].
More magic? Try [[Remembrance of the First Water-Ritual->water]].
More Prosecco? Try [[Prosecco]].</div><</if>><<if $prosecco is "3">><div class="blurrier2">In a massive building, somewhere in former East-Berlin. Berlin is communist. A building is built. It's brutal, out of proportion, but the walls are actually quite thin. And it smells funny. Used to be an administration, a hospital, who cares, same style, same technique.
Berlin is not communist any more. A building has been built. It's not an administration any more. It's not a hospital any more. It's given to artists. When you've got an empty building that no one will buy, lend it to artists.
Berlin needs to build new buildings. The building that had been built must now be built on. In order to proceed, the second step is to tear it down. The first one is to empty it from the artists. (Swapping this order technically works too.) Erase the building. Erase the artists. Erase the art. Before the erasure, a ghostly dancer dances in the ghostly building.
<div class="bigtext">Snow Suite</div>
<div class="placard">//Film and choreography : Manon Parent
Dancer : Brice Catherin
Music : Manon Parent, Brice Catherin, Moo Kim
Duration: 12’50//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ZLV6H57Hl2q9yykf8ALWEAsayAVxQaxN/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More East Berlin? Try [[Worlwide Anthology->wwanth]].
More snow? Try [[Eternal flowers->eternal flowers]].
More North Berlin? Try [[There will be wine->wine]].
More magic? Try [[Remembrance of the First Water-Ritual->water]].
More Prosecco? Try [[Prosecco]].</div><</if>><<if $prosecco is "4">><div class="upside-down">In a massive building, somewhere in former East-Berlin. Berlin is communist. A building is built. It's brutal, out of proportion, but the walls are actually quite thin. And it smells funny. Used to be an administration, a hospital, who cares, same style, same technique.
Berlin is not communist any more. A building has been built. It's not an administration any more. It's not a hospital any more. It's given to artists. When you've got an empty building that no one will buy, lend it to artists.
Berlin needs to build new buildings. The building that had been built must now be built on. In order to proceed, the second step is to tear it down. The first one is to empty it from the artists. (Swapping this order technically works too.) Erase the building. Erase the artists. Erase the art. Before the erasure, a ghostly dancer dances in the ghostly building.
<div class="bigtext">Snow Suite</div>
<div class="placard">//Film and choreography : Manon Parent
Dancer : Brice Catherin
Music : Manon Parent, Brice Catherin, Moo Kim
Duration: 12’50//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ZLV6H57Hl2q9yykf8ALWEAsayAVxQaxN/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More East Berlin? Try [[Worlwide Anthology->wwanth]].
More snow? Try [[Eternal flowers->eternal flowers]].
More North Berlin? Try [[There will be wine->wine]].
More magic? Try [[Remembrance of the First Water-Ritual->water]].
More Prosecco? Try [[Prosecco]].</div><</if>><<if $prosecco is "5">>In a massive building, somewhere in former East-Berlin. Berlin is communist. A building is built. It's brutal, out of proportion, but the walls are actually quite thin. And it smells funny. Used to be an administration, a hospital, who cares, same style, same technique.
Berlin is not communist any more. A building has been built. It's not an administration any more. It's not a hospital any more. It's given to artists. When you've got an empty building that no one will buy, lend it to artists.
Berlin needs to build new buildings. The building that had been built must now be built on. In order to proceed, the second step is to tear it down. The first one is to empty it from the artists. (Swapping this order technically works too.) Erase the building. Erase the artists. Erase the art. Before the erasure, a ghostly dancer dances in the ghostly building.
<div class="bigtext">Snow Suite</div>
<div class="placard">//Film and choreography : Manon Parent
Dancer : Brice Catherin
Music : Manon Parent, Brice Catherin, Moo Kim
Duration: 12’50//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ZLV6H57Hl2q9yykf8ALWEAsayAVxQaxN/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More East Berlin? Try [[Worlwide Anthology->wwanth]].
More snow? Try [[Eternal flowers->eternal flowers]].
More North Berlin? Try [[There will be wine->wine]].
More magic? Try [[Remembrance of the First Water-Ritual->water]].
More Prosecco? Try [[Prosecco]].<</if>><<if $prosecco is "0">><div class="bigtext">Noisebringers for Babies</div>
<div class="placard">//Henry McPherson
Audiobook Extracts
Variable duration; Pink painted ipod shuffle; headphones
2018-21
COMING SOON TO YOUR AMOZONE ALFONSO!!! Noisebringers for Babies: let those pesky tykes be someone else’s problem for a while, and you can have a large glass of something to help you forget the current times.Includes: a <<linkreplace "a spooky Ghost Story">><<masteraudio stop>><<audio feb play>><</linkreplace>>; <<linkreplace "A Day at the Farm with the Noisebringers">><<masteraudio stop>><<audio farm play>><</linkreplace>>; <<linkreplace "Goodnight Noise">><<masteraudio stop>><<audio goodnight-noise play>><</linkreplace>>; <<linkreplace "Songs for Bathtime">><<masteraudio stop>><<audio bath play>><</linkreplace>>.//</div>
I'm nice and sleepy now, take me to [[Glasgow Improvisers' Orchestra Live->giolive]] to wake me up!
I'm not sure what just happened, but I want more of it. Take me to [[The Sentient Archive of Hur->archive]]
I'm really starting to feel uneasy about this whole thing, Margaret, and I don't just mean because I've got bananas for shoes. I think I'd better lie down. Take me to [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm really in need of a drink. I'll have some [[Prosecco]]<</if>>
<<if $prosecco is "1">><div class="blur"><div class="bigtext">Noisebringers for Babies</div>
<div class="placard">//Henry McPherson
Audiobook Extracts
Variable duration; Pink painted ipod shuffle; headphones
2018-21
COMING SOON TO YOUR AMOZONE ALFONSO!!! Noisebringers for Babies: let those pesky tykes be someone else’s problem for a while, and you can have a large glass of something to help you forget the current times.Includes: a <<linkreplace "a spooky Ghost Story">><<masteraudio stop>><<audio feb play>><</linkreplace>>; <<linkreplace "A Day at the Farm with the Noisebringers">><<masteraudio stop>><<audio farm play>><</linkreplace>>; <<linkreplace "Goodnight Noise">><<masteraudio stop>><<audio goodnight-noise play>><</linkreplace>>; <<linkreplace "Songs for Bathtime">><<masteraudio stop>><<audio bath play>><</linkreplace>>.//</div>
I'm nice and sleepy now, take me to [[Glasgow Improvisers' Orchestra Live->giolive]] to wake me up!
I'm not sure what just happened, but I want more of it. Take me to [[The Sentient Archive of Hur->archive]]
I'm really starting to feel uneasy about this whole thing, Margaret, and I don't just mean because I've got bananas for shoes. I think I'd better lie down. Take me to [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm really in need of a drink. I'll have some [[Prosecco]]</div><</if>>
<<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Noisebringers for Babies</div>
<div class="placard">//Henry McPherson
Audiobook Extracts
Variable duration; Pink painted ipod shuffle; headphones
2018-21
COMING SOON TO YOUR AMOZONE ALFONSO!!! Noisebringers for Babies: let those pesky tykes be someone else’s problem for a while, and you can have a large glass of something to help you forget the current times.Includes: a <<linkreplace "a spooky Ghost Story">><<masteraudio stop>><<audio feb play>><</linkreplace>>; <<linkreplace "A Day at the Farm with the Noisebringers">><<masteraudio stop>><<audio farm play>><</linkreplace>>; <<linkreplace "Goodnight Noise">><<masteraudio stop>><<audio goodnight-noise play>><</linkreplace>>; <<linkreplace "Songs for Bathtime">><<masteraudio stop>><<audio bath play>><</linkreplace>>.//</div>
I'm nice and sleepy now, take me to [[Glasgow Improvisers' Orchestra Live->giolive]] to wake me up!
I'm not sure what just happened, but I want more of it. Take me to [[The Sentient Archive of Hur->archive]]
I'm really starting to feel uneasy about this whole thing, Margaret, and I don't just mean because I've got bananas for shoes. I think I'd better lie down. Take me to [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm really in need of a drink. I'll have some [[Prosecco]]</div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Noisebringers for Babies</div>
<div class="placard">//Henry McPherson
Audiobook Extracts
Variable duration; Pink painted ipod shuffle; headphones
2018-21
COMING SOON TO YOUR AMOZONE ALFONSO!!! Noisebringers for Babies: let those pesky tykes be someone else’s problem for a while, and you can have a large glass of something to help you forget the current times.Includes: a <<linkreplace "a spooky Ghost Story">><<masteraudio stop>><<audio feb play>><</linkreplace>>; <<linkreplace "A Day at the Farm with the Noisebringers">><<masteraudio stop>><<audio farm play>><</linkreplace>>; <<linkreplace "Goodnight Noise">><<masteraudio stop>><<audio goodnight-noise play>><</linkreplace>>; <<linkreplace "Songs for Bathtime">><<masteraudio stop>><<audio bath play>><</linkreplace>>.//</div>
I'm nice and sleepy now, take me to [[Glasgow Improvisers' Orchestra Live->giolive]] to wake me up!
I'm not sure what just happened, but I want more of it. Take me to [[The Sentient Archive of Hur->archive]]
I'm really starting to feel uneasy about this whole thing, Margaret, and I don't just mean because I've got bananas for shoes. I think I'd better lie down. Take me to [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm really in need of a drink. I'll have some [[Prosecco]]</div><</if>>
<<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Noisebringers for Babies</div>
<div class="placard">//Henry McPherson
Audiobook Extracts
Variable duration; Pink painted ipod shuffle; headphones
2018-21
COMING SOON TO YOUR AMOZONE ALFONSO!!! Noisebringers for Babies: let those pesky tykes be someone else’s problem for a while, and you can have a large glass of something to help you forget the current times.Includes: a <<linkreplace "a spooky Ghost Story">><<masteraudio stop>><<audio feb play>><</linkreplace>>; <<linkreplace "A Day at the Farm with the Noisebringers">><<masteraudio stop>><<audio farm play>><</linkreplace>>; <<linkreplace "Goodnight Noise">><<masteraudio stop>><<audio goodnight-noise play>><</linkreplace>>; <<linkreplace "Songs for Bathtime">><<masteraudio stop>><<audio bath play>><</linkreplace>>.//</div>
I'm nice and sleepy now, take me to [[Glasgow Improvisers' Orchestra Live->giolive]] to wake me up!
I'm not sure what just happened, but I want more of it. Take me to [[The Sentient Archive of Hur->archive]]
I'm really starting to feel uneasy about this whole thing, Margaret, and I don't just mean because I've got bananas for shoes. I think I'd better lie down. Take me to [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm really in need of a drink. I'll have some [[Prosecco]]</div><</if>>
<<if $prosecco is "5">><div class="bigtext">Noisebringers for Babies</div>
<div class="placard">//Henry McPherson
Audiobook Extracts
Variable duration; Pink painted ipod shuffle; headphones
2018-21
COMING SOON TO YOUR AMOZONE ALFONSO!!! Noisebringers for Babies: let those pesky tykes be someone else’s problem for a while, and you can have a large glass of something to help you forget the current times.Includes: a <<linkreplace "a spooky Ghost Story">><<masteraudio stop>><<audio feb play>><</linkreplace>>; <<linkreplace "A Day at the Farm with the Noisebringers">><<masteraudio stop>><<audio farm play>><</linkreplace>>; <<linkreplace "Goodnight Noise">><<masteraudio stop>><<audio goodnight-noise play>><</linkreplace>>; <<linkreplace "Songs for Bathtime">><<masteraudio stop>><<audio bath play>><</linkreplace>>.//</div>
I'm nice and sleepy now, take me to [[Glasgow Improvisers' Orchestra Live->giolive]] to wake me up!
I'm not sure what just happened, but I want more of it. Take me to [[The Sentient Archive of Hur->archive]]
I'm really starting to feel uneasy about this whole thing, Margaret, and I don't just mean because I've got bananas for shoes. I think I'd better lie down. Take me to [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm really in need of a drink. I'll have some [[Prosecco]]<</if>>
<<if $prosecco is "0">><div class="bigtext">Anyways</div>
<div class="placardblack">''Anyways''
//Colin Frank
Samsung smartphone, painted wood, Arduino controller, wires, stepper motor, 3 hour video loop, 14cm x 20cm x 9cm, 2021//
This piece is a sequel to Meanwhile, a film that was presented in the previous Noisebringers intermedia album, Will you marry us?. Whereas in Meanwhile, sixteen separate films were rapidly spliced between to form 14 minutes of content, in Anyways, the sixteen films appear in their entirety. This three hour long video is subjected to continual reorientation, as the smartphone attempts to account for the system’s randomised rotations. The menial tasks that the Noisebringers along with Colin Frank individually perform onscreen serve as absurd content to form a dizzying experience. This quintessentially post-modernist piece not only presents the smartphone as a material, but also recreates the experience of those times when we walk upstairs with our eyes glued to our device.
//a piece of your best advice:// Combat anxiety with menial chores. If you’re still anxious afterwards, at least you’ve got something out of the way.
//Do you have detached or attached earlobes?// Attached.
//Salty or sweet?// Both simultaneously.
//Your biggest fear:// Losing my eyelids.
//Your smallest fear:// Getting lost when walking in my local neighbourhood.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1XWiLWSO3rC6O4aXGTVB_mLB3b4at3fpq/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Anyways]], while I was watching this I was wondering if there was anything else happening, possibly meanwhile my time was spent wondering what was going on? Maybe I could have been observing [[rotting fruit->rotting]] or [[watching paint dry->wpd]], or thinking about [[things that my phone glimpsed->phone]].
Or just some more [[fragments?->fragment51]] I am feeling fragile, maybe I need to be [[alone ->mariaspace]]...<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Anyways</div>
<div class="placardblack">''Anyways''
//Colin Frank
Samsung smartphone, painted wood, Arduino controller, wires, stepper motor, 3 hour video loop, 14cm x 20cm x 9cm, 2021//
This piece is a sequel to Meanwhile, a film that was presented in the previous Noisebringers intermedia album, Will you marry us?. Whereas in Meanwhile, sixteen separate films were rapidly spliced between to form 14 minutes of content, in Anyways, the sixteen films appear in their entirety. This three hour long video is subjected to continual reorientation, as the smartphone attempts to account for the system’s randomised rotations. The menial tasks that the Noisebringers along with Colin Frank individually perform onscreen serve as absurd content to form a dizzying experience. This quintessentially post-modernist piece not only presents the smartphone as a material, but also recreates the experience of those times when we walk upstairs with our eyes glued to our device.
//a piece of your best advice:// Combat anxiety with menial chores. If you’re still anxious afterwards, at least you’ve got something out of the way.
//Do you have detached or attached earlobes?// Attached.
//Salty or sweet?// Both simultaneously.
//Your biggest fear:// Losing my eyelids.
//Your smallest fear:// Getting lost when walking in my local neighbourhood.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1XWiLWSO3rC6O4aXGTVB_mLB3b4at3fpq/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Anyways]], while I was watching this I was wondering if there was anything else happening, possibly meanwhile my time was spent wondering what was going on? Maybe I could have been observing [[rotting fruit->rotting]] or [[watching paint dry->wpd]], or thinking about [[things that my phone glimpsed->phone]].
Or just some more [[fragments?->fragment51]] I am feeling fragile, maybe I need to be [[alone ->mariaspace]]...</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Anyways</div>
<div class="placardblack">''Anyways''
//Colin Frank
Samsung smartphone, painted wood, Arduino controller, wires, stepper motor, 3 hour video loop, 14cm x 20cm x 9cm, 2021//
This piece is a sequel to Meanwhile, a film that was presented in the previous Noisebringers intermedia album, Will you marry us?. Whereas in Meanwhile, sixteen separate films were rapidly spliced between to form 14 minutes of content, in Anyways, the sixteen films appear in their entirety. This three hour long video is subjected to continual reorientation, as the smartphone attempts to account for the system’s randomised rotations. The menial tasks that the Noisebringers along with Colin Frank individually perform onscreen serve as absurd content to form a dizzying experience. This quintessentially post-modernist piece not only presents the smartphone as a material, but also recreates the experience of those times when we walk upstairs with our eyes glued to our device.
//a piece of your best advice:// Combat anxiety with menial chores. If you’re still anxious afterwards, at least you’ve got something out of the way.
//Do you have detached or attached earlobes?// Attached.
//Salty or sweet?// Both simultaneously.
//Your biggest fear:// Losing my eyelids.
//Your smallest fear:// Getting lost when walking in my local neighbourhood.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1XWiLWSO3rC6O4aXGTVB_mLB3b4at3fpq/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Anyways]], while I was watching this I was wondering if there was anything else happening, possibly meanwhile my time was spent wondering what was going on? Maybe I could have been observing [[rotting fruit->rotting]] or [[watching paint dry->wpd]], or thinking about [[things that my phone glimpsed->phone]].
Or just some more [[fragments?->fragment51]] I am feeling fragile, maybe I need to be [[alone ->mariaspace]]...</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Anyways</div>
<div class="placardblack">''Anyways''
//Colin Frank
Samsung smartphone, painted wood, Arduino controller, wires, stepper motor, 3 hour video loop, 14cm x 20cm x 9cm, 2021//
This piece is a sequel to Meanwhile, a film that was presented in the previous Noisebringers intermedia album, Will you marry us?. Whereas in Meanwhile, sixteen separate films were rapidly spliced between to form 14 minutes of content, in Anyways, the sixteen films appear in their entirety. This three hour long video is subjected to continual reorientation, as the smartphone attempts to account for the system’s randomised rotations. The menial tasks that the Noisebringers along with Colin Frank individually perform onscreen serve as absurd content to form a dizzying experience. This quintessentially post-modernist piece not only presents the smartphone as a material, but also recreates the experience of those times when we walk upstairs with our eyes glued to our device.
//a piece of your best advice:// Combat anxiety with menial chores. If you’re still anxious afterwards, at least you’ve got something out of the way.
//Do you have detached or attached earlobes?// Attached.
//Salty or sweet?// Both simultaneously.
//Your biggest fear:// Losing my eyelids.
//Your smallest fear:// Getting lost when walking in my local neighbourhood.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1XWiLWSO3rC6O4aXGTVB_mLB3b4at3fpq/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Anyways]], while I was watching this I was wondering if there was anything else happening, possibly meanwhile my time was spent wondering what was going on? Maybe I could have been observing [[rotting fruit->rotting]] or [[watching paint dry->wpd]], or thinking about [[things that my phone glimpsed->phone]].
Or just some more [[fragments?->fragment51]] I am feeling fragile, maybe I need to be [[alone ->mariaspace]]...</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Anyways</div>
<div class="placardblack">''Anyways''
//Colin Frank
Samsung smartphone, painted wood, Arduino controller, wires, stepper motor, 3 hour video loop, 14cm x 20cm x 9cm, 2021//
This piece is a sequel to Meanwhile, a film that was presented in the previous Noisebringers intermedia album, Will you marry us?. Whereas in Meanwhile, sixteen separate films were rapidly spliced between to form 14 minutes of content, in Anyways, the sixteen films appear in their entirety. This three hour long video is subjected to continual reorientation, as the smartphone attempts to account for the system’s randomised rotations. The menial tasks that the Noisebringers along with Colin Frank individually perform onscreen serve as absurd content to form a dizzying experience. This quintessentially post-modernist piece not only presents the smartphone as a material, but also recreates the experience of those times when we walk upstairs with our eyes glued to our device.
//a piece of your best advice:// Combat anxiety with menial chores. If you’re still anxious afterwards, at least you’ve got something out of the way.
//Do you have detached or attached earlobes?// Attached.
//Salty or sweet?// Both simultaneously.
//Your biggest fear:// Losing my eyelids.
//Your smallest fear:// Getting lost when walking in my local neighbourhood.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1XWiLWSO3rC6O4aXGTVB_mLB3b4at3fpq/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Anyways]], while I was watching this I was wondering if there was anything else happening, possibly meanwhile my time was spent wondering what was going on? Maybe I could have been observing [[rotting fruit->rotting]] or [[watching paint dry->wpd]], or thinking about [[things that my phone glimpsed->phone]].
Or just some more [[fragments?->fragment51]] I am feeling fragile, maybe I need to be [[alone ->mariaspace]]...</div><</if>><<if $prosecco is "5">><div class="bigtext">Anyways</div>
<div class="placardblack">''Anyways''
//Colin Frank
Samsung smartphone, painted wood, Arduino controller, wires, stepper motor, 3 hour video loop, 14cm x 20cm x 9cm, 2021//
This piece is a sequel to Meanwhile, a film that was presented in the previous Noisebringers intermedia album, Will you marry us?. Whereas in Meanwhile, sixteen separate films were rapidly spliced between to form 14 minutes of content, in Anyways, the sixteen films appear in their entirety. This three hour long video is subjected to continual reorientation, as the smartphone attempts to account for the system’s randomised rotations. The menial tasks that the Noisebringers along with Colin Frank individually perform onscreen serve as absurd content to form a dizzying experience. This quintessentially post-modernist piece not only presents the smartphone as a material, but also recreates the experience of those times when we walk upstairs with our eyes glued to our device.
//a piece of your best advice:// Combat anxiety with menial chores. If you’re still anxious afterwards, at least you’ve got something out of the way.
//Do you have detached or attached earlobes?// Attached.
//Salty or sweet?// Both simultaneously.
//Your biggest fear:// Losing my eyelids.
//Your smallest fear:// Getting lost when walking in my local neighbourhood.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1XWiLWSO3rC6O4aXGTVB_mLB3b4at3fpq/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Anyways]], while I was watching this I was wondering if there was anything else happening, possibly meanwhile my time was spent wondering what was going on? Maybe I could have been observing [[rotting fruit->rotting]] or [[watching paint dry->wpd]], or thinking about [[things that my phone glimpsed->phone]].
Or just some more [[fragments?->fragment51]] I am feeling fragile, maybe I need to be [[alone ->mariaspace]]...<</if>>
<<if $prosecco is "0">><div class="bigtext">Between Becoming</div>
<div class="placard">''Between Becoming''
//Rachel Joy Weiss and Catalina von Wrangell, 2021
graphic score
10-12 min//
This piece is an audio-visual composition that emphasizes the relationship between sounds and images that complete one another. The chosen picture Jason Returning to Demand His Father's Kingdom, 1807-1808 is an unfinished picture created by Washington Allston. This incomplete picture, for the composers, represents a state of being in between and of becoming. Throughout, the soundscape is playing a juxtaposed role with the image. The denser, in terms of color, the image is, the sparser sound will be and vice versa. There are two parts to the score: a textual graphic score and a video score. The text score provides guidelines for the soundscape: sound limitations, time references and visual markers. The video score represents the emotive lexicon to be employed by the performers, which is also visible by the audiences.
Performed by, and followed by a free improvisation with Rachel Joy Weiss:
Brice Catherin
Raymond MacDonald
Maria Sappho
Christophe Schweizer
</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/oTFePIfUrVs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>
More visuals and music, [[more ->wpd]] [[more ->raymond]] [[more ->Animations]]!!!
Who is this Christophe Schweizer and what else does he do with [[S.C.O.R.E->score]]’s?
The Raymond MacDonald, no way, I thought I might [[go drinking with him ->go drinking with Raymond MacDonald]]
Rachel Joy Weiss, she is in the Glasgow Improvisers Orchestra, wow she is so awesome, she must be famous!!! How can I watch more of [[her? ->giolive]]<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Between Becoming</div>
<div class="placard">''Between Becoming''
//Rachel Joy Weiss and Catalina von Wrangell, 2021
graphic score
10-12 min//
This piece is an audio-visual composition that emphasizes the relationship between sounds and images that complete one another. The chosen picture Jason Returning to Demand His Father's Kingdom, 1807-1808 is an unfinished picture created by Washington Allston. This incomplete picture, for the composers, represents a state of being in between and of becoming. Throughout, the soundscape is playing a juxtaposed role with the image. The denser, in terms of color, the image is, the sparser sound will be and vice versa. There are two parts to the score: a textual graphic score and a video score. The text score provides guidelines for the soundscape: sound limitations, time references and visual markers. The video score represents the emotive lexicon to be employed by the performers, which is also visible by the audiences.
Performed by, and followed by a free improvisation with Rachel Joy Weiss:
Brice Catherin
Raymond MacDonald
Maria Sappho
Christophe Schweizer
</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/oTFePIfUrVs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>
More visuals and music, [[more ->wpd]] [[more ->raymond]] [[more ->Animations]]!!!
Who is this Christophe Schweizer and what else does he do with [[S.C.O.R.E->score]]’s?
The Raymond MacDonald, no way, I thought I might [[go drinking with him ->go drinking with Raymond MacDonald]]
Rachel Joy Weiss, she is in the Glasgow Improvisers Orchestra, wow she is so awesome, she must be famous!!! How can I watch more of [[her? ->giolive]]</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Between Becoming</div>
<div class="placard">''Between Becoming''
//Rachel Joy Weiss and Catalina von Wrangell, 2021
graphic score
10-12 min//
This piece is an audio-visual composition that emphasizes the relationship between sounds and images that complete one another. The chosen picture Jason Returning to Demand His Father's Kingdom, 1807-1808 is an unfinished picture created by Washington Allston. This incomplete picture, for the composers, represents a state of being in between and of becoming. Throughout, the soundscape is playing a juxtaposed role with the image. The denser, in terms of color, the image is, the sparser sound will be and vice versa. There are two parts to the score: a textual graphic score and a video score. The text score provides guidelines for the soundscape: sound limitations, time references and visual markers. The video score represents the emotive lexicon to be employed by the performers, which is also visible by the audiences.
Performed by, and followed by a free improvisation with Rachel Joy Weiss:
Brice Catherin
Raymond MacDonald
Maria Sappho
Christophe Schweizer
</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/oTFePIfUrVs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>
More visuals and music, [[more ->wpd]] [[more ->raymond]] [[more ->Animations]]!!!
Who is this Christophe Schweizer and what else does he do with [[S.C.O.R.E->score]]’s?
The Raymond MacDonald, no way, I thought I might [[go drinking with him ->go drinking with Raymond MacDonald]]
Rachel Joy Weiss, she is in the Glasgow Improvisers Orchestra, wow she is so awesome, she must be famous!!! How can I watch more of [[her? ->giolive]]</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Between Becoming</div>
<div class="placard">''Between Becoming''
//Rachel Joy Weiss and Catalina von Wrangell, 2021
graphic score
10-12 min//
This piece is an audio-visual composition that emphasizes the relationship between sounds and images that complete one another. The chosen picture Jason Returning to Demand His Father's Kingdom, 1807-1808 is an unfinished picture created by Washington Allston. This incomplete picture, for the composers, represents a state of being in between and of becoming. Throughout, the soundscape is playing a juxtaposed role with the image. The denser, in terms of color, the image is, the sparser sound will be and vice versa. There are two parts to the score: a textual graphic score and a video score. The text score provides guidelines for the soundscape: sound limitations, time references and visual markers. The video score represents the emotive lexicon to be employed by the performers, which is also visible by the audiences.
Performed by, and followed by a free improvisation with Rachel Joy Weiss:
Brice Catherin
Raymond MacDonald
Maria Sappho
Christophe Schweizer
</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/oTFePIfUrVs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>
More visuals and music, [[more ->wpd]] [[more ->raymond]] [[more ->Animations]]!!!
Who is this Christophe Schweizer and what else does he do with [[S.C.O.R.E->score]]’s?
The Raymond MacDonald, no way, I thought I might [[go drinking with him ->go drinking with Raymond MacDonald]]
Rachel Joy Weiss, she is in the Glasgow Improvisers Orchestra, wow she is so awesome, she must be famous!!! How can I watch more of [[her? ->giolive]]</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Between Becoming</div>
<div class="placard">''Between Becoming''
//Rachel Joy Weiss and Catalina von Wrangell, 2021
graphic score
10-12 min//
This piece is an audio-visual composition that emphasizes the relationship between sounds and images that complete one another. The chosen picture Jason Returning to Demand His Father's Kingdom, 1807-1808 is an unfinished picture created by Washington Allston. This incomplete picture, for the composers, represents a state of being in between and of becoming. Throughout, the soundscape is playing a juxtaposed role with the image. The denser, in terms of color, the image is, the sparser sound will be and vice versa. There are two parts to the score: a textual graphic score and a video score. The text score provides guidelines for the soundscape: sound limitations, time references and visual markers. The video score represents the emotive lexicon to be employed by the performers, which is also visible by the audiences.
Performed by, and followed by a free improvisation with Rachel Joy Weiss:
Brice Catherin
Raymond MacDonald
Maria Sappho
Christophe Schweizer
</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/oTFePIfUrVs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>
More visuals and music, [[more ->wpd]] [[more ->raymond]] [[more ->Animations]]!!!
Who is this Christophe Schweizer and what else does he do with [[S.C.O.R.E->score]]’s?
The Raymond MacDonald, no way, I thought I might [[go drinking with him ->go drinking with Raymond MacDonald]]
Rachel Joy Weiss, she is in the Glasgow Improvisers Orchestra, wow she is so awesome, she must be famous!!! How can I watch more of [[her? ->giolive]]</div><</if>><<if $prosecco is "5">><div class="bigtext">Between Becoming</div>
<div class="placard">''Between Becoming''
//Rachel Joy Weiss and Catalina von Wrangell, 2021
graphic score
10-12 min//
This piece is an audio-visual composition that emphasizes the relationship between sounds and images that complete one another. The chosen picture Jason Returning to Demand His Father's Kingdom, 1807-1808 is an unfinished picture created by Washington Allston. This incomplete picture, for the composers, represents a state of being in between and of becoming. Throughout, the soundscape is playing a juxtaposed role with the image. The denser, in terms of color, the image is, the sparser sound will be and vice versa. There are two parts to the score: a textual graphic score and a video score. The text score provides guidelines for the soundscape: sound limitations, time references and visual markers. The video score represents the emotive lexicon to be employed by the performers, which is also visible by the audiences.
Performed by, and followed by a free improvisation with Rachel Joy Weiss:
Brice Catherin
Raymond MacDonald
Maria Sappho
Christophe Schweizer
</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/oTFePIfUrVs" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe></div>
More visuals and music, [[more ->wpd]] [[more ->raymond]] [[more ->Animations]]!!!
Who is this Christophe Schweizer and what else does he do with [[S.C.O.R.E->score]]’s?
The Raymond MacDonald, no way, I thought I might [[go drinking with him ->go drinking with Raymond MacDonald]]
Rachel Joy Weiss, she is in the Glasgow Improvisers Orchestra, wow she is so awesome, she must be famous!!! How can I watch more of [[her? ->giolive]]<</if>>
<<if $prosecco is "0">>You look up. The sky is nothing but an upside down ocean of fire. Yet this fire is soothing, benevolent. It flows like crawling lava, healing your soul as you stare at it. Is it upside down really? Or have you been swimming under its surface without realising all that time? Nothing is familiar anymore. Uncanniness. You fly in the colorful fire but you breathe more easily than ever. Your senses are enhanced. You are one with the elements. You love the world, and more importantly, you finally love yourself. Welcome to ecstasy, you are now under the sweet, sweet influence of
<div class="bigtext">S:C:O:R:E</div>
<div class="placard">//Christophe Schweizer
Printed acrylic glass, aluminum, LED-lighting, sound
100 cm x 800 cm x 10 cm, wall or ceiling mounted (2021)//
A musical score in the form of a large format image. The lighting follows the shapes in sync with the music. No musical training required.
a piece of your best advice: only that which you give away becomes yours.
Do you have detached or attached earlobes? Detachable
Salty or sweet? Figs and peanuts
Your biggest fear: Stopping
Your smallest fear: Is anybody listening?</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Pyx2YFwuZHSSbDgdtanCNHVtM8vf648v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Christophe reminds us:
//Notwithstanding the efforts of respected scholars from various fields, notably professor Maria Sappho Donahue, who dedicated the better part of her life’s first seven years to the subject - the lack of success rumoured to have been the cause for her decision to abandon musicriminology in favour of psychocosmetics (in which she has since become a leading expert) -, and Brice-Marie Schweitherin, commonly accepted as the world’s foremost voice in transorbital improgenetics, surprisingly little has surfaced to answer the numerous questions surrounding the find of of this large scale object in the cargo hold of the same flight to Tokyo from which Bristophe mysteriously disappeared during their final world tour, which event effectively ended their tremendously successful career and propelled them to myth status almost immediately.
Had it not been for the coincidence of Tokyo airport employee Kazunori Yamashita, a passionate performer on the Subcontra-Koto and neolithic opera composer in his free time, having been allocated last minute (due to a colleague having suffered an injury whilst soldering electrical cables in an attempt to break the world record in long distance soldering Christophe-Henri Schweitherin had claimed during what was to be Bristophe’s last appearance on the Tonight Show with David Letterman just a day prior to boarding the fateful flight; the record could not be certified by Guiness Book officials due to the effort talking place during non-working hours in any time zone and under what they deemed “inhospitable conditions” at the location, and therefore remains unofficial) to the shift responsible for discharging this airplane, S:C:O:R:E would have been disposed of immediately as regulations established in the aftermath of the Fukushima incident required.
Yamashita, however, took it upon himself to inspect the seven panels, the value of which he immediately recognized - no record exists of them having been loaded onto the aircraft - and by means he refuses to disclose to this day managed to rescue them. Observations that he hid them in the spacious case of his instrument and took advantage of his friendship with a customs official whom he married not long after remain unconfirmed. No investigation was made neither into how the eight panel - which he quickly concluded was missing - ended up being located as part of the wiring in the control room of the Fukushima nuclear power plant, nor into who installed it there just days before the famous incident.
Years of research followed, crowned by success in as far as Yamashita, also an avid radio amateur specialising in extraterrestrial signals, was able to establish contact with professor Donahue and Brice-Marie Schweitherin. Communication itself with the latter proved to be a challenge, as of course he, too, had disappeared from the flight and insisted that every precaution be taken to prevent the disclosure of his current whereabouts, nevertheless and only to increase his mythical status confirming thus that he was still alive if reluctant to make any comments whatsoever regarding the fate of his former conjoined twin brother. Therefore, much of the merit in initiating the understanding of S:C:O:R:E (as was the only writing on the panels’ packaging) goes to Yamashita, even though his interpretations of the title of S:C:O:R:E as an acronym for either “serving crackers on raw eggs” or “soft curves of rabbit ears” became hotly disputed and today are no longer accepted, whilst on the other hand no conclusive solution has been offered as of yet.
While professor Donahue’s seven-year efforts in the end proved hampered by the fact that she never was able to overcome how Yamashita had deciphered her secret code in order to establish communication, thereby rendering obsolete much of her earlier efforts by effacing the advantage this had given her in the field of musicriminology (which in turn led to a chain of events too voluminous to be discussed here), the surviving Schweitherin eventually made contact with Mr. Harper de Havilland (who is also responsible for restoring the wiring of the panels) and Dr. Ute Auteur (who originated the thesis that S:C:O:R:E is the work of the older Schweitherin, and that the information the latter sought to transmit in it might explain the interest of certain powers in the disappearance of Bristophe), the world’s only specialists in pigment notation. The translation into traditional notation by this team - the reading of pigment notation being a lost art at this point - finally permitted to produce the recording presented here, which to date is considered the most accurate representation of what S:C:O:R:E was meant to sound like by whoever created it. Once the problem of performers disappearing during or immediately following the recording the first six
minutes of their parts is solved, which the team claims they are close to, a complete version will be offered on these pages.//
You will never want to leave this magical realm. Yet a mighty bold giant carries you to more uncanniness. Welcome to the [[worldwide anthology->wwanth]].
You will never want to leave this magical realm. Yet a couple of mighty gayful teenage zombies carry you to more uncanniness. Welcome to [[inventing the language of mush->mush]].
You will never want to leave this magical realm. Yet a mighty pale she-goblin fiddler carries you to more uncanniness. Welcome to the [[Candle]].
You will never want to leave this magical realm. Enjoy a glass of [[Prosecco]].
<</if>><<if $prosecco is "1">><div class="blur">You look up. The sky is nothing but an upside down ocean of fire. Yet this fire is soothing, benevolent. It flows like crawling lava, healing your soul as you stare at it. Is it upside down really? Or have you been swimming under its surface without realising all that time? Nothing is familiar anymore. Uncanniness. You fly in the colorful fire but you breathe more easily than ever. Your senses are enhanced. You are one with the elements. You love the world, and more importantly, you finally love yourself. Welcome to ecstasy, you are now under the sweet, sweet influence of
<div class="bigtext">S:C:O:R:E</div>
<div class="placard">//Christophe Schweizer
Printed acrylic glass, aluminum, LED-lighting, sound
100 cm x 800 cm x 10 cm, wall or ceiling mounted (2021)//
A musical score in the form of a large format image. The lighting follows the shapes in sync with the music. No musical training required.
a piece of your best advice: only that which you give away becomes yours.
Do you have detached or attached earlobes? Detachable
Salty or sweet? Figs and peanuts
Your biggest fear: Stopping
Your smallest fear: Is anybody listening?</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Pyx2YFwuZHSSbDgdtanCNHVtM8vf648v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Christophe reminds us:
//Notwithstanding the efforts of respected scholars from various fields, notably professor Maria Sappho Donahue, who dedicated the better part of her life’s first seven years to the subject - the lack of success rumoured to have been the cause for her decision to abandon musicriminology in favour of psychocosmetics (in which she has since become a leading expert) -, and Brice-Marie Schweitherin, commonly accepted as the world’s foremost voice in transorbital improgenetics, surprisingly little has surfaced to answer the numerous questions surrounding the find of of this large scale object in the cargo hold of the same flight to Tokyo from which Bristophe mysteriously disappeared during their final world tour, which event effectively ended their tremendously successful career and propelled them to myth status almost immediately.
Had it not been for the coincidence of Tokyo airport employee Kazunori Yamashita, a passionate performer on the Subcontra-Koto and neolithic opera composer in his free time, having been allocated last minute (due to a colleague having suffered an injury whilst soldering electrical cables in an attempt to break the world record in long distance soldering Christophe-Henri Schweitherin had claimed during what was to be Bristophe’s last appearance on the Tonight Show with David Letterman just a day prior to boarding the fateful flight; the record could not be certified by Guiness Book officials due to the effort talking place during non-working hours in any time zone and under what they deemed “inhospitable conditions” at the location, and therefore remains unofficial) to the shift responsible for discharging this airplane, S:C:O:R:E would have been disposed of immediately as regulations established in the aftermath of the Fukushima incident required.
Yamashita, however, took it upon himself to inspect the seven panels, the value of which he immediately recognized - no record exists of them having been loaded onto the aircraft - and by means he refuses to disclose to this day managed to rescue them. Observations that he hid them in the spacious case of his instrument and took advantage of his friendship with a customs official whom he married not long after remain unconfirmed. No investigation was made neither into how the eight panel - which he quickly concluded was missing - ended up being located as part of the wiring in the control room of the Fukushima nuclear power plant, nor into who installed it there just days before the famous incident.
Years of research followed, crowned by success in as far as Yamashita, also an avid radio amateur specialising in extraterrestrial signals, was able to establish contact with professor Donahue and Brice-Marie Schweitherin. Communication itself with the latter proved to be a challenge, as of course he, too, had disappeared from the flight and insisted that every precaution be taken to prevent the disclosure of his current whereabouts, nevertheless and only to increase his mythical status confirming thus that he was still alive if reluctant to make any comments whatsoever regarding the fate of his former conjoined twin brother. Therefore, much of the merit in initiating the understanding of S:C:O:R:E (as was the only writing on the panels’ packaging) goes to Yamashita, even though his interpretations of the title of S:C:O:R:E as an acronym for either “serving crackers on raw eggs” or “soft curves of rabbit ears” became hotly disputed and today are no longer accepted, whilst on the other hand no conclusive solution has been offered as of yet.
While professor Donahue’s seven-year efforts in the end proved hampered by the fact that she never was able to overcome how Yamashita had deciphered her secret code in order to establish communication, thereby rendering obsolete much of her earlier efforts by effacing the advantage this had given her in the field of musicriminology (which in turn led to a chain of events too voluminous to be discussed here), the surviving Schweitherin eventually made contact with Mr. Harper de Havilland (who is also responsible for restoring the wiring of the panels) and Dr. Ute Auteur (who originated the thesis that S:C:O:R:E is the work of the older Schweitherin, and that the information the latter sought to transmit in it might explain the interest of certain powers in the disappearance of Bristophe), the world’s only specialists in pigment notation. The translation into traditional notation by this team - the reading of pigment notation being a lost art at this point - finally permitted to produce the recording presented here, which to date is considered the most accurate representation of what S:C:O:R:E was meant to sound like by whoever created it. Once the problem of performers disappearing during or immediately following the recording the first six
minutes of their parts is solved, which the team claims they are close to, a complete version will be offered on these pages.//
You will never want to leave this magical realm. Yet a mighty bold giant carries you to more uncanniness. Welcome to the [[worldwide anthology->wwanth]].
You will never want to leave this magical realm. Yet a couple of mighty gayful teenage zombies carry you to more uncanniness. Welcome to [[inventing the language of mush->mush]].
You will never want to leave this magical realm. Yet a mighty pale she-goblin fiddler carries you to more uncanniness. Welcome to the [[Candle]].
You will never want to leave this magical realm. Enjoy a glass of [[Prosecco]].
</div><</if>><<if $prosecco is "2">><div class="blurrier">You look up. The sky is nothing but an upside down ocean of fire. Yet this fire is soothing, benevolent. It flows like crawling lava, healing your soul as you stare at it. Is it upside down really? Or have you been swimming under its surface without realising all that time? Nothing is familiar anymore. Uncanniness. You fly in the colorful fire but you breathe more easily than ever. Your senses are enhanced. You are one with the elements. You love the world, and more importantly, you finally love yourself. Welcome to ecstasy, you are now under the sweet, sweet influence of
<div class="bigtext">S:C:O:R:E</div>
<div class="placard">//Christophe Schweizer
Printed acrylic glass, aluminum, LED-lighting, sound
100 cm x 800 cm x 10 cm, wall or ceiling mounted (2021)//
A musical score in the form of a large format image. The lighting follows the shapes in sync with the music. No musical training required.
a piece of your best advice: only that which you give away becomes yours.
Do you have detached or attached earlobes? Detachable
Salty or sweet? Figs and peanuts
Your biggest fear: Stopping
Your smallest fear: Is anybody listening?</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Pyx2YFwuZHSSbDgdtanCNHVtM8vf648v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Christophe reminds us:
//Notwithstanding the efforts of respected scholars from various fields, notably professor Maria Sappho Donahue, who dedicated the better part of her life’s first seven years to the subject - the lack of success rumoured to have been the cause for her decision to abandon musicriminology in favour of psychocosmetics (in which she has since become a leading expert) -, and Brice-Marie Schweitherin, commonly accepted as the world’s foremost voice in transorbital improgenetics, surprisingly little has surfaced to answer the numerous questions surrounding the find of of this large scale object in the cargo hold of the same flight to Tokyo from which Bristophe mysteriously disappeared during their final world tour, which event effectively ended their tremendously successful career and propelled them to myth status almost immediately.
Had it not been for the coincidence of Tokyo airport employee Kazunori Yamashita, a passionate performer on the Subcontra-Koto and neolithic opera composer in his free time, having been allocated last minute (due to a colleague having suffered an injury whilst soldering electrical cables in an attempt to break the world record in long distance soldering Christophe-Henri Schweitherin had claimed during what was to be Bristophe’s last appearance on the Tonight Show with David Letterman just a day prior to boarding the fateful flight; the record could not be certified by Guiness Book officials due to the effort talking place during non-working hours in any time zone and under what they deemed “inhospitable conditions” at the location, and therefore remains unofficial) to the shift responsible for discharging this airplane, S:C:O:R:E would have been disposed of immediately as regulations established in the aftermath of the Fukushima incident required.
Yamashita, however, took it upon himself to inspect the seven panels, the value of which he immediately recognized - no record exists of them having been loaded onto the aircraft - and by means he refuses to disclose to this day managed to rescue them. Observations that he hid them in the spacious case of his instrument and took advantage of his friendship with a customs official whom he married not long after remain unconfirmed. No investigation was made neither into how the eight panel - which he quickly concluded was missing - ended up being located as part of the wiring in the control room of the Fukushima nuclear power plant, nor into who installed it there just days before the famous incident.
Years of research followed, crowned by success in as far as Yamashita, also an avid radio amateur specialising in extraterrestrial signals, was able to establish contact with professor Donahue and Brice-Marie Schweitherin. Communication itself with the latter proved to be a challenge, as of course he, too, had disappeared from the flight and insisted that every precaution be taken to prevent the disclosure of his current whereabouts, nevertheless and only to increase his mythical status confirming thus that he was still alive if reluctant to make any comments whatsoever regarding the fate of his former conjoined twin brother. Therefore, much of the merit in initiating the understanding of S:C:O:R:E (as was the only writing on the panels’ packaging) goes to Yamashita, even though his interpretations of the title of S:C:O:R:E as an acronym for either “serving crackers on raw eggs” or “soft curves of rabbit ears” became hotly disputed and today are no longer accepted, whilst on the other hand no conclusive solution has been offered as of yet.
While professor Donahue’s seven-year efforts in the end proved hampered by the fact that she never was able to overcome how Yamashita had deciphered her secret code in order to establish communication, thereby rendering obsolete much of her earlier efforts by effacing the advantage this had given her in the field of musicriminology (which in turn led to a chain of events too voluminous to be discussed here), the surviving Schweitherin eventually made contact with Mr. Harper de Havilland (who is also responsible for restoring the wiring of the panels) and Dr. Ute Auteur (who originated the thesis that S:C:O:R:E is the work of the older Schweitherin, and that the information the latter sought to transmit in it might explain the interest of certain powers in the disappearance of Bristophe), the world’s only specialists in pigment notation. The translation into traditional notation by this team - the reading of pigment notation being a lost art at this point - finally permitted to produce the recording presented here, which to date is considered the most accurate representation of what S:C:O:R:E was meant to sound like by whoever created it. Once the problem of performers disappearing during or immediately following the recording the first six
minutes of their parts is solved, which the team claims they are close to, a complete version will be offered on these pages.//
You will never want to leave this magical realm. Yet a mighty bold giant carries you to more uncanniness. Welcome to the [[worldwide anthology->wwanth]].
You will never want to leave this magical realm. Yet a couple of mighty gayful teenage zombies carry you to more uncanniness. Welcome to [[inventing the language of mush->mush]].
You will never want to leave this magical realm. Yet a mighty pale she-goblin fiddler carries you to more uncanniness. Welcome to the [[Candle]].
You will never want to leave this magical realm. Enjoy a glass of [[Prosecco]].
</div><</if>><<if $prosecco is "3">><div class="blurrier2">You look up. The sky is nothing but an upside down ocean of fire. Yet this fire is soothing, benevolent. It flows like crawling lava, healing your soul as you stare at it. Is it upside down really? Or have you been swimming under its surface without realising all that time? Nothing is familiar anymore. Uncanniness. You fly in the colorful fire but you breathe more easily than ever. Your senses are enhanced. You are one with the elements. You love the world, and more importantly, you finally love yourself. Welcome to ecstasy, you are now under the sweet, sweet influence of
<div class="bigtext">S:C:O:R:E</div>
<div class="placard">//Christophe Schweizer
Printed acrylic glass, aluminum, LED-lighting, sound
100 cm x 800 cm x 10 cm, wall or ceiling mounted (2021)//
A musical score in the form of a large format image. The lighting follows the shapes in sync with the music. No musical training required.
a piece of your best advice: only that which you give away becomes yours.
Do you have detached or attached earlobes? Detachable
Salty or sweet? Figs and peanuts
Your biggest fear: Stopping
Your smallest fear: Is anybody listening?</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Pyx2YFwuZHSSbDgdtanCNHVtM8vf648v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Christophe reminds us:
//Notwithstanding the efforts of respected scholars from various fields, notably professor Maria Sappho Donahue, who dedicated the better part of her life’s first seven years to the subject - the lack of success rumoured to have been the cause for her decision to abandon musicriminology in favour of psychocosmetics (in which she has since become a leading expert) -, and Brice-Marie Schweitherin, commonly accepted as the world’s foremost voice in transorbital improgenetics, surprisingly little has surfaced to answer the numerous questions surrounding the find of of this large scale object in the cargo hold of the same flight to Tokyo from which Bristophe mysteriously disappeared during their final world tour, which event effectively ended their tremendously successful career and propelled them to myth status almost immediately.
Had it not been for the coincidence of Tokyo airport employee Kazunori Yamashita, a passionate performer on the Subcontra-Koto and neolithic opera composer in his free time, having been allocated last minute (due to a colleague having suffered an injury whilst soldering electrical cables in an attempt to break the world record in long distance soldering Christophe-Henri Schweitherin had claimed during what was to be Bristophe’s last appearance on the Tonight Show with David Letterman just a day prior to boarding the fateful flight; the record could not be certified by Guiness Book officials due to the effort talking place during non-working hours in any time zone and under what they deemed “inhospitable conditions” at the location, and therefore remains unofficial) to the shift responsible for discharging this airplane, S:C:O:R:E would have been disposed of immediately as regulations established in the aftermath of the Fukushima incident required.
Yamashita, however, took it upon himself to inspect the seven panels, the value of which he immediately recognized - no record exists of them having been loaded onto the aircraft - and by means he refuses to disclose to this day managed to rescue them. Observations that he hid them in the spacious case of his instrument and took advantage of his friendship with a customs official whom he married not long after remain unconfirmed. No investigation was made neither into how the eight panel - which he quickly concluded was missing - ended up being located as part of the wiring in the control room of the Fukushima nuclear power plant, nor into who installed it there just days before the famous incident.
Years of research followed, crowned by success in as far as Yamashita, also an avid radio amateur specialising in extraterrestrial signals, was able to establish contact with professor Donahue and Brice-Marie Schweitherin. Communication itself with the latter proved to be a challenge, as of course he, too, had disappeared from the flight and insisted that every precaution be taken to prevent the disclosure of his current whereabouts, nevertheless and only to increase his mythical status confirming thus that he was still alive if reluctant to make any comments whatsoever regarding the fate of his former conjoined twin brother. Therefore, much of the merit in initiating the understanding of S:C:O:R:E (as was the only writing on the panels’ packaging) goes to Yamashita, even though his interpretations of the title of S:C:O:R:E as an acronym for either “serving crackers on raw eggs” or “soft curves of rabbit ears” became hotly disputed and today are no longer accepted, whilst on the other hand no conclusive solution has been offered as of yet.
While professor Donahue’s seven-year efforts in the end proved hampered by the fact that she never was able to overcome how Yamashita had deciphered her secret code in order to establish communication, thereby rendering obsolete much of her earlier efforts by effacing the advantage this had given her in the field of musicriminology (which in turn led to a chain of events too voluminous to be discussed here), the surviving Schweitherin eventually made contact with Mr. Harper de Havilland (who is also responsible for restoring the wiring of the panels) and Dr. Ute Auteur (who originated the thesis that S:C:O:R:E is the work of the older Schweitherin, and that the information the latter sought to transmit in it might explain the interest of certain powers in the disappearance of Bristophe), the world’s only specialists in pigment notation. The translation into traditional notation by this team - the reading of pigment notation being a lost art at this point - finally permitted to produce the recording presented here, which to date is considered the most accurate representation of what S:C:O:R:E was meant to sound like by whoever created it. Once the problem of performers disappearing during or immediately following the recording the first six
minutes of their parts is solved, which the team claims they are close to, a complete version will be offered on these pages.//
You will never want to leave this magical realm. Yet a mighty bold giant carries you to more uncanniness. Welcome to the [[worldwide anthology->wwanth]].
You will never want to leave this magical realm. Yet a couple of mighty gayful teenage zombies carry you to more uncanniness. Welcome to [[inventing the language of mush->mush]].
You will never want to leave this magical realm. Yet a mighty pale she-goblin fiddler carries you to more uncanniness. Welcome to the [[Candle]].
You will never want to leave this magical realm. Enjoy a glass of [[Prosecco]].
</div><</if>><<if $prosecco is "4">><div class="upside-down">You look up. The sky is nothing but an upside down ocean of fire. Yet this fire is soothing, benevolent. It flows like crawling lava, healing your soul as you stare at it. Is it upside down really? Or have you been swimming under its surface without realising all that time? Nothing is familiar anymore. Uncanniness. You fly in the colorful fire but you breathe more easily than ever. Your senses are enhanced. You are one with the elements. You love the world, and more importantly, you finally love yourself. Welcome to ecstasy, you are now under the sweet, sweet influence of
<div class="bigtext">S:C:O:R:E</div>
<div class="placard">//Christophe Schweizer
Printed acrylic glass, aluminum, LED-lighting, sound
100 cm x 800 cm x 10 cm, wall or ceiling mounted (2021)//
A musical score in the form of a large format image. The lighting follows the shapes in sync with the music. No musical training required.
a piece of your best advice: only that which you give away becomes yours.
Do you have detached or attached earlobes? Detachable
Salty or sweet? Figs and peanuts
Your biggest fear: Stopping
Your smallest fear: Is anybody listening?</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Pyx2YFwuZHSSbDgdtanCNHVtM8vf648v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Christophe reminds us:
//Notwithstanding the efforts of respected scholars from various fields, notably professor Maria Sappho Donahue, who dedicated the better part of her life’s first seven years to the subject - the lack of success rumoured to have been the cause for her decision to abandon musicriminology in favour of psychocosmetics (in which she has since become a leading expert) -, and Brice-Marie Schweitherin, commonly accepted as the world’s foremost voice in transorbital improgenetics, surprisingly little has surfaced to answer the numerous questions surrounding the find of of this large scale object in the cargo hold of the same flight to Tokyo from which Bristophe mysteriously disappeared during their final world tour, which event effectively ended their tremendously successful career and propelled them to myth status almost immediately.
Had it not been for the coincidence of Tokyo airport employee Kazunori Yamashita, a passionate performer on the Subcontra-Koto and neolithic opera composer in his free time, having been allocated last minute (due to a colleague having suffered an injury whilst soldering electrical cables in an attempt to break the world record in long distance soldering Christophe-Henri Schweitherin had claimed during what was to be Bristophe’s last appearance on the Tonight Show with David Letterman just a day prior to boarding the fateful flight; the record could not be certified by Guiness Book officials due to the effort talking place during non-working hours in any time zone and under what they deemed “inhospitable conditions” at the location, and therefore remains unofficial) to the shift responsible for discharging this airplane, S:C:O:R:E would have been disposed of immediately as regulations established in the aftermath of the Fukushima incident required.
Yamashita, however, took it upon himself to inspect the seven panels, the value of which he immediately recognized - no record exists of them having been loaded onto the aircraft - and by means he refuses to disclose to this day managed to rescue them. Observations that he hid them in the spacious case of his instrument and took advantage of his friendship with a customs official whom he married not long after remain unconfirmed. No investigation was made neither into how the eight panel - which he quickly concluded was missing - ended up being located as part of the wiring in the control room of the Fukushima nuclear power plant, nor into who installed it there just days before the famous incident.
Years of research followed, crowned by success in as far as Yamashita, also an avid radio amateur specialising in extraterrestrial signals, was able to establish contact with professor Donahue and Brice-Marie Schweitherin. Communication itself with the latter proved to be a challenge, as of course he, too, had disappeared from the flight and insisted that every precaution be taken to prevent the disclosure of his current whereabouts, nevertheless and only to increase his mythical status confirming thus that he was still alive if reluctant to make any comments whatsoever regarding the fate of his former conjoined twin brother. Therefore, much of the merit in initiating the understanding of S:C:O:R:E (as was the only writing on the panels’ packaging) goes to Yamashita, even though his interpretations of the title of S:C:O:R:E as an acronym for either “serving crackers on raw eggs” or “soft curves of rabbit ears” became hotly disputed and today are no longer accepted, whilst on the other hand no conclusive solution has been offered as of yet.
While professor Donahue’s seven-year efforts in the end proved hampered by the fact that she never was able to overcome how Yamashita had deciphered her secret code in order to establish communication, thereby rendering obsolete much of her earlier efforts by effacing the advantage this had given her in the field of musicriminology (which in turn led to a chain of events too voluminous to be discussed here), the surviving Schweitherin eventually made contact with Mr. Harper de Havilland (who is also responsible for restoring the wiring of the panels) and Dr. Ute Auteur (who originated the thesis that S:C:O:R:E is the work of the older Schweitherin, and that the information the latter sought to transmit in it might explain the interest of certain powers in the disappearance of Bristophe), the world’s only specialists in pigment notation. The translation into traditional notation by this team - the reading of pigment notation being a lost art at this point - finally permitted to produce the recording presented here, which to date is considered the most accurate representation of what S:C:O:R:E was meant to sound like by whoever created it. Once the problem of performers disappearing during or immediately following the recording the first six
minutes of their parts is solved, which the team claims they are close to, a complete version will be offered on these pages.//
You will never want to leave this magical realm. Yet a mighty bold giant carries you to more uncanniness. Welcome to the [[worldwide anthology->wwanth]].
You will never want to leave this magical realm. Yet a couple of mighty gayful teenage zombies carry you to more uncanniness. Welcome to [[inventing the language of mush->mush]].
You will never want to leave this magical realm. Yet a mighty pale she-goblin fiddler carries you to more uncanniness. Welcome to the [[Candle]].
You will never want to leave this magical realm. Enjoy a glass of [[Prosecco]].
</div><</if>><<if $prosecco is "5">>You look up. The sky is nothing but an upside down ocean of fire. Yet this fire is soothing, benevolent. It flows like crawling lava, healing your soul as you stare at it. Is it upside down really? Or have you been swimming under its surface without realising all that time? Nothing is familiar anymore. Uncanniness. You fly in the colorful fire but you breathe more easily than ever. Your senses are enhanced. You are one with the elements. You love the world, and more importantly, you finally love yourself. Welcome to ecstasy, you are now under the sweet, sweet influence of
<div class="bigtext">S:C:O:R:E</div>
<div class="placard">//Christophe Schweizer
Printed acrylic glass, aluminum, LED-lighting, sound
100 cm x 800 cm x 10 cm, wall or ceiling mounted (2021)//
A musical score in the form of a large format image. The lighting follows the shapes in sync with the music. No musical training required.
a piece of your best advice: only that which you give away becomes yours.
Do you have detached or attached earlobes? Detachable
Salty or sweet? Figs and peanuts
Your biggest fear: Stopping
Your smallest fear: Is anybody listening?</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Pyx2YFwuZHSSbDgdtanCNHVtM8vf648v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Christophe reminds us:
//Notwithstanding the efforts of respected scholars from various fields, notably professor Maria Sappho Donahue, who dedicated the better part of her life’s first seven years to the subject - the lack of success rumoured to have been the cause for her decision to abandon musicriminology in favour of psychocosmetics (in which she has since become a leading expert) -, and Brice-Marie Schweitherin, commonly accepted as the world’s foremost voice in transorbital improgenetics, surprisingly little has surfaced to answer the numerous questions surrounding the find of of this large scale object in the cargo hold of the same flight to Tokyo from which Bristophe mysteriously disappeared during their final world tour, which event effectively ended their tremendously successful career and propelled them to myth status almost immediately.
Had it not been for the coincidence of Tokyo airport employee Kazunori Yamashita, a passionate performer on the Subcontra-Koto and neolithic opera composer in his free time, having been allocated last minute (due to a colleague having suffered an injury whilst soldering electrical cables in an attempt to break the world record in long distance soldering Christophe-Henri Schweitherin had claimed during what was to be Bristophe’s last appearance on the Tonight Show with David Letterman just a day prior to boarding the fateful flight; the record could not be certified by Guiness Book officials due to the effort talking place during non-working hours in any time zone and under what they deemed “inhospitable conditions” at the location, and therefore remains unofficial) to the shift responsible for discharging this airplane, S:C:O:R:E would have been disposed of immediately as regulations established in the aftermath of the Fukushima incident required.
Yamashita, however, took it upon himself to inspect the seven panels, the value of which he immediately recognized - no record exists of them having been loaded onto the aircraft - and by means he refuses to disclose to this day managed to rescue them. Observations that he hid them in the spacious case of his instrument and took advantage of his friendship with a customs official whom he married not long after remain unconfirmed. No investigation was made neither into how the eight panel - which he quickly concluded was missing - ended up being located as part of the wiring in the control room of the Fukushima nuclear power plant, nor into who installed it there just days before the famous incident.
Years of research followed, crowned by success in as far as Yamashita, also an avid radio amateur specialising in extraterrestrial signals, was able to establish contact with professor Donahue and Brice-Marie Schweitherin. Communication itself with the latter proved to be a challenge, as of course he, too, had disappeared from the flight and insisted that every precaution be taken to prevent the disclosure of his current whereabouts, nevertheless and only to increase his mythical status confirming thus that he was still alive if reluctant to make any comments whatsoever regarding the fate of his former conjoined twin brother. Therefore, much of the merit in initiating the understanding of S:C:O:R:E (as was the only writing on the panels’ packaging) goes to Yamashita, even though his interpretations of the title of S:C:O:R:E as an acronym for either “serving crackers on raw eggs” or “soft curves of rabbit ears” became hotly disputed and today are no longer accepted, whilst on the other hand no conclusive solution has been offered as of yet.
While professor Donahue’s seven-year efforts in the end proved hampered by the fact that she never was able to overcome how Yamashita had deciphered her secret code in order to establish communication, thereby rendering obsolete much of her earlier efforts by effacing the advantage this had given her in the field of musicriminology (which in turn led to a chain of events too voluminous to be discussed here), the surviving Schweitherin eventually made contact with Mr. Harper de Havilland (who is also responsible for restoring the wiring of the panels) and Dr. Ute Auteur (who originated the thesis that S:C:O:R:E is the work of the older Schweitherin, and that the information the latter sought to transmit in it might explain the interest of certain powers in the disappearance of Bristophe), the world’s only specialists in pigment notation. The translation into traditional notation by this team - the reading of pigment notation being a lost art at this point - finally permitted to produce the recording presented here, which to date is considered the most accurate representation of what S:C:O:R:E was meant to sound like by whoever created it. Once the problem of performers disappearing during or immediately following the recording the first six
minutes of their parts is solved, which the team claims they are close to, a complete version will be offered on these pages.//
You will never want to leave this magical realm. Yet a mighty bold giant carries you to more uncanniness. Welcome to the [[worldwide anthology->wwanth]].
You will never want to leave this magical realm. Yet a couple of mighty gayful teenage zombies carry you to more uncanniness. Welcome to [[inventing the language of mush->mush]].
You will never want to leave this magical realm. Yet a mighty pale she-goblin fiddler carries you to more uncanniness. Welcome to the [[Candle]].
You will never want to leave this magical realm. Enjoy a glass of [[Prosecco]].
<</if>><<audio women play>><<if $prosecco is "0">><<type 50ms>>Sorry, you passed out. But Raymond sang you to sleep with a song.
Maybe it's time to [[get up off the floor and start again->Start]]<</type>><</if>><<if $prosecco is "1">><div class="blur"><<type 50ms>>Sorry, you passed out. But Raymond sang you to sleep with a song.
Maybe it's time to [[get up off the floor and start again->send]]<</type>></div><</if>><<if $prosecco is "2">><div class="blurrier"><<type 50ms>>Sorry, you passed out. But Raymond sang you to sleep with a song.
Maybe it's time to [[get up off the floor and start again->send]]<</type>></div><</if>><<if $prosecco is "3">><div class="blurrier2"><<type 50ms>>Sorry, you passed out. But Raymond sang you to sleep with a song.
Maybe it's time to [[get up off the floor and start again->send]]<</type>></div><</if>><<if $prosecco is "4">><div class="upside-down"><<type 50ms>>Sorry, you passed out. But Raymond sang you to sleep with a song.
Maybe it's time to [[get up off the floor and start again->send]]<</type>></div><</if>><<if $prosecco is "5">><<type 50ms>>Sorry, you passed out. But Raymond sang you to sleep with a song.
Maybe it's time to [[get up off the floor and start again->Start]]<</type>><</if>>
<<if $prosecco is "0">><<type 50ms>>You are inside the gallery and all of a sudden you are outside it. And then just as suddenly, back inside. This is because you are not in or outside the gallery at all. The gallery is inside of you. Entering the gallery is entering into you. Are you ready?
[[I am ready->Burnt2]]
<</type>>
<<else>><<goto "Burnt2">><</else>><</if>>
<<if $prosecco is "0">><div class="bigtext">Burnt to the core but framed</div>
The portal between the outside and the inside of the gallery, which is the portal between your inner self and your deeper self, is a piece of wood, not like a door which you do go through but like one that goes through you.
<div class="placard">''Burnt to the core but framed''
//Jonathan O'Hear
Wood, laser engraving
22cm x 35cm (2021)//
Punk before the word after the word. Not temporal. All my favourite punks burnt together and displayed as a thank you for the kind words note.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1t6anmnFy7Zm_0G-GAy5UGNPLe4OKvo2J/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/burnt/1.jpg"/>
<img height="75%" width="75%" src="image/burnt/2.jpg"/>
<img height="75%" width="75%" src="image/burnt/3.jpg"/>
</div>
You are inside your deeper self now. It’s too late to turn back. Follow the music to find out how [[Nikias plays Beethoven->beethoven]].
You are inside your deeper self now. It’s too late to turn back. Follow the man standing behind the window, look up and discover his [[S:C:O:R:E->score]].
You are inside your deeper self now. It’s too late to turn back. Follow your obsession for smartphones and zombie-walk towards Colin’s [[Anyways]].
You are inside your deeper self now. It’s too late to turn back. Follow your instinct, and run like a coward to the other side of the gallery, towards the garden where you may or may not encounter [[Cléa Chopard in residence->clea1]].
You are inside your deeper self now. It’s too late to turn back. Follow your thirst and have a glass of [[Prosecco]].
<</if>>
<<if $prosecco is "1">><div class="blur"><div class="bigtext">Burnt to the core but framed</div>
The portal between the outside and the inside of the gallery, which is the portal between your inner self and your deeper self, is a piece of wood, not like a door which you do go through but like one that goes through you.
<div class="placard">''Burnt to the core but framed''
//Jonathan O'Hear
Wood, laser engraving
22cm x 35cm (2021)//
Punk before the word after the word. Not temporal. All my favourite punks burnt together and displayed as a thank you for the kind words note.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1t6anmnFy7Zm_0G-GAy5UGNPLe4OKvo2J/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/burnt/1.jpg"/>
<img height="75%" width="75%" src="image/burnt/2.jpg"/>
<img height="75%" width="75%" src="image/burnt/3.jpg"/>
</div>
You are inside your deeper self now. It’s too late to turn back. Follow the music to find out how [[Nikias plays Beethoven->beethoven]].
You are inside your deeper self now. It’s too late to turn back. Follow the man standing behind the window, look up and discover his [[S:C:O:R:E->score]].
You are inside your deeper self now. It’s too late to turn back. Follow your obsession for smartphones and zombie-walk towards Colin’s [[Anyways]].
You are inside your deeper self now. It’s too late to turn back. Follow your instinct, and run like a coward to the other side of the gallery, towards the garden where you may or may not encounter [[Cléa Chopard in residence->clea1]].
You are inside your deeper self now. It’s too late to turn back. Follow your thirst and have a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Burnt to the core but framed</div>
The portal between the outside and the inside of the gallery, which is the portal between your inner self and your deeper self, is a piece of wood, not like a door which you do go through but like one that goes through you.
<div class="placard">''Burnt to the core but framed''
//Jonathan O'Hear
Wood, laser engraving
22cm x 35cm (2021)//
Punk before the word after the word. Not temporal. All my favourite punks burnt together and displayed as a thank you for the kind words note.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1t6anmnFy7Zm_0G-GAy5UGNPLe4OKvo2J/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/burnt/1.jpg"/>
<img height="75%" width="75%" src="image/burnt/2.jpg"/>
<img height="75%" width="75%" src="image/burnt/3.jpg"/>
</div>
You are inside your deeper self now. It’s too late to turn back. Follow the music to find out how [[Nikias plays Beethoven->beethoven]].
You are inside your deeper self now. It’s too late to turn back. Follow the man standing behind the window, look up and discover his [[S:C:O:R:E->score]].
You are inside your deeper self now. It’s too late to turn back. Follow your obsession for smartphones and zombie-walk towards Colin’s [[Anyways]].
You are inside your deeper self now. It’s too late to turn back. Follow your instinct, and run like a coward to the other side of the gallery, towards the garden where you may or may not encounter [[Cléa Chopard in residence->clea1]].
You are inside your deeper self now. It’s too late to turn back. Follow your thirst and have a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Burnt to the core but framed</div>
The portal between the outside and the inside of the gallery, which is the portal between your inner self and your deeper self, is a piece of wood, not like a door which you do go through but like one that goes through you.
<div class="placard">''Burnt to the core but framed''
//Jonathan O'Hear
Wood, laser engraving
22cm x 35cm (2021)//
Punk before the word after the word. Not temporal. All my favourite punks burnt together and displayed as a thank you for the kind words note.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1t6anmnFy7Zm_0G-GAy5UGNPLe4OKvo2J/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/burnt/1.jpg"/>
<img height="75%" width="75%" src="image/burnt/2.jpg"/>
<img height="75%" width="75%" src="image/burnt/3.jpg"/>
</div>
You are inside your deeper self now. It’s too late to turn back. Follow the music to find out how [[Nikias plays Beethoven->beethoven]].
You are inside your deeper self now. It’s too late to turn back. Follow the man standing behind the window, look up and discover his [[S:C:O:R:E->score]].
You are inside your deeper self now. It’s too late to turn back. Follow your obsession for smartphones and zombie-walk towards Colin’s [[Anyways]].
You are inside your deeper self now. It’s too late to turn back. Follow your instinct, and run like a coward to the other side of the gallery, towards the garden where you may or may not encounter [[Cléa Chopard in residence->clea1]].
You are inside your deeper self now. It’s too late to turn back. Follow your thirst and have a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Burnt to the core but framed</div>
The portal between the outside and the inside of the gallery, which is the portal between your inner self and your deeper self, is a piece of wood, not like a door which you do go through but like one that goes through you.
<div class="placard">''Burnt to the core but framed''
//Jonathan O'Hear
Wood, laser engraving
22cm x 35cm (2021)//
Punk before the word after the word. Not temporal. All my favourite punks burnt together and displayed as a thank you for the kind words note.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1t6anmnFy7Zm_0G-GAy5UGNPLe4OKvo2J/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/burnt/1.jpg"/>
<img height="75%" width="75%" src="image/burnt/2.jpg"/>
<img height="75%" width="75%" src="image/burnt/3.jpg"/>
</div>
You are inside your deeper self now. It’s too late to turn back. Follow the music to find out how [[Nikias plays Beethoven->beethoven]].
You are inside your deeper self now. It’s too late to turn back. Follow the man standing behind the window, look up and discover his [[S:C:O:R:E->score]].
You are inside your deeper self now. It’s too late to turn back. Follow your obsession for smartphones and zombie-walk towards Colin’s [[Anyways]].
You are inside your deeper self now. It’s too late to turn back. Follow your instinct, and run like a coward to the other side of the gallery, towards the garden where you may or may not encounter [[Cléa Chopard in residence->clea1]].
You are inside your deeper self now. It’s too late to turn back. Follow your thirst and have a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "5">><div class="bigtext">Burnt to the core but framed</div>
The portal between the outside and the inside of the gallery, which is the portal between your inner self and your deeper self, is a piece of wood, not like a door which you do go through but like one that goes through you.
<div class="placard">''Burnt to the core but framed''
//Jonathan O'Hear
Wood, laser engraving
22cm x 35cm (2021)//
Punk before the word after the word. Not temporal. All my favourite punks burnt together and displayed as a thank you for the kind words note.
</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1t6anmnFy7Zm_0G-GAy5UGNPLe4OKvo2J/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/burnt/1.jpg"/>
<img height="75%" width="75%" src="image/burnt/2.jpg"/>
<img height="75%" width="75%" src="image/burnt/3.jpg"/>
</div>
You are inside your deeper self now. It’s too late to turn back. Follow the music to find out how [[Nikias plays Beethoven->beethoven]].
You are inside your deeper self now. It’s too late to turn back. Follow the man standing behind the window, look up and discover his [[S:C:O:R:E->score]].
You are inside your deeper self now. It’s too late to turn back. Follow your obsession for smartphones and zombie-walk towards Colin’s [[Anyways]].
You are inside your deeper self now. It’s too late to turn back. Follow your instinct, and run like a coward to the other side of the gallery, towards the garden where you may or may not encounter [[Cléa Chopard in residence->clea1]].
You are inside your deeper self now. It’s too late to turn back. Follow your thirst and have a glass of [[Prosecco]].
<</if>><<set $clea to either("1", "2", "3")>><<if $prosecco is "0">><div class="bigtxt">Cléa Chopard (Artist in residence)</div>
<div class="placard">''Cléa Chopard in residence''
//(anonymous work)
Cléa Chopard, chair, table, computer
1mn65 (2021)//
Cléa Chopard in residence is an ephemeral installation consisting of a Schrödinger writer who may or may not be present. Yet the installation is always ‘working’ in the sense that it is always creating meaning and material, whether the writer is or is not present.
a piece of your best advice: Always use a writer who’s also an amazing cook for your residencies.
Do you have detached or attached earlobes? Ripped off lobes in a fight against a liberal lady-baby.
Salty or sweet? You’re going to try and sell me something anyway.
Your biggest fear: Cracking a joke with an activist I agree with.
Your smallest fear: I can’t find it anymore, it’s too small.</div>
<<if $clea is "1">>
Lucky you! Cléa is here and working! Ask her gently and she will show you her work in progress //Topolalies//.
<div class="centred"><img height="90%" width="90%" src="image/clea1/1.jpg"/><img height="90%" width="90%" src="image/clea1/2.jpg"/><img height="90%" width="90%" src="image/clea1/3.jpg"/><img height="90%" width="90%" src="image/clea1/4.jpg"/><img height="90%" width="90%" src="image/clea1/5.jpg"/><img height="90%" width="90%" src="image/clea1/6.jpg"/><img height="90%" width="90%" src="image/clea1/7.jpg"/></div>
<</if>>
<<if $clea is "2">>
Sorry! Cléa is chatting with her good friend Shiva. But did you know that you can get to know her thanks to [[Three samples of Cléa Chopard->https://indd.adobe.com/view/c41fea6b-25aa-4e40-a88e-4aa441e87d20]]?
<</if>>
<<if $clea is "3">>Damn it! Cléa is not here. Yet she is here somehow.
Why don’t you check out her other works in the exhibition?
Read [[rhododendron normal->rn]]!
Watch [[eternal flowers]]!<</if>>
or you can...
Drink a glass of [[Prosecco]].<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtxt">Cléa Chopard (Artist in residence)</div>
<div class="placard">''Cléa Chopard in residence''
//(anonymous work)
Cléa Chopard, chair, table, computer
1mn65 (2021)//
Cléa Chopard in residence is an ephemeral installation consisting of a Schrödinger writer who may or may not be present. Yet the installation is always ‘working’ in the sense that it is always creating meaning and material, whether the writer is or is not present.
a piece of your best advice: Always use a writer who’s also an amazing cook for your residencies.
Do you have detached or attached earlobes? Ripped off lobes in a fight against a liberal lady-baby.
Salty or sweet? You’re going to try and sell me something anyway.
Your biggest fear: Cracking a joke with an activist I agree with.
Your smallest fear: I can’t find it anymore, it’s too small.</div>
<<if $clea is "1">>
Lucky you! Cléa is here and working! Ask her gently and she will show you her work in progress //Topolalies//.
<div class="centred"><img height="90%" width="90%" src="image/clea1/1.jpg"/><img height="90%" width="90%" src="image/clea1/2.jpg"/><img height="90%" width="90%" src="image/clea1/3.jpg"/><img height="90%" width="90%" src="image/clea1/4.jpg"/><img height="90%" width="90%" src="image/clea1/5.jpg"/><img height="90%" width="90%" src="image/clea1/6.jpg"/><img height="90%" width="90%" src="image/clea1/7.jpg"/></div>
<</if>>
<<if $clea is "2">>
Sorry! Cléa is chatting with her good friend Shiva. But did you know that you can get to know her thanks to [[Three samples of Cléa Chopard->https://indd.adobe.com/view/c41fea6b-25aa-4e40-a88e-4aa441e87d20]]?
<</if>>
<<if $clea is "3">>Damn it! Cléa is not here. Yet she is here somehow.
Why don’t you check out her other works in the exhibition?
Read [[rhododendron normal->rn]]!
Watch [[eternal flowers]]!<</if>>
or you can...
Drink a glass of [[Prosecco]].</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtxt">Cléa Chopard (Artist in residence)</div>
<div class="placard">''Cléa Chopard in residence''
//(anonymous work)
Cléa Chopard, chair, table, computer
1mn65 (2021)//
Cléa Chopard in residence is an ephemeral installation consisting of a Schrödinger writer who may or may not be present. Yet the installation is always ‘working’ in the sense that it is always creating meaning and material, whether the writer is or is not present.
a piece of your best advice: Always use a writer who’s also an amazing cook for your residencies.
Do you have detached or attached earlobes? Ripped off lobes in a fight against a liberal lady-baby.
Salty or sweet? You’re going to try and sell me something anyway.
Your biggest fear: Cracking a joke with an activist I agree with.
Your smallest fear: I can’t find it anymore, it’s too small.</div>
<<if $clea is "1">>
Lucky you! Cléa is here and working! Ask her gently and she will show you her work in progress //Topolalies//.
<div class="centred"><img height="90%" width="90%" src="image/clea1/1.jpg"/><img height="90%" width="90%" src="image/clea1/2.jpg"/><img height="90%" width="90%" src="image/clea1/3.jpg"/><img height="90%" width="90%" src="image/clea1/4.jpg"/><img height="90%" width="90%" src="image/clea1/5.jpg"/><img height="90%" width="90%" src="image/clea1/6.jpg"/><img height="90%" width="90%" src="image/clea1/7.jpg"/></div>
<</if>>
<<if $clea is "2">>
Sorry! Cléa is chatting with her good friend Shiva. But did you know that you can get to know her thanks to [[Three samples of Cléa Chopard->https://indd.adobe.com/view/c41fea6b-25aa-4e40-a88e-4aa441e87d20]]?
<</if>>
<<if $clea is "3">>Damn it! Cléa is not here. Yet she is here somehow.
Why don’t you check out her other works in the exhibition?
Read [[rhododendron normal->rn]]!
Watch [[eternal flowers]]!<</if>>
or you can...
Drink a glass of [[Prosecco]].</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtxt">Cléa Chopard (Artist in residence)</div>
<div class="placard">''Cléa Chopard in residence''
//(anonymous work)
Cléa Chopard, chair, table, computer
1mn65 (2021)//
Cléa Chopard in residence is an ephemeral installation consisting of a Schrödinger writer who may or may not be present. Yet the installation is always ‘working’ in the sense that it is always creating meaning and material, whether the writer is or is not present.
a piece of your best advice: Always use a writer who’s also an amazing cook for your residencies.
Do you have detached or attached earlobes? Ripped off lobes in a fight against a liberal lady-baby.
Salty or sweet? You’re going to try and sell me something anyway.
Your biggest fear: Cracking a joke with an activist I agree with.
Your smallest fear: I can’t find it anymore, it’s too small.</div>
<<if $clea is "1">>
Lucky you! Cléa is here and working! Ask her gently and she will show you her work in progress //Topolalies//.
<div class="centred"><img height="90%" width="90%" src="image/clea1/1.jpg"/><img height="90%" width="90%" src="image/clea1/2.jpg"/><img height="90%" width="90%" src="image/clea1/3.jpg"/><img height="90%" width="90%" src="image/clea1/4.jpg"/><img height="90%" width="90%" src="image/clea1/5.jpg"/><img height="90%" width="90%" src="image/clea1/6.jpg"/><img height="90%" width="90%" src="image/clea1/7.jpg"/></div>
<</if>>
<<if $clea is "2">>
Sorry! Cléa is chatting with her good friend Shiva. But did you know that you can get to know her thanks to [[Three samples of Cléa Chopard->https://indd.adobe.com/view/c41fea6b-25aa-4e40-a88e-4aa441e87d20]]?
<</if>>
<<if $clea is "3">>Damn it! Cléa is not here. Yet she is here somehow.
Why don’t you check out her other works in the exhibition?
Read [[rhododendron normal->rn]]!
Watch [[eternal flowers]]!<</if>>
or you can...
Drink a glass of [[Prosecco]].</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtxt">Cléa Chopard (Artist in residence)</div>
<div class="placard">''Cléa Chopard in residence''
//(anonymous work)
Cléa Chopard, chair, table, computer
1mn65 (2021)//
Cléa Chopard in residence is an ephemeral installation consisting of a Schrödinger writer who may or may not be present. Yet the installation is always ‘working’ in the sense that it is always creating meaning and material, whether the writer is or is not present.
a piece of your best advice: Always use a writer who’s also an amazing cook for your residencies.
Do you have detached or attached earlobes? Ripped off lobes in a fight against a liberal lady-baby.
Salty or sweet? You’re going to try and sell me something anyway.
Your biggest fear: Cracking a joke with an activist I agree with.
Your smallest fear: I can’t find it anymore, it’s too small.</div>
<<if $clea is "1">>
Lucky you! Cléa is here and working! Ask her gently and she will show you her work in progress //Topolalies//.
<div class="centred"><img height="90%" width="90%" src="image/clea1/1.jpg"/><img height="90%" width="90%" src="image/clea1/2.jpg"/><img height="90%" width="90%" src="image/clea1/3.jpg"/><img height="90%" width="90%" src="image/clea1/4.jpg"/><img height="90%" width="90%" src="image/clea1/5.jpg"/><img height="90%" width="90%" src="image/clea1/6.jpg"/><img height="90%" width="90%" src="image/clea1/7.jpg"/></div>
<</if>>
<<if $clea is "2">>
Sorry! Cléa is chatting with her good friend Shiva. But did you know that you can get to know her thanks to [[Three samples of Cléa Chopard->https://indd.adobe.com/view/c41fea6b-25aa-4e40-a88e-4aa441e87d20]]?
<</if>>
<<if $clea is "3">>Damn it! Cléa is not here. Yet she is here somehow.
Why don’t you check out her other works in the exhibition?
Read [[rhododendron normal->rn]]!
Watch [[eternal flowers]]!<</if>>
or you can...
Drink a glass of [[Prosecco]].</div><</if>><<if $prosecco is "5">><div class="bigtxt">Cléa Chopard (Artist in residence)</div>
<div class="placard">''Cléa Chopard in residence''
//(anonymous work)
Cléa Chopard, chair, table, computer
1mn65 (2021)//
Cléa Chopard in residence is an ephemeral installation consisting of a Schrödinger writer who may or may not be present. Yet the installation is always ‘working’ in the sense that it is always creating meaning and material, whether the writer is or is not present.
a piece of your best advice: Always use a writer who’s also an amazing cook for your residencies.
Do you have detached or attached earlobes? Ripped off lobes in a fight against a liberal lady-baby.
Salty or sweet? You’re going to try and sell me something anyway.
Your biggest fear: Cracking a joke with an activist I agree with.
Your smallest fear: I can’t find it anymore, it’s too small.</div>
<<if $clea is "1">>
Lucky you! Cléa is here and working! Ask her gently and she will show you her work in progress //Topolalies//.
<div class="centred"><img height="90%" width="90%" src="image/clea1/1.jpg"/><img height="90%" width="90%" src="image/clea1/2.jpg"/><img height="90%" width="90%" src="image/clea1/3.jpg"/><img height="90%" width="90%" src="image/clea1/4.jpg"/><img height="90%" width="90%" src="image/clea1/5.jpg"/><img height="90%" width="90%" src="image/clea1/6.jpg"/><img height="90%" width="90%" src="image/clea1/7.jpg"/></div>
<</if>>
<<if $clea is "2">>
Sorry! Cléa is chatting with her good friend Shiva. But did you know that you can get to know her thanks to [[Three samples of Cléa Chopard->https://indd.adobe.com/view/c41fea6b-25aa-4e40-a88e-4aa441e87d20]]?
<</if>>
<<if $clea is "3">>Damn it! Cléa is not here. Yet she is here somehow.
Why don’t you check out her other works in the exhibition?
Read [[rhododendron normal->rn]]!
Watch [[eternal flowers]]!<</if>>
or you can...
Drink a glass of [[Prosecco]].<</if>>
<<if $prosecco is "0">>You take a long, slow sip of prosecco. You feel the bubbles course down your throat and wash away your fears. You slowly tilt your head to the sky and proclaim <<linkreplace "I AM READY TO RE-ENTER THE MUSHWORK">><<set $prosecco to "1">><<goto "send">><</linkreplace>><</if>><<if $prosecco is "1">><div class="blur">
You daintily drain your glass of its contents, put it down, and take another.
Soon you are engaging in bilingual small-talk with a range of colourful visitors and artists.
You feel that things are okay, it's probably <<linkreplace "time to get back to it">><<set $prosecco to "2">><<goto "send">><</linkreplace>></div><</if>><<if $prosecco is "2">><div class="blurrier">
You slide over to the table and eye another glass. It beckons to you with a kind of dazzling allure, but you're not sure...maybe you've had enough...or...
You decide to take the plunge and <<linkreplace "have another glass">><<set $prosecco to "3">><<goto "send">><</linkreplace>></div><</if>><<if $prosecco is "3">><div class="blurrier2">
You're really not *hic* feeling fantastic *hic* and the tapestries have started *to shifat ein in wund undesp unsu un...*hic* confusing wayssss
<<linkreplace "anomther glassergs?">><<set $prosecco to "4">><<goto "send">><</linkreplace>></div><</if>><<if $prosecco is "4">><div class="upside-down">gah ehhw apnfs lbe fkdn afhoijpwolsl poefburna en en floir ? oe abbw beb if psobe flr k lsb ldfiba gboefinlkwe boi. OWbaie fef neif ebbs fasf efirggeoirfabksf [[mmmmbaba->mush]] </div><</if>><<if $prosecco is "5">>
The sight of Prosecco makes you feel physically and metaphysically sick...
Maybe it's time to <<link "go somewhere else?">><<goto `either("Anyways", "between-becoming", "burnt1", "directional", "eternal flowers", "giolive", "Glory", "rotting", "babies", "snow suite")`>><</link>><</if>>
<<if $prosecco is "0">><div class="bigtext">Candle</div>
You brutally realise the world is a horrible place inhabited by pompous people who think highly of themselves instead of acknowledging their ‘achievements’ are nothing more than the result of lucky draws, privileges and/or brutal moves and betrayals. You are not so clean yourself. (‘A clear conscience is usually the sign of a bad memory’ as we learnt in Fly Guy, quoted in [[Glory]].) You have hidden the truth to your lovers at times. You have been unfairly critical with a colleague and let it get out of hand. You lied in your best friend’s face with your most beautiful smile on. But are you one of those who manoeuvre to rob a position of responsibilities from a more qualified friend? Are you one of those who built systems of domination by abusing your wealth, your position of influence or your family connections? Are you wearing socks in your Birkenstock because you claim “it’s fine”? The world is loud. It is screaming with pain, bitterness, sarcasm, and cynicism. Most of the time it screams without knowing why. So do you. But right now, what you need is a shelter. Silence. Warmth and benevolence. Seek refuge in the
<div class="placard">''“Candle” [from “Sheet Music: the Performance” series]''
//Dejana Sekulic
Ink on paper, hand bookbinding, 14,5x20cm + 26x30cm (without installation), 2020/2021
"sheet music: the performance" series contains loop animations, kinetic sculptures and objects that give motion to otherwise static graphics of Johannes Kreidler's notation-based pieces "Sheet Music". This movement, the moving that becomes with the objects wants to become the sounding of the graphics. These interpretations are imagined to be the music, giving their eternal music performances yet remaining truthful to the composer's original intentions with the "Sheet Music" works, to 'convey the aura of sound and allow the viewer to imagine music'. Kreidler says for his work "Sheet Music" that it is imaginary music. The pieces are not to be interpreted by playing on an instrument, and certainly not improvised. They become when imagined in one's head. As Kreidler gives no specific notes nor restrictions about the movement itself, for me - the performer, there had to be a way to make these pieces come to life in physical space. Subtracted of sounding, of the presence of the performer's body, of the instrument... In "sheet music: the performance", there is only the movement. The sounding, the music, is still left to be created in the imagination of the perceiver.
“Candle” flipbook and accompanying sheet music sheet is the music performance of the piece "Candle". The installation is to be interacted with by the spectator.
It is made as a series of 5 interpretations. For this interpretation: ink on paper (satin paper in the book, linen structured acrylic 230g canvas paper for the sheet), hand bookbinding using a variation of the kettle stitch and various cutting techniques for the book cover. This is performance/interpretation 3/5.
http://dejanasekulic.com/sheet_music-the_performance.html
a piece of your best advice: always, *always*, try to freeze white grapes before eating them.//</div>
<div class="centred"><img height="90%" width="90%" src="image/candle/chair.jpg"/>
<img height="90%" width="90%" src="image/candle/candle.gif"/>
</div>
You like this shelter. There’s no way you will go back to the real world now. Or at least not before you have experienced more Noisebringer soul healing.
You are a child now. Go play [[Remembrance of the First Water-Ritual->water]].
You are a baby now. Go listen to [[Noisebringers for Babies->babies]].
You are an ovum now. Go lay yourself inside one of the [[Self Portraits on a Theme of Her->herportraits]].
You are a bird now. Go meet [[The Ornithologists->orni]].
You are a sound now. Go trade with [[The Sound Dealer->dealer]].<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Candle</div>
You brutally realise the world is a horrible place inhabited by pompous people who think highly of themselves instead of acknowledging their ‘achievements’ are nothing more than the result of lucky draws, privileges and/or brutal moves and betrayals. You are not so clean yourself. (‘A clear conscience is usually the sign of a bad memory’ as we learnt in Fly Guy, quoted in [[Glory]].) You have hidden the truth to your lovers at times. You have been unfairly critical with a colleague and let it get out of hand. You lied in your best friend’s face with your most beautiful smile on. But are you one of those who manoeuvre to rob a position of responsibilities from a more qualified friend? Are you one of those who built systems of domination by abusing your wealth, your position of influence or your family connections? Are you wearing socks in your Birkenstock because you claim “it’s fine”? The world is loud. It is screaming with pain, bitterness, sarcasm, and cynicism. Most of the time it screams without knowing why. So do you. But right now, what you need is a shelter. Silence. Warmth and benevolence. Seek refuge in the
<div class="placard">''“Candle” [from “Sheet Music: the Performance” series]''
//Dejana Sekulic
Ink on paper, hand bookbinding, 14,5x20cm + 26x30cm (without installation), 2020/2021
"sheet music: the performance" series contains loop animations, kinetic sculptures and objects that give motion to otherwise static graphics of Johannes Kreidler's notation-based pieces "Sheet Music". This movement, the moving that becomes with the objects wants to become the sounding of the graphics. These interpretations are imagined to be the music, giving their eternal music performances yet remaining truthful to the composer's original intentions with the "Sheet Music" works, to 'convey the aura of sound and allow the viewer to imagine music'. Kreidler says for his work "Sheet Music" that it is imaginary music. The pieces are not to be interpreted by playing on an instrument, and certainly not improvised. They become when imagined in one's head. As Kreidler gives no specific notes nor restrictions about the movement itself, for me - the performer, there had to be a way to make these pieces come to life in physical space. Subtracted of sounding, of the presence of the performer's body, of the instrument... In "sheet music: the performance", there is only the movement. The sounding, the music, is still left to be created in the imagination of the perceiver.
“Candle” flipbook and accompanying sheet music sheet is the music performance of the piece "Candle". The installation is to be interacted with by the spectator.
It is made as a series of 5 interpretations. For this interpretation: ink on paper (satin paper in the book, linen structured acrylic 230g canvas paper for the sheet), hand bookbinding using a variation of the kettle stitch and various cutting techniques for the book cover. This is performance/interpretation 3/5.
http://dejanasekulic.com/sheet_music-the_performance.html
a piece of your best advice: always, *always*, try to freeze white grapes before eating them.//</div>
<div class="centred"><img height="90%" width="90%" src="image/candle/chair.jpg"/>
<img height="90%" width="90%" src="image/candle/candle.gif"/>
</div>
You like this shelter. There’s no way you will go back to the real world now. Or at least not before you have experienced more Noisebringer soul healing.
You are a child now. Go play [[Remembrance of the First Water-Ritual->water]].
You are a baby now. Go listen to [[Noisebringers for Babies->babies]].
You are an ovum now. Go lay yourself inside one of the [[Self Portraits on a Theme of Her->herportraits]].
You are a bird now. Go meet [[The Ornithologists->orni]].
You are a sound now. Go trade with [[The Sound Dealer->dealer]].</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Candle</div>
You brutally realise the world is a horrible place inhabited by pompous people who think highly of themselves instead of acknowledging their ‘achievements’ are nothing more than the result of lucky draws, privileges and/or brutal moves and betrayals. You are not so clean yourself. (‘A clear conscience is usually the sign of a bad memory’ as we learnt in Fly Guy, quoted in [[Glory]].) You have hidden the truth to your lovers at times. You have been unfairly critical with a colleague and let it get out of hand. You lied in your best friend’s face with your most beautiful smile on. But are you one of those who manoeuvre to rob a position of responsibilities from a more qualified friend? Are you one of those who built systems of domination by abusing your wealth, your position of influence or your family connections? Are you wearing socks in your Birkenstock because you claim “it’s fine”? The world is loud. It is screaming with pain, bitterness, sarcasm, and cynicism. Most of the time it screams without knowing why. So do you. But right now, what you need is a shelter. Silence. Warmth and benevolence. Seek refuge in the
<div class="placard">''“Candle” [from “Sheet Music: the Performance” series]''
//Dejana Sekulic
Ink on paper, hand bookbinding, 14,5x20cm + 26x30cm (without installation), 2020/2021
"sheet music: the performance" series contains loop animations, kinetic sculptures and objects that give motion to otherwise static graphics of Johannes Kreidler's notation-based pieces "Sheet Music". This movement, the moving that becomes with the objects wants to become the sounding of the graphics. These interpretations are imagined to be the music, giving their eternal music performances yet remaining truthful to the composer's original intentions with the "Sheet Music" works, to 'convey the aura of sound and allow the viewer to imagine music'. Kreidler says for his work "Sheet Music" that it is imaginary music. The pieces are not to be interpreted by playing on an instrument, and certainly not improvised. They become when imagined in one's head. As Kreidler gives no specific notes nor restrictions about the movement itself, for me - the performer, there had to be a way to make these pieces come to life in physical space. Subtracted of sounding, of the presence of the performer's body, of the instrument... In "sheet music: the performance", there is only the movement. The sounding, the music, is still left to be created in the imagination of the perceiver.
“Candle” flipbook and accompanying sheet music sheet is the music performance of the piece "Candle". The installation is to be interacted with by the spectator.
It is made as a series of 5 interpretations. For this interpretation: ink on paper (satin paper in the book, linen structured acrylic 230g canvas paper for the sheet), hand bookbinding using a variation of the kettle stitch and various cutting techniques for the book cover. This is performance/interpretation 3/5.
http://dejanasekulic.com/sheet_music-the_performance.html
a piece of your best advice: always, *always*, try to freeze white grapes before eating them.//</div>
<div class="centred"><img height="90%" width="90%" src="image/candle/chair.jpg"/>
<img height="90%" width="90%" src="image/candle/candle.gif"/>
</div>
You like this shelter. There’s no way you will go back to the real world now. Or at least not before you have experienced more Noisebringer soul healing.
You are a child now. Go play [[Remembrance of the First Water-Ritual->water]].
You are a baby now. Go listen to [[Noisebringers for Babies->babies]].
You are an ovum now. Go lay yourself inside one of the [[Self Portraits on a Theme of Her->herportraits]].
You are a bird now. Go meet [[The Ornithologists->orni]].
You are a sound now. Go trade with [[The Sound Dealer->dealer]].</div><</if>><<if $prosecco is "3">><div class="blurrier2"></div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Candle</div>
You brutally realise the world is a horrible place inhabited by pompous people who think highly of themselves instead of acknowledging their ‘achievements’ are nothing more than the result of lucky draws, privileges and/or brutal moves and betrayals. You are not so clean yourself. (‘A clear conscience is usually the sign of a bad memory’ as we learnt in Fly Guy, quoted in [[Glory]].) You have hidden the truth to your lovers at times. You have been unfairly critical with a colleague and let it get out of hand. You lied in your best friend’s face with your most beautiful smile on. But are you one of those who manoeuvre to rob a position of responsibilities from a more qualified friend? Are you one of those who built systems of domination by abusing your wealth, your position of influence or your family connections? Are you wearing socks in your Birkenstock because you claim “it’s fine”? The world is loud. It is screaming with pain, bitterness, sarcasm, and cynicism. Most of the time it screams without knowing why. So do you. But right now, what you need is a shelter. Silence. Warmth and benevolence. Seek refuge in the
<div class="placard">''“Candle” [from “Sheet Music: the Performance” series]''
//Dejana Sekulic
Ink on paper, hand bookbinding, 14,5x20cm + 26x30cm (without installation), 2020/2021
"sheet music: the performance" series contains loop animations, kinetic sculptures and objects that give motion to otherwise static graphics of Johannes Kreidler's notation-based pieces "Sheet Music". This movement, the moving that becomes with the objects wants to become the sounding of the graphics. These interpretations are imagined to be the music, giving their eternal music performances yet remaining truthful to the composer's original intentions with the "Sheet Music" works, to 'convey the aura of sound and allow the viewer to imagine music'. Kreidler says for his work "Sheet Music" that it is imaginary music. The pieces are not to be interpreted by playing on an instrument, and certainly not improvised. They become when imagined in one's head. As Kreidler gives no specific notes nor restrictions about the movement itself, for me - the performer, there had to be a way to make these pieces come to life in physical space. Subtracted of sounding, of the presence of the performer's body, of the instrument... In "sheet music: the performance", there is only the movement. The sounding, the music, is still left to be created in the imagination of the perceiver.
“Candle” flipbook and accompanying sheet music sheet is the music performance of the piece "Candle". The installation is to be interacted with by the spectator.
It is made as a series of 5 interpretations. For this interpretation: ink on paper (satin paper in the book, linen structured acrylic 230g canvas paper for the sheet), hand bookbinding using a variation of the kettle stitch and various cutting techniques for the book cover. This is performance/interpretation 3/5.
http://dejanasekulic.com/sheet_music-the_performance.html
a piece of your best advice: always, *always*, try to freeze white grapes before eating them.//</div>
<div class="centred"><img height="90%" width="90%" src="image/candle/chair.jpg"/>
<img height="90%" width="90%" src="image/candle/candle.gif"/>
</div>
You like this shelter. There’s no way you will go back to the real world now. Or at least not before you have experienced more Noisebringer soul healing.
You are a child now. Go play [[Remembrance of the First Water-Ritual->water]].
You are a baby now. Go listen to [[Noisebringers for Babies->babies]].
You are an ovum now. Go lay yourself inside one of the [[Self Portraits on a Theme of Her->herportraits]].
You are a bird now. Go meet [[The Ornithologists->orni]].
You are a sound now. Go trade with [[The Sound Dealer->dealer]].</div><</if>><<if $prosecco is "5">><div class="bigtext">Candle</div>
You brutally realise the world is a horrible place inhabited by pompous people who think highly of themselves instead of acknowledging their ‘achievements’ are nothing more than the result of lucky draws, privileges and/or brutal moves and betrayals. You are not so clean yourself. (‘A clear conscience is usually the sign of a bad memory’ as we learnt in Fly Guy, quoted in [[Glory]].) You have hidden the truth to your lovers at times. You have been unfairly critical with a colleague and let it get out of hand. You lied in your best friend’s face with your most beautiful smile on. But are you one of those who manoeuvre to rob a position of responsibilities from a more qualified friend? Are you one of those who built systems of domination by abusing your wealth, your position of influence or your family connections? Are you wearing socks in your Birkenstock because you claim “it’s fine”? The world is loud. It is screaming with pain, bitterness, sarcasm, and cynicism. Most of the time it screams without knowing why. So do you. But right now, what you need is a shelter. Silence. Warmth and benevolence. Seek refuge in the
<div class="placard">''“Candle” [from “Sheet Music: the Performance” series]''
//Dejana Sekulic
Ink on paper, hand bookbinding, 14,5x20cm + 26x30cm (without installation), 2020/2021
"sheet music: the performance" series contains loop animations, kinetic sculptures and objects that give motion to otherwise static graphics of Johannes Kreidler's notation-based pieces "Sheet Music". This movement, the moving that becomes with the objects wants to become the sounding of the graphics. These interpretations are imagined to be the music, giving their eternal music performances yet remaining truthful to the composer's original intentions with the "Sheet Music" works, to 'convey the aura of sound and allow the viewer to imagine music'. Kreidler says for his work "Sheet Music" that it is imaginary music. The pieces are not to be interpreted by playing on an instrument, and certainly not improvised. They become when imagined in one's head. As Kreidler gives no specific notes nor restrictions about the movement itself, for me - the performer, there had to be a way to make these pieces come to life in physical space. Subtracted of sounding, of the presence of the performer's body, of the instrument... In "sheet music: the performance", there is only the movement. The sounding, the music, is still left to be created in the imagination of the perceiver.
“Candle” flipbook and accompanying sheet music sheet is the music performance of the piece "Candle". The installation is to be interacted with by the spectator.
It is made as a series of 5 interpretations. For this interpretation: ink on paper (satin paper in the book, linen structured acrylic 230g canvas paper for the sheet), hand bookbinding using a variation of the kettle stitch and various cutting techniques for the book cover. This is performance/interpretation 3/5.
http://dejanasekulic.com/sheet_music-the_performance.html
a piece of your best advice: always, *always*, try to freeze white grapes before eating them.//</div>
<div class="centred"><img height="90%" width="90%" src="image/candle/chair.jpg"/>
<img height="90%" width="90%" src="image/candle/candle.gif"/>
</div>
You like this shelter. There’s no way you will go back to the real world now. Or at least not before you have experienced more Noisebringer soul healing.
You are a child now. Go play [[Remembrance of the First Water-Ritual->water]].
You are a baby now. Go listen to [[Noisebringers for Babies->babies]].
You are an ovum now. Go lay yourself inside one of the [[Self Portraits on a Theme of Her->herportraits]].
You are a bird now. Go meet [[The Ornithologists->orni]].
You are a sound now. Go trade with [[The Sound Dealer->dealer]].<</if>>
<<if $prosecco is "0">><div class="bigtext">Glory</div>
<div class="placard">''Glory''
//Brice Catherin & Jonathan O'Hear
Web app, 2020-2021//
It's an interactive web app (3D and 2D images, text) that explores fascism.
There are three separate episodes and there is a version with the three of them together.</div>
<div class="centred">Episode 1
[img[image/glory/GloryHole_part1.png][https://johear.gitlab.io/gloryhole/]]
Episode 2
[img[image/glory/GloryHole_part2.jpg][https://johear.gitlab.io/gloryhole/IOF-Part2.html]]
Episode 3
[img[image/glory/GloryHole_part3.jpg][https://johear.gitlab.io/gloryhole/IOF-Part3.html]]
Full season 1 (note that the photography used in this image was kindly provided by Sebleouf under a CC BY-SA 4.0 licence.)
[img[image/glory/GloryHole_fullseason1.jpg][https://johear.gitlab.io/gloryhole/IOF-Integral.html]]</div>
Now, you wonder if Jonathan O’Hear is or is not a fascist. You need to investigate. Go see his other works, [[Burnt to the core but framed->burnt1]] and [[Practice Makes Authentic->pma]].
Now, you wonder which piece of the exhibition was Jonathan’s favourite. Go to [[Self Portraits on a Theme of Hur->herportraits]].
Now, you are lost. Where is G***? Check it out on the map of [[Hur Earth]].
Now, you are thirsty. Drink a glass of [[Prosecco]].<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Glory</div>
<div class="placard">''Glory''
//Brice Catherin & Jonathan O'Hear
Web app, 2020-2021//
It's an interactive web app (3D and 2D images, text) that explores fascism.
There are three separate episodes and there is a version with the three of them together.</div>
<div class="centred">Episode 1
[img[image/glory/GloryHole_part1.png][https://johear.gitlab.io/gloryhole/]]
Episode 2
[img[image/glory/GloryHole_part2.jpg][https://johear.gitlab.io/gloryhole/IOF-Part2.html]]
Episode 3
[img[image/glory/GloryHole_part3.jpg][https://johear.gitlab.io/gloryhole/IOF-Part3.html]]
Full season 1 (note that the photography used in this image was kindly provided by Sebleouf under a CC BY-SA 4.0 licence.)
[img[image/glory/GloryHole_fullseason1.jpg][https://johear.gitlab.io/gloryhole/IOF-Integral.html]]</div>
Now, you wonder if Jonathan O’Hear is or is not a fascist. You need to investigate. Go see his other works, [[Burnt to the core but framed->burnt1]] and [[Practice Makes Authentic->pma]].
Now, you wonder which piece of the exhibition was Jonathan’s favourite. Go to [[Self Portraits on a Theme of Hur->herportraits]].
Now, you are lost. Where is G***? Check it out on the map of [[Hur Earth]].
Now, you are thirsty. Drink a glass of [[Prosecco]].</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Glory</div>
<div class="placard">''Glory''
//Brice Catherin & Jonathan O'Hear
Web app, 2020-2021//
It's an interactive web app (3D and 2D images, text) that explores fascism.
There are three separate episodes and there is a version with the three of them together.</div>
<div class="centred">Episode 1
[img[image/glory/GloryHole_part1.png][https://johear.gitlab.io/gloryhole/]]
Episode 2
[img[image/glory/GloryHole_part2.jpg][https://johear.gitlab.io/gloryhole/IOF-Part2.html]]
Episode 3
[img[image/glory/GloryHole_part3.jpg][https://johear.gitlab.io/gloryhole/IOF-Part3.html]]
Full season 1 (note that the photography used in this image was kindly provided by Sebleouf under a CC BY-SA 4.0 licence.)
[img[image/glory/GloryHole_fullseason1.jpg][https://johear.gitlab.io/gloryhole/IOF-Integral.html]]</div>
Now, you wonder if Jonathan O’Hear is or is not a fascist. You need to investigate. Go see his other works, [[Burnt to the core but framed->burnt1]] and [[Practice Makes Authentic->pma]].
Now, you wonder which piece of the exhibition was Jonathan’s favourite. Go to [[Self Portraits on a Theme of Hur->herportraits]].
Now, you are lost. Where is G***? Check it out on the map of [[Hur Earth]].
Now, you are thirsty. Drink a glass of [[Prosecco]].</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Glory</div>
<div class="placard">''Glory''
//Brice Catherin & Jonathan O'Hear
Web app, 2020-2021//
It's an interactive web app (3D and 2D images, text) that explores fascism.
There are three separate episodes and there is a version with the three of them together.</div>
<div class="centred">Episode 1
[img[image/glory/GloryHole_part1.png][https://johear.gitlab.io/gloryhole/]]
Episode 2
[img[image/glory/GloryHole_part2.jpg][https://johear.gitlab.io/gloryhole/IOF-Part2.html]]
Episode 3
[img[image/glory/GloryHole_part3.jpg][https://johear.gitlab.io/gloryhole/IOF-Part3.html]]
Full season 1 (note that the photography used in this image was kindly provided by Sebleouf under a CC BY-SA 4.0 licence.)
[img[image/glory/GloryHole_fullseason1.jpg][https://johear.gitlab.io/gloryhole/IOF-Integral.html]]</div>
Now, you wonder if Jonathan O’Hear is or is not a fascist. You need to investigate. Go see his other works, [[Burnt to the core but framed->burnt1]] and [[Practice Makes Authentic->pma]].
Now, you wonder which piece of the exhibition was Jonathan’s favourite. Go to [[Self Portraits on a Theme of Hur->herportraits]].
Now, you are lost. Where is G***? Check it out on the map of [[Hur Earth]].
Now, you are thirsty. Drink a glass of [[Prosecco]].</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Glory</div>
<div class="placard">''Glory''
//Brice Catherin & Jonathan O'Hear
Web app, 2020-2021//
It's an interactive web app (3D and 2D images, text) that explores fascism.
There are three separate episodes and there is a version with the three of them together.</div>
<div class="centred">Episode 1
[img[image/glory/GloryHole_part1.png][https://johear.gitlab.io/gloryhole/]]
Episode 2
[img[image/glory/GloryHole_part2.jpg][https://johear.gitlab.io/gloryhole/IOF-Part2.html]]
Episode 3
[img[image/glory/GloryHole_part3.jpg][https://johear.gitlab.io/gloryhole/IOF-Part3.html]]
Full season 1 (note that the photography used in this image was kindly provided by Sebleouf under a CC BY-SA 4.0 licence.)
[img[image/glory/GloryHole_fullseason1.jpg][https://johear.gitlab.io/gloryhole/IOF-Integral.html]]</div>
Now, you wonder if Jonathan O’Hear is or is not a fascist. You need to investigate. Go see his other works, [[Burnt to the core but framed->burnt1]] and [[Practice Makes Authentic->pma]].
Now, you wonder which piece of the exhibition was Jonathan’s favourite. Go to [[Self Portraits on a Theme of Hur->herportraits]].
Now, you are lost. Where is G***? Check it out on the map of [[Hur Earth]].
Now, you are thirsty. Drink a glass of [[Prosecco]].</div><</if>><<if $prosecco is "5">><div class="bigtext">Glory</div>
<div class="placard">''Glory''
//Brice Catherin & Jonathan O'Hear
Web app, 2020-2021//
It's an interactive web app (3D and 2D images, text) that explores fascism.
There are three separate episodes and there is a version with the three of them together.</div>
<div class="centred">Episode 1
[img[image/glory/GloryHole_part1.png][https://johear.gitlab.io/gloryhole/]]
Episode 2
[img[image/glory/GloryHole_part2.jpg][https://johear.gitlab.io/gloryhole/IOF-Part2.html]]
Episode 3
[img[image/glory/GloryHole_part3.jpg][https://johear.gitlab.io/gloryhole/IOF-Part3.html]]
Full season 1 (note that the photography used in this image was kindly provided by Sebleouf under a CC BY-SA 4.0 licence.)
[img[image/glory/GloryHole_fullseason1.jpg][https://johear.gitlab.io/gloryhole/IOF-Integral.html]]</div>
Now, you wonder if Jonathan O’Hear is or is not a fascist. You need to investigate. Go see his other works, [[Burnt to the core but framed->burnt1]] and [[Practice Makes Authentic->pma]].
Now, you wonder which piece of the exhibition was Jonathan’s favourite. Go to [[Self Portraits on a Theme of Hur->herportraits]].
Now, you are lost. Where is G***? Check it out on the map of [[Hur Earth]].
Now, you are thirsty. Drink a glass of [[Prosecco]].<</if>>
<<if $prosecco is "0">><div class="bigtext">Instructions for the Assistants wishing to enact the
Remembrance of the First Water-Ritual</div>
//This physical manifestation of the ancient story contains:
34 Cosmic shapes; patches of the universal soup that were displaced with the thrashing of Hur, rendered in cloth in the most amiable geometries, which must be positioned in remembrance of Hur actions
Figures of the five Primordial Nuns; the acolytes of Hur, who must travel the streams of the broth to bring water to Tente
Figures of the Double-Bodied Monster; connected by the cosmic string, who inhabit the void, and seek to drain the broth of eternity and disrupt the sacred duty of the Primordial Nuns
Figure of the eternal Water-Bowl of Tente (the mushroom that the crocodile ate); the receptacle of the Chieftaness, where forces and water must be collected.
The Presence of the mystical formless figure of Tente.//
In order to enact the Remembrance, the Assistants must undertake the Sequence of Great Responsibilities.
I -The first Great Responsibility is the Building of the World
The 34 Cosmic Shapes must be arranged in the manner that shE laid forth the shape of the universe.
Because [[shE was an improviser->Hur Earth]], this shape was (and is) always improvising.
Thus must the Shapes be arranged howsoever the Assistants place them, but always aligned and connected by the three streams of water which flow unbroken throughout the broth.
II -The second Great Responsibility is the placing of the Original Entities.
The Entities that first thrashed with Hur in great annoyance are here manifested in clay figurines.
The five Primordial Nuns must begin their journey dispersed at the very edges of the universe (because they did not have maps, and got lost). From there they will journey to bring water to the Water-Bowl of Tente.
The Double-Bodied Monster, connected by the [[cosmic string->noise]], must spread its two bodies as far as it can apart, blocking the path of the Primordial Nuns. It must begin its journey in the darkness between the streams (because it cannot swim)
The eternal Water-Bowl of Tente must sit at the centre of the universe (because that is where she left it).
The Presence of Tente exists in all places, even before the Remembrance begins (it will descend when ready).
III – The third Great Responsibility is the Moving of the Nuns
The [[Primordial Nuns->herportraits]] must travel along the streams of water that flow through the universal soup, on their journey to deposit forces and water in the eternal Water-Bowl of Tente.
Because nuns can only swim for short periods (as their clothes and spiritual responsibilities are heavy), the Primordial Nuns must continue until they reach an intersecting stream, at which point they must rest.
IV – The fourth Great Responsibility is the Leaping of the Monster and the Blocking of the Path
The Double-Bodied Monster desires to drain the universal soup and to prevent the Primordial Nuns from bringing forces and Water to Tente.
While the Primordial Nuns are resting, the Monster must move its two bodies through the void, drawing the cosmic string across the path of the Nuns to prevent them from proceeding. The cosmic string is unbreakable, and the Nuns cannot cross it (they must find another way).
[[The Monster->archive2]] can move anywhere in the void, leaping over the streams that run through the broth. However, once both its bodies have moved, it becomes tired, and it too must rest.
V – The fifth Great Responsibility is the Cycle of Moving and Resting
The Universe (even at the time of Hur) was filled with much annoying responsibility and little time for relaxing. The Cycle of Moving and Resting must continue until the journey of the Nuns is complete.
As the Double-Bodied Monster rests, so the Primordial Nuns must move.
As the Primordial Nuns rest, so must the Double-Bodied Monster move.
VI – The sixth Great Responsibility is the <<linkreplace "Singing of the Song that was Stuck">><<audio board play>><</linkreplace>>
At the moment that one of the Primordial Nuns reaches the Water-Bowl of Tente, the Assistants must Sing the Song that was Stuck – by doing so, they remember the placing of the water into the Water-Bowl.
When the Singing is finished, the Nun at the Water-Bowl may rest eternally, and disappear from the [[Universe->Hur Earth]].
VII – The seventh Great Responsibility is the Recognition of the End-Times
When all five of the Primordial Nuns have attended to the Water-Bowl, and the Song has been sung five times, then the Presence of Tente will descend upon the Assistants, and the [[Remembrance is concluded->endgame]].
The Assistants may then sing another Song, to welcome [[Tente->tente]].
VIII – The eighth Great Responsibility is the Putting Away of the Universe
(because Universes must always be put away once they have been finished with).
I feel I have learned all I can, please take me to [[some other place->phone]], or [[another place->wpd]], or even [[somewhere totally different->Rhododendron Warming]]
<</if>>
<<if $prosecco is "1">><div class="blur"><div class="bigtext">Instructions for the Assistants wishing to enact the
Remembrance of the First Water-Ritual</div>
//This physical manifestation of the ancient story contains:
34 Cosmic shapes; patches of the universal soup that were displaced with the thrashing of Hur, rendered in cloth in the most amiable geometries, which must be positioned in remembrance of Hur actions
Figures of the five Primordial Nuns; the acolytes of Hur, who must travel the streams of the broth to bring water to Tente
Figures of the Double-Bodied Monster; connected by the cosmic string, who inhabit the void, and seek to drain the broth of eternity and disrupt the sacred duty of the Primordial Nuns
Figure of the eternal Water-Bowl of Tente (the mushroom that the crocodile ate); the receptacle of the Chieftaness, where forces and water must be collected.
The Presence of the mystical formless figure of Tente.//
In order to enact the Remembrance, the Assistants must undertake the Sequence of Great Responsibilities.
I -The first Great Responsibility is the Building of the World
The 34 Cosmic Shapes must be arranged in the manner that shE laid forth the shape of the universe.
Because [[shE was an improviser->Hur Earth]], this shape was (and is) always improvising.
Thus must the Shapes be arranged howsoever the Assistants place them, but always aligned and connected by the three streams of water which flow unbroken throughout the broth.
II -The second Great Responsibility is the placing of the Original Entities.
The Entities that first thrashed with Hur in great annoyance are here manifested in clay figurines.
The five Primordial Nuns must begin their journey dispersed at the very edges of the universe (because they did not have maps, and got lost). From there they will journey to bring water to the Water-Bowl of Tente.
The Double-Bodied Monster, connected by the [[cosmic string->noise]], must spread its two bodies as far as it can apart, blocking the path of the Primordial Nuns. It must begin its journey in the darkness between the streams (because it cannot swim)
The eternal Water-Bowl of Tente must sit at the centre of the universe (because that is where she left it).
The Presence of Tente exists in all places, even before the Remembrance begins (it will descend when ready).
III – The third Great Responsibility is the Moving of the Nuns
The [[Primordial Nuns->herportraits]] must travel along the streams of water that flow through the universal soup, on their journey to deposit forces and water in the eternal Water-Bowl of Tente.
Because nuns can only swim for short periods (as their clothes and spiritual responsibilities are heavy), the Primordial Nuns must continue until they reach an intersecting stream, at which point they must rest.
IV – The fourth Great Responsibility is the Leaping of the Monster and the Blocking of the Path
The Double-Bodied Monster desires to drain the universal soup and to prevent the Primordial Nuns from bringing forces and Water to Tente.
While the Primordial Nuns are resting, the Monster must move its two bodies through the void, drawing the cosmic string across the path of the Nuns to prevent them from proceeding. The cosmic string is unbreakable, and the Nuns cannot cross it (they must find another way).
[[The Monster->archive2]] can move anywhere in the void, leaping over the streams that run through the broth. However, once both its bodies have moved, it becomes tired, and it too must rest.
V – The fifth Great Responsibility is the Cycle of Moving and Resting
The Universe (even at the time of Hur) was filled with much annoying responsibility and little time for relaxing. The Cycle of Moving and Resting must continue until the journey of the Nuns is complete.
As the Double-Bodied Monster rests, so the Primordial Nuns must move.
As the Primordial Nuns rest, so must the Double-Bodied Monster move.
VI – The sixth Great Responsibility is the <<linkreplace "Singing of the Song that was Stuck">><<audio board play>><</linkreplace>>
At the moment that one of the Primordial Nuns reaches the Water-Bowl of Tente, the Assistants must Sing the Song that was Stuck – by doing so, they remember the placing of the water into the Water-Bowl.
When the Singing is finished, the Nun at the Water-Bowl may rest eternally, and disappear from the [[Universe->Hur Earth]].
VII – The seventh Great Responsibility is the Recognition of the End-Times
When all five of the Primordial Nuns have attended to the Water-Bowl, and the Song has been sung five times, then the Presence of Tente will descend upon the Assistants, and the [[Remembrance is concluded->endgame]].
The Assistants may then sing another Song, to welcome [[Tente->tente]].
VIII – The eighth Great Responsibility is the Putting Away of the Universe
(because Universes must always be put away once they have been finished with).
I feel I have learned all I can, please take me to [[some other place->phone]], or [[another place->wpd]], or even [[somewhere totally different->Rhododendron Warming]]
</div><</if>>
<<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Instructions for the Assistants wishing to enact the
Remembrance of the First Water-Ritual</div>
//This physical manifestation of the ancient story contains:
34 Cosmic shapes; patches of the universal soup that were displaced with the thrashing of Hur, rendered in cloth in the most amiable geometries, which must be positioned in remembrance of Hur actions
Figures of the five Primordial Nuns; the acolytes of Hur, who must travel the streams of the broth to bring water to Tente
Figures of the Double-Bodied Monster; connected by the cosmic string, who inhabit the void, and seek to drain the broth of eternity and disrupt the sacred duty of the Primordial Nuns
Figure of the eternal Water-Bowl of Tente (the mushroom that the crocodile ate); the receptacle of the Chieftaness, where forces and water must be collected.
The Presence of the mystical formless figure of Tente.//
In order to enact the Remembrance, the Assistants must undertake the Sequence of Great Responsibilities.
I -The first Great Responsibility is the Building of the World
The 34 Cosmic Shapes must be arranged in the manner that shE laid forth the shape of the universe.
Because [[shE was an improviser->Hur Earth]], this shape was (and is) always improvising.
Thus must the Shapes be arranged howsoever the Assistants place them, but always aligned and connected by the three streams of water which flow unbroken throughout the broth.
II -The second Great Responsibility is the placing of the Original Entities.
The Entities that first thrashed with Hur in great annoyance are here manifested in clay figurines.
The five Primordial Nuns must begin their journey dispersed at the very edges of the universe (because they did not have maps, and got lost). From there they will journey to bring water to the Water-Bowl of Tente.
The Double-Bodied Monster, connected by the [[cosmic string->noise]], must spread its two bodies as far as it can apart, blocking the path of the Primordial Nuns. It must begin its journey in the darkness between the streams (because it cannot swim)
The eternal Water-Bowl of Tente must sit at the centre of the universe (because that is where she left it).
The Presence of Tente exists in all places, even before the Remembrance begins (it will descend when ready).
III – The third Great Responsibility is the Moving of the Nuns
The [[Primordial Nuns->herportraits]] must travel along the streams of water that flow through the universal soup, on their journey to deposit forces and water in the eternal Water-Bowl of Tente.
Because nuns can only swim for short periods (as their clothes and spiritual responsibilities are heavy), the Primordial Nuns must continue until they reach an intersecting stream, at which point they must rest.
IV – The fourth Great Responsibility is the Leaping of the Monster and the Blocking of the Path
The Double-Bodied Monster desires to drain the universal soup and to prevent the Primordial Nuns from bringing forces and Water to Tente.
While the Primordial Nuns are resting, the Monster must move its two bodies through the void, drawing the cosmic string across the path of the Nuns to prevent them from proceeding. The cosmic string is unbreakable, and the Nuns cannot cross it (they must find another way).
[[The Monster->archive2]] can move anywhere in the void, leaping over the streams that run through the broth. However, once both its bodies have moved, it becomes tired, and it too must rest.
V – The fifth Great Responsibility is the Cycle of Moving and Resting
The Universe (even at the time of Hur) was filled with much annoying responsibility and little time for relaxing. The Cycle of Moving and Resting must continue until the journey of the Nuns is complete.
As the Double-Bodied Monster rests, so the Primordial Nuns must move.
As the Primordial Nuns rest, so must the Double-Bodied Monster move.
VI – The sixth Great Responsibility is the <<linkreplace "Singing of the Song that was Stuck">><<audio board play>><</linkreplace>>
At the moment that one of the Primordial Nuns reaches the Water-Bowl of Tente, the Assistants must Sing the Song that was Stuck – by doing so, they remember the placing of the water into the Water-Bowl.
When the Singing is finished, the Nun at the Water-Bowl may rest eternally, and disappear from the [[Universe->Hur Earth]].
VII – The seventh Great Responsibility is the Recognition of the End-Times
When all five of the Primordial Nuns have attended to the Water-Bowl, and the Song has been sung five times, then the Presence of Tente will descend upon the Assistants, and the [[Remembrance is concluded->endgame]].
The Assistants may then sing another Song, to welcome [[Tente->tente]].
VIII – The eighth Great Responsibility is the Putting Away of the Universe
(because Universes must always be put away once they have been finished with).
I feel I have learned all I can, please take me to [[some other place->phone]], or [[another place->wpd]], or even [[somewhere totally different->Rhododendron Warming]]
</div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Instructions for the Assistants wishing to enact the
Remembrance of the First Water-Ritual</div>
//This physical manifestation of the ancient story contains:
34 Cosmic shapes; patches of the universal soup that were displaced with the thrashing of Hur, rendered in cloth in the most amiable geometries, which must be positioned in remembrance of Hur actions
Figures of the five Primordial Nuns; the acolytes of Hur, who must travel the streams of the broth to bring water to Tente
Figures of the Double-Bodied Monster; connected by the cosmic string, who inhabit the void, and seek to drain the broth of eternity and disrupt the sacred duty of the Primordial Nuns
Figure of the eternal Water-Bowl of Tente (the mushroom that the crocodile ate); the receptacle of the Chieftaness, where forces and water must be collected.
The Presence of the mystical formless figure of Tente.//
In order to enact the Remembrance, the Assistants must undertake the Sequence of Great Responsibilities.
I -The first Great Responsibility is the Building of the World
The 34 Cosmic Shapes must be arranged in the manner that shE laid forth the shape of the universe.
Because [[shE was an improviser->Hur Earth]], this shape was (and is) always improvising.
Thus must the Shapes be arranged howsoever the Assistants place them, but always aligned and connected by the three streams of water which flow unbroken throughout the broth.
II -The second Great Responsibility is the placing of the Original Entities.
The Entities that first thrashed with Hur in great annoyance are here manifested in clay figurines.
The five Primordial Nuns must begin their journey dispersed at the very edges of the universe (because they did not have maps, and got lost). From there they will journey to bring water to the Water-Bowl of Tente.
The Double-Bodied Monster, connected by the [[cosmic string->noise]], must spread its two bodies as far as it can apart, blocking the path of the Primordial Nuns. It must begin its journey in the darkness between the streams (because it cannot swim)
The eternal Water-Bowl of Tente must sit at the centre of the universe (because that is where she left it).
The Presence of Tente exists in all places, even before the Remembrance begins (it will descend when ready).
III – The third Great Responsibility is the Moving of the Nuns
The [[Primordial Nuns->herportraits]] must travel along the streams of water that flow through the universal soup, on their journey to deposit forces and water in the eternal Water-Bowl of Tente.
Because nuns can only swim for short periods (as their clothes and spiritual responsibilities are heavy), the Primordial Nuns must continue until they reach an intersecting stream, at which point they must rest.
IV – The fourth Great Responsibility is the Leaping of the Monster and the Blocking of the Path
The Double-Bodied Monster desires to drain the universal soup and to prevent the Primordial Nuns from bringing forces and Water to Tente.
While the Primordial Nuns are resting, the Monster must move its two bodies through the void, drawing the cosmic string across the path of the Nuns to prevent them from proceeding. The cosmic string is unbreakable, and the Nuns cannot cross it (they must find another way).
[[The Monster->archive2]] can move anywhere in the void, leaping over the streams that run through the broth. However, once both its bodies have moved, it becomes tired, and it too must rest.
V – The fifth Great Responsibility is the Cycle of Moving and Resting
The Universe (even at the time of Hur) was filled with much annoying responsibility and little time for relaxing. The Cycle of Moving and Resting must continue until the journey of the Nuns is complete.
As the Double-Bodied Monster rests, so the Primordial Nuns must move.
As the Primordial Nuns rest, so must the Double-Bodied Monster move.
VI – The sixth Great Responsibility is the <<linkreplace "Singing of the Song that was Stuck">><<audio board play>><</linkreplace>>
At the moment that one of the Primordial Nuns reaches the Water-Bowl of Tente, the Assistants must Sing the Song that was Stuck – by doing so, they remember the placing of the water into the Water-Bowl.
When the Singing is finished, the Nun at the Water-Bowl may rest eternally, and disappear from the [[Universe->Hur Earth]].
VII – The seventh Great Responsibility is the Recognition of the End-Times
When all five of the Primordial Nuns have attended to the Water-Bowl, and the Song has been sung five times, then the Presence of Tente will descend upon the Assistants, and the [[Remembrance is concluded->endgame]].
The Assistants may then sing another Song, to welcome [[Tente->tente]].
VIII – The eighth Great Responsibility is the Putting Away of the Universe
(because Universes must always be put away once they have been finished with).
I feel I have learned all I can, please take me to [[some other place->phone]], or [[another place->wpd]], or even [[somewhere totally different->Rhododendron Warming]]
</div><</if>>
<<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Instructions for the Assistants wishing to enact the
Remembrance of the First Water-Ritual</div>
//This physical manifestation of the ancient story contains:
34 Cosmic shapes; patches of the universal soup that were displaced with the thrashing of Hur, rendered in cloth in the most amiable geometries, which must be positioned in remembrance of Hur actions
Figures of the five Primordial Nuns; the acolytes of Hur, who must travel the streams of the broth to bring water to Tente
Figures of the Double-Bodied Monster; connected by the cosmic string, who inhabit the void, and seek to drain the broth of eternity and disrupt the sacred duty of the Primordial Nuns
Figure of the eternal Water-Bowl of Tente (the mushroom that the crocodile ate); the receptacle of the Chieftaness, where forces and water must be collected.
The Presence of the mystical formless figure of Tente.//
In order to enact the Remembrance, the Assistants must undertake the Sequence of Great Responsibilities.
I -The first Great Responsibility is the Building of the World
The 34 Cosmic Shapes must be arranged in the manner that shE laid forth the shape of the universe.
Because [[shE was an improviser->Hur Earth]], this shape was (and is) always improvising.
Thus must the Shapes be arranged howsoever the Assistants place them, but always aligned and connected by the three streams of water which flow unbroken throughout the broth.
II -The second Great Responsibility is the placing of the Original Entities.
The Entities that first thrashed with Hur in great annoyance are here manifested in clay figurines.
The five Primordial Nuns must begin their journey dispersed at the very edges of the universe (because they did not have maps, and got lost). From there they will journey to bring water to the Water-Bowl of Tente.
The Double-Bodied Monster, connected by the [[cosmic string->noise]], must spread its two bodies as far as it can apart, blocking the path of the Primordial Nuns. It must begin its journey in the darkness between the streams (because it cannot swim)
The eternal Water-Bowl of Tente must sit at the centre of the universe (because that is where she left it).
The Presence of Tente exists in all places, even before the Remembrance begins (it will descend when ready).
III – The third Great Responsibility is the Moving of the Nuns
The [[Primordial Nuns->herportraits]] must travel along the streams of water that flow through the universal soup, on their journey to deposit forces and water in the eternal Water-Bowl of Tente.
Because nuns can only swim for short periods (as their clothes and spiritual responsibilities are heavy), the Primordial Nuns must continue until they reach an intersecting stream, at which point they must rest.
IV – The fourth Great Responsibility is the Leaping of the Monster and the Blocking of the Path
The Double-Bodied Monster desires to drain the universal soup and to prevent the Primordial Nuns from bringing forces and Water to Tente.
While the Primordial Nuns are resting, the Monster must move its two bodies through the void, drawing the cosmic string across the path of the Nuns to prevent them from proceeding. The cosmic string is unbreakable, and the Nuns cannot cross it (they must find another way).
[[The Monster->archive2]] can move anywhere in the void, leaping over the streams that run through the broth. However, once both its bodies have moved, it becomes tired, and it too must rest.
V – The fifth Great Responsibility is the Cycle of Moving and Resting
The Universe (even at the time of Hur) was filled with much annoying responsibility and little time for relaxing. The Cycle of Moving and Resting must continue until the journey of the Nuns is complete.
As the Double-Bodied Monster rests, so the Primordial Nuns must move.
As the Primordial Nuns rest, so must the Double-Bodied Monster move.
VI – The sixth Great Responsibility is the <<linkreplace "Singing of the Song that was Stuck">><<audio board play>><</linkreplace>>
At the moment that one of the Primordial Nuns reaches the Water-Bowl of Tente, the Assistants must Sing the Song that was Stuck – by doing so, they remember the placing of the water into the Water-Bowl.
When the Singing is finished, the Nun at the Water-Bowl may rest eternally, and disappear from the [[Universe->Hur Earth]].
VII – The seventh Great Responsibility is the Recognition of the End-Times
When all five of the Primordial Nuns have attended to the Water-Bowl, and the Song has been sung five times, then the Presence of Tente will descend upon the Assistants, and the [[Remembrance is concluded->endgame]].
The Assistants may then sing another Song, to welcome [[Tente->tente]].
VIII – The eighth Great Responsibility is the Putting Away of the Universe
(because Universes must always be put away once they have been finished with).
I feel I have learned all I can, please take me to [[some other place->phone]], or [[another place->wpd]], or even [[somewhere totally different->Rhododendron Warming]]
</div><</if>>
<<if $prosecco is "5">><div class="bigtext">Instructions for the Assistants wishing to enact the
Remembrance of the First Water-Ritual</div>
//This physical manifestation of the ancient story contains:
34 Cosmic shapes; patches of the universal soup that were displaced with the thrashing of Hur, rendered in cloth in the most amiable geometries, which must be positioned in remembrance of Hur actions
Figures of the five Primordial Nuns; the acolytes of Hur, who must travel the streams of the broth to bring water to Tente
Figures of the Double-Bodied Monster; connected by the cosmic string, who inhabit the void, and seek to drain the broth of eternity and disrupt the sacred duty of the Primordial Nuns
Figure of the eternal Water-Bowl of Tente (the mushroom that the crocodile ate); the receptacle of the Chieftaness, where forces and water must be collected.
The Presence of the mystical formless figure of Tente.//
In order to enact the Remembrance, the Assistants must undertake the Sequence of Great Responsibilities.
I -The first Great Responsibility is the Building of the World
The 34 Cosmic Shapes must be arranged in the manner that shE laid forth the shape of the universe.
Because [[shE was an improviser->Hur Earth]], this shape was (and is) always improvising.
Thus must the Shapes be arranged howsoever the Assistants place them, but always aligned and connected by the three streams of water which flow unbroken throughout the broth.
II -The second Great Responsibility is the placing of the Original Entities.
The Entities that first thrashed with Hur in great annoyance are here manifested in clay figurines.
The five Primordial Nuns must begin their journey dispersed at the very edges of the universe (because they did not have maps, and got lost). From there they will journey to bring water to the Water-Bowl of Tente.
The Double-Bodied Monster, connected by the [[cosmic string->noise]], must spread its two bodies as far as it can apart, blocking the path of the Primordial Nuns. It must begin its journey in the darkness between the streams (because it cannot swim)
The eternal Water-Bowl of Tente must sit at the centre of the universe (because that is where she left it).
The Presence of Tente exists in all places, even before the Remembrance begins (it will descend when ready).
III – The third Great Responsibility is the Moving of the Nuns
The [[Primordial Nuns->herportraits]] must travel along the streams of water that flow through the universal soup, on their journey to deposit forces and water in the eternal Water-Bowl of Tente.
Because nuns can only swim for short periods (as their clothes and spiritual responsibilities are heavy), the Primordial Nuns must continue until they reach an intersecting stream, at which point they must rest.
IV – The fourth Great Responsibility is the Leaping of the Monster and the Blocking of the Path
The Double-Bodied Monster desires to drain the universal soup and to prevent the Primordial Nuns from bringing forces and Water to Tente.
While the Primordial Nuns are resting, the Monster must move its two bodies through the void, drawing the cosmic string across the path of the Nuns to prevent them from proceeding. The cosmic string is unbreakable, and the Nuns cannot cross it (they must find another way).
[[The Monster->archive2]] can move anywhere in the void, leaping over the streams that run through the broth. However, once both its bodies have moved, it becomes tired, and it too must rest.
V – The fifth Great Responsibility is the Cycle of Moving and Resting
The Universe (even at the time of Hur) was filled with much annoying responsibility and little time for relaxing. The Cycle of Moving and Resting must continue until the journey of the Nuns is complete.
As the Double-Bodied Monster rests, so the Primordial Nuns must move.
As the Primordial Nuns rest, so must the Double-Bodied Monster move.
VI – The sixth Great Responsibility is the <<linkreplace "Singing of the Song that was Stuck">><<audio board play>><</linkreplace>>
At the moment that one of the Primordial Nuns reaches the Water-Bowl of Tente, the Assistants must Sing the Song that was Stuck – by doing so, they remember the placing of the water into the Water-Bowl.
When the Singing is finished, the Nun at the Water-Bowl may rest eternally, and disappear from the [[Universe->Hur Earth]].
VII – The seventh Great Responsibility is the Recognition of the End-Times
When all five of the Primordial Nuns have attended to the Water-Bowl, and the Song has been sung five times, then the Presence of Tente will descend upon the Assistants, and the [[Remembrance is concluded->endgame]].
The Assistants may then sing another Song, to welcome [[Tente->tente]].
VIII – The eighth Great Responsibility is the Putting Away of the Universe
(because Universes must always be put away once they have been finished with).
I feel I have learned all I can, please take me to [[some other place->phone]], or [[another place->wpd]], or even [[somewhere totally different->Rhododendron Warming]]
<</if>><<if $prosecco is "0">><div class="bigtext">Fleurs intemporelles / Eternal flowers</div>
<div class="placard">Fleurs intemporelles / Eternal flowers
//Brice Catherin, Cléa Chopard & Cynthia Udriot
Series of five short films, 2020
Duration: 23'50 (in total)//
It's a series of five films improvised, shot, directed and edited by Brice Catherin, Cléa Chopard and Cynthia Udriot, with the help of Tristan Chopard.
//A piece of my best advice:// get paid before you start working.</div>
Do you speak [[English->efeng]] or [[French->effr]]?<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Fleurs intemporelles / Eternal flowers</div>
<div class="placard">Fleurs intemporelles / Eternal flowers
//Brice Catherin, Cléa Chopard & Cynthia Udriot
Series of five short films, 2020
Duration: 23'50 (in total)//
It's a series of five films improvised, shot, directed and edited by Brice Catherin, Cléa Chopard and Cynthia Udriot, with the help of Tristan Chopard.
//A piece of my best advice:// get paid before you start working.</div>
Do you speak [[English->efeng]] or [[French->effr]]?</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Fleurs intemporelles / Eternal flowers</div>
<div class="placard">Fleurs intemporelles / Eternal flowers
//Brice Catherin, Cléa Chopard & Cynthia Udriot
Series of five short films, 2020
Duration: 23'50 (in total)//
It's a series of five films improvised, shot, directed and edited by Brice Catherin, Cléa Chopard and Cynthia Udriot, with the help of Tristan Chopard.
//A piece of my best advice:// get paid before you start working.</div>
Do you speak [[English->efeng]] or [[French->effr]]?</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Fleurs intemporelles / Eternal flowers</div>
<div class="placard">Fleurs intemporelles / Eternal flowers
//Brice Catherin, Cléa Chopard & Cynthia Udriot
Series of five short films, 2020
Duration: 23'50 (in total)//
It's a series of five films improvised, shot, directed and edited by Brice Catherin, Cléa Chopard and Cynthia Udriot, with the help of Tristan Chopard.
//A piece of my best advice:// get paid before you start working.</div>
Do you speak [[English->efeng]] or [[French->effr]]?</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Fleurs intemporelles / Eternal flowers</div>
<div class="placard">Fleurs intemporelles / Eternal flowers
//Brice Catherin, Cléa Chopard & Cynthia Udriot
Series of five short films, 2020
Duration: 23'50 (in total)//
It's a series of five films improvised, shot, directed and edited by Brice Catherin, Cléa Chopard and Cynthia Udriot, with the help of Tristan Chopard.
//A piece of my best advice:// get paid before you start working.</div>
Do you speak [[English->efeng]] or [[French->effr]]?</div><</if>><<if $prosecco is "5">><div class="bigtext">Fleurs intemporelles / Eternal flowers</div>
<div class="placard">Fleurs intemporelles / Eternal flowers
//Brice Catherin, Cléa Chopard & Cynthia Udriot
Series of five short films, 2020
Duration: 23'50 (in total)//
It's a series of five films improvised, shot, directed and edited by Brice Catherin, Cléa Chopard and Cynthia Udriot, with the help of Tristan Chopard.
//A piece of my best advice:// get paid before you start working.</div>
Do you speak [[English->efeng]] or [[French->effr]]?<</if>>
<<if $prosecco is "0">><div class="bigtext">Hur Performs</div>
<p>You shall be spoken to by Hur. Hur words and Hur songs will reach you eventually, but first they will need to be captured and made audible to you by the techno-magical apparatuses of Hur Prophetessprophet Mariabrice. Will these words and songs be understood by you?</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/11qtcxxOEIZUDjb35KpbzcM51yUbSXPD9/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>All the words and all the songs have been understood by you. The path that leads to where [[The Noisebringers are conferenced about->conference]] is now open to you.
Most of the words and most of the songs have been understood by you. The path that leads to where [[The Archive comes Alive->archive]] is now open to you.
A handful of the words and a handful of the songs have been understood by you. The path that leads to [[the Sentient Archive of Hur->archive]] is now open to you.
None of the words and none of the songs have been understood by you. The path that leads to where it all started is the only one that remains for you to understand how Hur has been and still is [[mush]].
Have a glass of [[Prosecco]].</p><</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Hur Performs</div>
<p>You shall be spoken to by Hur. Hur words and Hur songs will reach you eventually, but first they will need to be captured and made audible to you by the techno-magical apparatuses of Hur Prophetessprophet Mariabrice. Will these words and songs be understood by you?</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/11qtcxxOEIZUDjb35KpbzcM51yUbSXPD9/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>All the words and all the songs have been understood by you. The path that leads to where [[The Noisebringers are conferenced about->conference]] is now open to you.
Most of the words and most of the songs have been understood by you. The path that leads to where [[The Archive comes Alive->archive]] is now open to you.
A handful of the words and a handful of the songs have been understood by you. The path that leads to [[the Sentient Archive of Hur->archive]] is now open to you.
None of the words and none of the songs have been understood by you. The path that leads to where it all started is the only one that remains for you to understand how Hur has been and still is [[mush]].
Have a glass of [[Prosecco]].</p></div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Hur Performs</div>
<p>You shall be spoken to by Hur. Hur words and Hur songs will reach you eventually, but first they will need to be captured and made audible to you by the techno-magical apparatuses of Hur Prophetessprophet Mariabrice. Will these words and songs be understood by you?</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/11qtcxxOEIZUDjb35KpbzcM51yUbSXPD9/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>All the words and all the songs have been understood by you. The path that leads to where [[The Noisebringers are conferenced about->conference]] is now open to you.
Most of the words and most of the songs have been understood by you. The path that leads to where [[The Archive comes Alive->archive]] is now open to you.
A handful of the words and a handful of the songs have been understood by you. The path that leads to [[the Sentient Archive of Hur->archive]] is now open to you.
None of the words and none of the songs have been understood by you. The path that leads to where it all started is the only one that remains for you to understand how Hur has been and still is [[mush]].
Have a glass of [[Prosecco]].</p></div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Hur Performs</div>
<p>You shall be spoken to by Hur. Hur words and Hur songs will reach you eventually, but first they will need to be captured and made audible to you by the techno-magical apparatuses of Hur Prophetessprophet Mariabrice. Will these words and songs be understood by you?</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/11qtcxxOEIZUDjb35KpbzcM51yUbSXPD9/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>All the words and all the songs have been understood by you. The path that leads to where [[The Noisebringers are conferenced about->conference]] is now open to you.
Most of the words and most of the songs have been understood by you. The path that leads to where [[The Archive comes Alive->archive]] is now open to you.
A handful of the words and a handful of the songs have been understood by you. The path that leads to [[the Sentient Archive of Hur->archive]] is now open to you.
None of the words and none of the songs have been understood by you. The path that leads to where it all started is the only one that remains for you to understand how Hur has been and still is [[mush]].
Have a glass of [[Prosecco]].</p></div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Hur Performs</div>
<p>You shall be spoken to by Hur. Hur words and Hur songs will reach you eventually, but first they will need to be captured and made audible to you by the techno-magical apparatuses of Hur Prophetessprophet Mariabrice. Will these words and songs be understood by you?</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/11qtcxxOEIZUDjb35KpbzcM51yUbSXPD9/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>All the words and all the songs have been understood by you. The path that leads to where [[The Noisebringers are conferenced about->conference]] is now open to you.
Most of the words and most of the songs have been understood by you. The path that leads to where [[The Archive comes Alive->archive]] is now open to you.
A handful of the words and a handful of the songs have been understood by you. The path that leads to [[the Sentient Archive of Hur->archive]] is now open to you.
None of the words and none of the songs have been understood by you. The path that leads to where it all started is the only one that remains for you to understand how Hur has been and still is [[mush]].
Have a glass of [[Prosecco]].</p></div><</if>><<if $prosecco is "5">><div class="bigtext">Hur Performs</div>
<p>You shall be spoken to by Hur. Hur words and Hur songs will reach you eventually, but first they will need to be captured and made audible to you by the techno-magical apparatuses of Hur Prophetessprophet Mariabrice. Will these words and songs be understood by you?</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/11qtcxxOEIZUDjb35KpbzcM51yUbSXPD9/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>All the words and all the songs have been understood by you. The path that leads to where [[The Noisebringers are conferenced about->conference]] is now open to you.
Most of the words and most of the songs have been understood by you. The path that leads to where [[The Archive comes Alive->archive]] is now open to you.
A handful of the words and a handful of the songs have been understood by you. The path that leads to [[the Sentient Archive of Hur->archive]] is now open to you.
None of the words and none of the songs have been understood by you. The path that leads to where it all started is the only one that remains for you to understand how Hur has been and still is [[mush]].
Have a glass of [[Prosecco]].</p><</if>>
<<if $prosecco is "0">><div class="bigtext">Inventing the Language of Mush: how to improvise a world</div>
<div class="placard">//Dr. Maria Sappho Donohue and Dr. D Henry McPherson
Conference proceeding, 2021
Duration: 15’’//</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/9crzJBhIgJU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope;" allowfullscreen></iframe></div>
In this presentation, we will look at how transdisciplinary free improvised (TFI) practices present as both artistic reimaginings and commentative articulations of social realities. We will explore how artists whose work troubles pre-existing disciplinary boundaries are able to transgress dichotomies of role designation, authorship, and existing historical canons (McPherson, 2020). Examples will be drawn from the Noisebringers recent project “Worldwide Anthology” (supported by the Goethe Institute) in which geographically distanced partners created a fictional improvised universe. In this fabricated world, performers generate bespoke narratives and identities, as they expand porously and reactively to a world-space grounded in spontaneous creation. This provides a useful example of how improvisation affords for flourishing in the un-real, while allowing for the exposition of ‘real world’ commentaries through the incorporation of “breadcrumb truths” (Sappho Donohue, forthcoming). In working with unbounded improvised practices ,we will interrogate contemporary dissonances on notions of genre classification, canonical biases, and disciplinary borders, advocating for TFI as both a partial-articulation and micro-representation of reality, exploring how it might provide a viable container for rethinking the borders of social and artistic futures.
Works cited:
Noisebringers, X (2045) [[A Eurocentric and Eurocentric Adjacent Worldwide Anthology of Experimental Practices During the Period 23 – 2243 AD ->wwanth]] National Geographic, 3000-287, <<link "https://noisebringers.com/worlwide-anthology/">>Have a look at this...<</link>>
Noisebringers, X (24NB) [[Hur Earth]], The Smithsonian
Hur, H (ND) [[The Sentient Archive of Hur->archive]], The Noiserbigners Institute for fare crops and improvisational agriculture training
Noisebringers, X (2021) [[The Illusion of Noise->noise]], on loan from The Tate Modern
Noisebringers, X (yesterday) [[The Noisebringers Samples->novel]], a publisher in a town near you!
Hur, H (tomorrow) [[The Voice of Hur ->directional]] Analix Forever Gallery and a [[Conference with Old Men->conference]]
Professor Doctor Wizard Glaswegian (PDWG) [[Raymond MacDonald->raymond]], for being an all around supportive guy. Edinburgh University Flower Press. <</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Inventing the Language of Mush: how to improvise a world</div>
<div class="placard">//Dr. Maria Sappho Donohue and Dr. D Henry McPherson
Conference proceeding, 2021
Duration: 15’’//</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/9crzJBhIgJU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope;" allowfullscreen></iframe></div>
In this presentation, we will look at how transdisciplinary free improvised (TFI) practices present as both artistic reimaginings and commentative articulations of social realities. We will explore how artists whose work troubles pre-existing disciplinary boundaries are able to transgress dichotomies of role designation, authorship, and existing historical canons (McPherson, 2020). Examples will be drawn from the Noisebringers recent project “Worldwide Anthology” (supported by the Goethe Institute) in which geographically distanced partners created a fictional improvised universe. In this fabricated world, performers generate bespoke narratives and identities, as they expand porously and reactively to a world-space grounded in spontaneous creation. This provides a useful example of how improvisation affords for flourishing in the un-real, while allowing for the exposition of ‘real world’ commentaries through the incorporation of “breadcrumb truths” (Sappho Donohue, forthcoming). In working with unbounded improvised practices ,we will interrogate contemporary dissonances on notions of genre classification, canonical biases, and disciplinary borders, advocating for TFI as both a partial-articulation and micro-representation of reality, exploring how it might provide a viable container for rethinking the borders of social and artistic futures.
Works cited:
Noisebringers, X (2045) [[A Eurocentric and Eurocentric Adjacent Worldwide Anthology of Experimental Practices During the Period 23 – 2243 AD ->wwanth]] National Geographic, 3000-287, <<link "https://noisebringers.com/worlwide-anthology/">>Have a look at this...<</link>>
Noisebringers, X (24NB) [[Hur Earth]], The Smithsonian
Hur, H (ND) [[The Sentient Archive of Hur->archive]], The Noiserbigners Institute for fare crops and improvisational agriculture training
Noisebringers, X (2021) [[The Illusion of Noise->noise]], on loan from The Tate Modern
Noisebringers, X (yesterday) [[The Noisebringers Samples->novel]], a publisher in a town near you!
Hur, H (tomorrow) [[The Voice of Hur ->directional]] Analix Forever Gallery and a [[Conference with Old Men->conference]]
Professor Doctor Wizard Glaswegian (PDWG) [[Raymond MacDonald->raymond]], for being an all around supportive guy. Edinburgh University Flower Press. </div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Inventing the Language of Mush: how to improvise a world</div>
<div class="placard">//Dr. Maria Sappho Donohue and Dr. D Henry McPherson
Conference proceeding, 2021
Duration: 15’’//</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/9crzJBhIgJU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope;" allowfullscreen></iframe></div>
In this presentation, we will look at how transdisciplinary free improvised (TFI) practices present as both artistic reimaginings and commentative articulations of social realities. We will explore how artists whose work troubles pre-existing disciplinary boundaries are able to transgress dichotomies of role designation, authorship, and existing historical canons (McPherson, 2020). Examples will be drawn from the Noisebringers recent project “Worldwide Anthology” (supported by the Goethe Institute) in which geographically distanced partners created a fictional improvised universe. In this fabricated world, performers generate bespoke narratives and identities, as they expand porously and reactively to a world-space grounded in spontaneous creation. This provides a useful example of how improvisation affords for flourishing in the un-real, while allowing for the exposition of ‘real world’ commentaries through the incorporation of “breadcrumb truths” (Sappho Donohue, forthcoming). In working with unbounded improvised practices ,we will interrogate contemporary dissonances on notions of genre classification, canonical biases, and disciplinary borders, advocating for TFI as both a partial-articulation and micro-representation of reality, exploring how it might provide a viable container for rethinking the borders of social and artistic futures.
Works cited:
Noisebringers, X (2045) [[A Eurocentric and Eurocentric Adjacent Worldwide Anthology of Experimental Practices During the Period 23 – 2243 AD ->wwanth]] National Geographic, 3000-287, <<link "https://noisebringers.com/worlwide-anthology/">>Have a look at this...<</link>>
Noisebringers, X (24NB) [[Hur Earth]], The Smithsonian
Hur, H (ND) [[The Sentient Archive of Hur->archive]], The Noiserbigners Institute for fare crops and improvisational agriculture training
Noisebringers, X (2021) [[The Illusion of Noise->noise]], on loan from The Tate Modern
Noisebringers, X (yesterday) [[The Noisebringers Samples->novel]], a publisher in a town near you!
Hur, H (tomorrow) [[The Voice of Hur ->directional]] Analix Forever Gallery and a [[Conference with Old Men->conference]]
Professor Doctor Wizard Glaswegian (PDWG) [[Raymond MacDonald->raymond]], for being an all around supportive guy. Edinburgh University Flower Press. </div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Inventing the Language of Mush: how to improvise a world</div>
<div class="placard">//Dr. Maria Sappho Donohue and Dr. D Henry McPherson
Conference proceeding, 2021
Duration: 15’’//</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/9crzJBhIgJU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope;" allowfullscreen></iframe></div>
In this presentation, we will look at how transdisciplinary free improvised (TFI) practices present as both artistic reimaginings and commentative articulations of social realities. We will explore how artists whose work troubles pre-existing disciplinary boundaries are able to transgress dichotomies of role designation, authorship, and existing historical canons (McPherson, 2020). Examples will be drawn from the Noisebringers recent project “Worldwide Anthology” (supported by the Goethe Institute) in which geographically distanced partners created a fictional improvised universe. In this fabricated world, performers generate bespoke narratives and identities, as they expand porously and reactively to a world-space grounded in spontaneous creation. This provides a useful example of how improvisation affords for flourishing in the un-real, while allowing for the exposition of ‘real world’ commentaries through the incorporation of “breadcrumb truths” (Sappho Donohue, forthcoming). In working with unbounded improvised practices ,we will interrogate contemporary dissonances on notions of genre classification, canonical biases, and disciplinary borders, advocating for TFI as both a partial-articulation and micro-representation of reality, exploring how it might provide a viable container for rethinking the borders of social and artistic futures.
Works cited:
Noisebringers, X (2045) [[A Eurocentric and Eurocentric Adjacent Worldwide Anthology of Experimental Practices During the Period 23 – 2243 AD ->wwanth]] National Geographic, 3000-287, <<link "https://noisebringers.com/worlwide-anthology/">>Have a look at this...<</link>>
Noisebringers, X (24NB) [[Hur Earth]], The Smithsonian
Hur, H (ND) [[The Sentient Archive of Hur->archive]], The Noiserbigners Institute for fare crops and improvisational agriculture training
Noisebringers, X (2021) [[The Illusion of Noise->noise]], on loan from The Tate Modern
Noisebringers, X (yesterday) [[The Noisebringers Samples->novel]], a publisher in a town near you!
Hur, H (tomorrow) [[The Voice of Hur ->directional]] Analix Forever Gallery and a [[Conference with Old Men->conference]]
Professor Doctor Wizard Glaswegian (PDWG) [[Raymond MacDonald->raymond]], for being an all around supportive guy. Edinburgh University Flower Press.</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Inventing the Language of Mush: how to improvise a world</div>
<div class="placard">//Dr. Maria Sappho Donohue and Dr. D Henry McPherson
Conference proceeding, 2021
Duration: 15’’//</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/9crzJBhIgJU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope;" allowfullscreen></iframe></div>
In this presentation, we will look at how transdisciplinary free improvised (TFI) practices present as both artistic reimaginings and commentative articulations of social realities. We will explore how artists whose work troubles pre-existing disciplinary boundaries are able to transgress dichotomies of role designation, authorship, and existing historical canons (McPherson, 2020). Examples will be drawn from the Noisebringers recent project “Worldwide Anthology” (supported by the Goethe Institute) in which geographically distanced partners created a fictional improvised universe. In this fabricated world, performers generate bespoke narratives and identities, as they expand porously and reactively to a world-space grounded in spontaneous creation. This provides a useful example of how improvisation affords for flourishing in the un-real, while allowing for the exposition of ‘real world’ commentaries through the incorporation of “breadcrumb truths” (Sappho Donohue, forthcoming). In working with unbounded improvised practices ,we will interrogate contemporary dissonances on notions of genre classification, canonical biases, and disciplinary borders, advocating for TFI as both a partial-articulation and micro-representation of reality, exploring how it might provide a viable container for rethinking the borders of social and artistic futures.
Works cited:
Noisebringers, X (2045) [[A Eurocentric and Eurocentric Adjacent Worldwide Anthology of Experimental Practices During the Period 23 – 2243 AD ->wwanth]] National Geographic, 3000-287, <<link "https://noisebringers.com/worlwide-anthology/">>Have a look at this...<</link>>
Noisebringers, X (24NB) [[Hur Earth]], The Smithsonian
Hur, H (ND) [[The Sentient Archive of Hur->archive]], The Noiserbigners Institute for fare crops and improvisational agriculture training
Noisebringers, X (2021) [[The Illusion of Noise->noise]], on loan from The Tate Modern
Noisebringers, X (yesterday) [[The Noisebringers Samples->novel]], a publisher in a town near you!
Hur, H (tomorrow) [[The Voice of Hur ->directional]] Analix Forever Gallery and a [[Conference with Old Men->conference]]
Professor Doctor Wizard Glaswegian (PDWG) [[Raymond MacDonald->raymond]], for being an all around supportive guy. Edinburgh University Flower Press.</div><</if>><<if $prosecco is "5">><div class="bigtext">Inventing the Language of Mush: how to improvise a world</div>
<div class="placard">//Dr. Maria Sappho Donohue and Dr. D Henry McPherson
Conference proceeding, 2021
Duration: 15’’//</div>
<div class="centred"><iframe width="1080px" height="720px" src="https://www.youtube.com/embed/9crzJBhIgJU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope;" allowfullscreen></iframe></div>
In this presentation, we will look at how transdisciplinary free improvised (TFI) practices present as both artistic reimaginings and commentative articulations of social realities. We will explore how artists whose work troubles pre-existing disciplinary boundaries are able to transgress dichotomies of role designation, authorship, and existing historical canons (McPherson, 2020). Examples will be drawn from the Noisebringers recent project “Worldwide Anthology” (supported by the Goethe Institute) in which geographically distanced partners created a fictional improvised universe. In this fabricated world, performers generate bespoke narratives and identities, as they expand porously and reactively to a world-space grounded in spontaneous creation. This provides a useful example of how improvisation affords for flourishing in the un-real, while allowing for the exposition of ‘real world’ commentaries through the incorporation of “breadcrumb truths” (Sappho Donohue, forthcoming). In working with unbounded improvised practices ,we will interrogate contemporary dissonances on notions of genre classification, canonical biases, and disciplinary borders, advocating for TFI as both a partial-articulation and micro-representation of reality, exploring how it might provide a viable container for rethinking the borders of social and artistic futures.
Works cited:
Noisebringers, X (2045) [[A Eurocentric and Eurocentric Adjacent Worldwide Anthology of Experimental Practices During the Period 23 – 2243 AD ->wwanth]] National Geographic, 3000-287, <<link "https://noisebringers.com/worlwide-anthology/">>Have a look at this...<</link>>
Noisebringers, X (24NB) [[Hur Earth]], The Smithsonian
Hur, H (ND) [[The Sentient Archive of Hur->archive]], The Noiserbigners Institute for fare crops and improvisational agriculture training
Noisebringers, X (2021) [[The Illusion of Noise->noise]], on loan from The Tate Modern
Noisebringers, X (yesterday) [[The Noisebringers Samples->novel]], a publisher in a town near you!
Hur, H (tomorrow) [[The Voice of Hur ->directional]] Analix Forever Gallery and a [[Conference with Old Men->conference]]
Professor Doctor Wizard Glaswegian (PDWG) [[Raymond MacDonald->raymond]], for being an all around supportive guy. Edinburgh University Flower Press.<</if>>
<<if $prosecco is "0">><div class="bigtext">The Noisebringers are Conferenced About</div>
<iframe width="1080" height="720" src="https://www.youtube.com/embed/BzG0OLLFCus" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
<div class="centred">Remember...Only fools entertain the words of fools whose words entertain the entertainers.
[[Take me home->Prosecco]]</div><</if>>
<<if $prosecco is "1">><div class="blur"><div class="bigtext">The Noisebringers are Conferenced About</div>
<iframe width="1080" height="720" src="https://www.youtube.com/embed/BzG0OLLFCus" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
<div class="centred">Remember...Only fools entertain the words of fools whose words entertain the entertainers.
[[Take me home->Prosecco]]</div></div><</if>>
<<if $prosecco is "2">><div class="blurrier"><div class="bigtext">The Noisebringers are Conferenced About</div>
<iframe width="1080" height="720" src="https://www.youtube.com/embed/BzG0OLLFCus" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
<div class="centred">Remember...Only fools entertain the words of fools whose words entertain the entertainers.
[[Take me home->Prosecco]]</div></div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">The Noisebringers are Conferenced About</div>
<iframe width="1080" height="720" src="https://www.youtube.com/embed/BzG0OLLFCus" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
<div class="centred">Remember...Only fools entertain the words of fools whose words entertain the entertainers.
[[Take me home->Prosecco]]</div></div><</if>>
<<if $prosecco is "4">><div class="upside-down"><div class="bigtext">The Noisebringers are Conferenced About</div>
<iframe width="1080" height="720" src="https://www.youtube.com/embed/BzG0OLLFCus" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
<div class="centred">Remember...Only fools entertain the words of fools whose words entertain the entertainers.
[[Take me home->Prosecco]]</div></div><</if>>
<<if $prosecco is "5">><div class="bigtext">The Noisebringers are Conferenced About</div>
<iframe width="1080" height="720" src="https://www.youtube.com/embed/BzG0OLLFCus" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>
<div class="centred">Remember...Only fools entertain the words of fools whose words entertain the entertainers.
[[Take me home->Prosecco]]</div><</if>><<if $prosecco is "0">><div class="bigtext">Endgame</div>
<p>Welcome to the first circle of enlightenment. Are you ready to receive the teachings of the ultimate vinyl grooves? They all have a message for you. It is not to be understood with your brain, but to be embraced by your soul. First, you shall download the software on your computer. Then, you shall run it and bathe in its infinite wisdom.</p>
<div class="centred"><img height="90%" width="90%" src="image/screen_shot_endgame.jpg"/></div>
<div class="placard">''ENDGAME_FIN DE PARTIE''
//Laurent Estoppey
digital application, 20-40’, 2021//
Meditative blindfold test
Very last gesture from 256 vinyl records, randomized
some advice: It’s a trap !
Earlobes? Attached... I guess...
Salty or sweet?: Totally dependent on the moment
Biggest fear: Mainstream(s)
Your smallest fear: My death (I might be wrong, though)</div>
[[Download EndGame for MAC here (sorry PC, it's coming soon)->https://drive.google.com/file/d/16X3PqPzg_aUTFlGMbeNUZnuJR6wDr-Im/view?usp=sharing]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the great [[Endgame Live->endgame live]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the ancient [[Graphic Scores by Gino Ballantyne->Animations]].
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the wise [[Rhododendron Warming]].
Now that you are enlightened, you feel ready to have a glass of [[Prosecco]].
<</if>>
<<if $prosecco is "1">><div class="blur"><div class="bigtext">Endgame</div>
<p>Welcome to the first circle of enlightenment. Are you ready to receive the teachings of the ultimate vinyl grooves? They all have a message for you. It is not to be understood with your brain, but to be embraced by your soul. First, you shall download the software on your computer. Then, you shall run it and bathe in its infinite wisdom.</p>
<div class="centred"><img height="90%" width="90%" src="image/screen_shot_endgame.jpg"/></div>
<div class="placard">''ENDGAME_FIN DE PARTIE''
//Laurent Estoppey
digital application, 20-40’, 2021//
Meditative blindfold test
Very last gesture from 256 vinyl records, randomized
some advice: It’s a trap !
Earlobes? Attached... I guess...
Salty or sweet?: Totally dependent on the moment
Biggest fear: Mainstream(s)
Your smallest fear: My death (I might be wrong, though)</div>
[[Download EndGame for MAC here (sorry PC, it's coming soon)->https://drive.google.com/file/d/16X3PqPzg_aUTFlGMbeNUZnuJR6wDr-Im/view?usp=sharing]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the great [[Endgame Live->endgame live]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the ancient [[Graphic Scores by Gino Ballantyne->Animations]].
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the wise [[Rhododendron Warming]].
Now that you are enlightened, you feel ready to have a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Endgame</div>
<p>Welcome to the first circle of enlightenment. Are you ready to receive the teachings of the ultimate vinyl grooves? They all have a message for you. It is not to be understood with your brain, but to be embraced by your soul. First, you shall download the software on your computer. Then, you shall run it and bathe in its infinite wisdom.</p>
<div class="centred"><img height="90%" width="90%" src="image/screen_shot_endgame.jpg"/></div>
<div class="placard">''ENDGAME_FIN DE PARTIE''
//Laurent Estoppey
digital application, 20-40’, 2021//
Meditative blindfold test
Very last gesture from 256 vinyl records, randomized
some advice: It’s a trap !
Earlobes? Attached... I guess...
Salty or sweet?: Totally dependent on the moment
Biggest fear: Mainstream(s)
Your smallest fear: My death (I might be wrong, though)</div>
[[Download EndGame for MAC here (sorry PC, it's coming soon)->https://drive.google.com/file/d/16X3PqPzg_aUTFlGMbeNUZnuJR6wDr-Im/view?usp=sharing]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the great [[Endgame Live->endgame live]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the ancient [[Graphic Scores by Gino Ballantyne->Animations]].
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the wise [[Rhododendron Warming]].
Now that you are enlightened, you feel ready to have a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Endgame</div>
<p>Welcome to the first circle of enlightenment. Are you ready to receive the teachings of the ultimate vinyl grooves? They all have a message for you. It is not to be understood with your brain, but to be embraced by your soul. First, you shall download the software on your computer. Then, you shall run it and bathe in its infinite wisdom.</p>
<div class="centred"><img height="90%" width="90%" src="image/screen_shot_endgame.jpg"/></div>
<div class="placard">''ENDGAME_FIN DE PARTIE''
//Laurent Estoppey
digital application, 20-40’, 2021//
Meditative blindfold test
Very last gesture from 256 vinyl records, randomized
some advice: It’s a trap !
Earlobes? Attached... I guess...
Salty or sweet?: Totally dependent on the moment
Biggest fear: Mainstream(s)
Your smallest fear: My death (I might be wrong, though)</div>
[[Download EndGame for MAC here (sorry PC, it's coming soon)->https://drive.google.com/file/d/16X3PqPzg_aUTFlGMbeNUZnuJR6wDr-Im/view?usp=sharing]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the great [[Endgame Live->endgame live]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the ancient [[Graphic Scores by Gino Ballantyne->Animations]].
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the wise [[Rhododendron Warming]].
Now that you are enlightened, you feel ready to have a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Endgame</div>
<p>Welcome to the first circle of enlightenment. Are you ready to receive the teachings of the ultimate vinyl grooves? They all have a message for you. It is not to be understood with your brain, but to be embraced by your soul. First, you shall download the software on your computer. Then, you shall run it and bathe in its infinite wisdom.</p>
<div class="centred"><img height="90%" width="90%" src="image/screen_shot_endgame.jpg"/></div>
<div class="placard">''ENDGAME_FIN DE PARTIE''
//Laurent Estoppey
digital application, 20-40’, 2021//
Meditative blindfold test
Very last gesture from 256 vinyl records, randomized
some advice: It’s a trap !
Earlobes? Attached... I guess...
Salty or sweet?: Totally dependent on the moment
Biggest fear: Mainstream(s)
Your smallest fear: My death (I might be wrong, though)</div>
[[Download EndGame for MAC here (sorry PC, it's coming soon)->https://drive.google.com/file/d/16X3PqPzg_aUTFlGMbeNUZnuJR6wDr-Im/view?usp=sharing]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the great [[Endgame Live->endgame live]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the ancient [[Graphic Scores by Gino Ballantyne->Animations]].
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the wise [[Rhododendron Warming]].
Now that you are enlightened, you feel ready to have a glass of [[Prosecco]].
</div><</if>>
<<if $prosecco is "5">><div class="bigtext">Endgame</div>
<p>Welcome to the first circle of enlightenment. Are you ready to receive the teachings of the ultimate vinyl grooves? They all have a message for you. It is not to be understood with your brain, but to be embraced by your soul. First, you shall download the software on your computer. Then, you shall run it and bathe in its infinite wisdom.</p>
<div class="centred"><img height="90%" width="90%" src="image/screen_shot_endgame.jpg"/></div>
<div class="placard">''ENDGAME_FIN DE PARTIE''
//Laurent Estoppey
digital application, 20-40’, 2021//
Meditative blindfold test
Very last gesture from 256 vinyl records, randomized
some advice: It’s a trap !
Earlobes? Attached... I guess...
Salty or sweet?: Totally dependent on the moment
Biggest fear: Mainstream(s)
Your smallest fear: My death (I might be wrong, though)</div>
[[Download EndGame for MAC here (sorry PC, it's coming soon)->https://drive.google.com/file/d/16X3PqPzg_aUTFlGMbeNUZnuJR6wDr-Im/view?usp=sharing]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the great [[Endgame Live->endgame live]]
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the ancient [[Graphic Scores by Gino Ballantyne->Animations]].
Now that you are enlightened, you feel ready to see and hear Laurent performing the ritual of the wise [[Rhododendron Warming]].
Now that you are enlightened, you feel ready to have a glass of [[Prosecco]].
<</if>><<if $prosecco is "0">>You are on your deathbed, and you think you remember. But do you really? Were you there? All memories are reconstructions. But this event… It has been much commented on, written about. Thesis, articles and pamphlets have been published. Deniers have pretended the performance never took place; some even pretended the book was a fake. Were you there? You are so tired. Maybe it’s just all the films you have watched about it that make it so familiar that you feel you were there. Have you actually ever set foot in Switzerland at all? Switzerland… It was a country before the climate collapse. They had banks, they were wealthy. You do remember the millions of Swiss climate refugees storming Italy, Germany, France, Austria, and the many of them who got shot at sight at these borders. This is recent. This is a fresh memory. But 2021… What were you doing in 2021? 8 May 2021, any school kid knows this date. It was the warming of [[Rhododendron normal->rn]]. There were performers, namely Maria Sappho, Brice Catherin, Christophe Schweizer, Laurent Estoppey, Dejana Sekulič, Colin Frank, Raymond MacDonald and singer Aurélie Gravas, who chose, compiled, and improvised songs on the poems of the book. These guys have portraits, busts and altars in most public and private institutions and homes nowadays.
<<linkreplace "Were you there in person?">><div class="centred"><iframe src="https://drive.google.com/file/d/1kHXWgFRUgwciWSdXzQq8_MVFg1DDl7fE/preview" width="1080" height="720" allow="autoplay"></iframe></div><</linkreplace>>
You are not sure you remember anything at all. [[Restart->Start]] the visit from the beginning.
You are not sure you remember who these people are… Colin Frank? Does this name have anything to do with the [[Rotting Fruit Still Life->rotting]] on your bedroom wall?
Maria Sappho? Were you not intimate with her before she became a tuk tuk driver in Thailand? Didn’t she leave you [[the Illusion of Noise->noise]] tapestry her friend Sister Maria Nuestra Señora de La Providencia had made and given her in the first place?
You are not sure you remember the taste of [[Prosecco]]. Have a glass.<</if>><<if $prosecco is "1">><div class="blur">You are on your deathbed, and you think you remember. But do you really? Were you there? All memories are reconstructions. But this event… It has been much commented on, written about. Thesis, articles and pamphlets have been published. Deniers have pretended the performance never took place; some even pretended the book was a fake. Were you there? You are so tired. Maybe it’s just all the films you have watched about it that make it so familiar that you feel you were there. Have you actually ever set foot in Switzerland at all? Switzerland… It was a country before the climate collapse. They had banks, they were wealthy. You do remember the millions of Swiss climate refugees storming Italy, Germany, France, Austria, and the many of them who got shot at sight at these borders. This is recent. This is a fresh memory. But 2021… What were you doing in 2021? 8 May 2021, any school kid knows this date. It was the warming of [[Rhododendron normal->rn]]. There were performers, namely Maria Sappho, Brice Catherin, Christophe Schweizer, Laurent Estoppey, Dejana Sekulič, Colin Frank, Raymond MacDonald and singer Aurélie Gravas, who chose, compiled, and improvised songs on the poems of the book. These guys have portraits, busts and altars in most public and private institutions and homes nowadays.
<<linkreplace "Were you there in person?">><div class="centred"><iframe src="https://drive.google.com/file/d/1kHXWgFRUgwciWSdXzQq8_MVFg1DDl7fE/preview" width="1080" height="720" allow="autoplay"></iframe></div><</linkreplace>>
You are not sure you remember anything at all. [[Restart->Start]] the visit from the beginning.
You are not sure you remember who these people are… Colin Frank? Does this name have anything to do with the [[Rotting Fruit Still Life->rotting]] on your bedroom wall?
Maria Sappho? Were you not intimate with her before she became a tuk tuk driver in Thailand? Didn’t she leave you [[the Illusion of Noise->noise]] tapestry her friend Sister Maria Nuestra Señora de La Providencia had made and given her in the first place?
You are not sure you remember the taste of [[Prosecco]]. Have a glass.</div><</if>><<if $prosecco is "2">><div class="blurrier">You are on your deathbed, and you think you remember. But do you really? Were you there? All memories are reconstructions. But this event… It has been much commented on, written about. Thesis, articles and pamphlets have been published. Deniers have pretended the performance never took place; some even pretended the book was a fake. Were you there? You are so tired. Maybe it’s just all the films you have watched about it that make it so familiar that you feel you were there. Have you actually ever set foot in Switzerland at all? Switzerland… It was a country before the climate collapse. They had banks, they were wealthy. You do remember the millions of Swiss climate refugees storming Italy, Germany, France, Austria, and the many of them who got shot at sight at these borders. This is recent. This is a fresh memory. But 2021… What were you doing in 2021? 8 May 2021, any school kid knows this date. It was the warming of [[Rhododendron normal->rn]]. There were performers, namely Maria Sappho, Brice Catherin, Christophe Schweizer, Laurent Estoppey, Dejana Sekulič, Colin Frank, Raymond MacDonald and singer Aurélie Gravas, who chose, compiled, and improvised songs on the poems of the book. These guys have portraits, busts and altars in most public and private institutions and homes nowadays.
<<linkreplace "Were you there in person?">><div class="centred"><iframe src="https://drive.google.com/file/d/1kHXWgFRUgwciWSdXzQq8_MVFg1DDl7fE/preview" width="1080" height="720" allow="autoplay"></iframe></div><</linkreplace>>
You are not sure you remember anything at all. [[Restart->Start]] the visit from the beginning.
You are not sure you remember who these people are… Colin Frank? Does this name have anything to do with the [[Rotting Fruit Still Life->rotting]] on your bedroom wall?
Maria Sappho? Were you not intimate with her before she became a tuk tuk driver in Thailand? Didn’t she leave you [[the Illusion of Noise->noise]] tapestry her friend Sister Maria Nuestra Señora de La Providencia had made and given her in the first place?
You are not sure you remember the taste of [[Prosecco]]. Have a glass.</div><</if>><<if $prosecco is "3">><div class="blurrier2">You are on your deathbed, and you think you remember. But do you really? Were you there? All memories are reconstructions. But this event… It has been much commented on, written about. Thesis, articles and pamphlets have been published. Deniers have pretended the performance never took place; some even pretended the book was a fake. Were you there? You are so tired. Maybe it’s just all the films you have watched about it that make it so familiar that you feel you were there. Have you actually ever set foot in Switzerland at all? Switzerland… It was a country before the climate collapse. They had banks, they were wealthy. You do remember the millions of Swiss climate refugees storming Italy, Germany, France, Austria, and the many of them who got shot at sight at these borders. This is recent. This is a fresh memory. But 2021… What were you doing in 2021? 8 May 2021, any school kid knows this date. It was the warming of [[Rhododendron normal->rn]]. There were performers, namely Maria Sappho, Brice Catherin, Christophe Schweizer, Laurent Estoppey, Dejana Sekulič, Colin Frank, Raymond MacDonald and singer Aurélie Gravas, who chose, compiled, and improvised songs on the poems of the book. These guys have portraits, busts and altars in most public and private institutions and homes nowadays.
<<linkreplace "Were you there in person?">><div class="centred"><iframe src="https://drive.google.com/file/d/1kHXWgFRUgwciWSdXzQq8_MVFg1DDl7fE/preview" width="1080" height="720" allow="autoplay"></iframe></div><</linkreplace>>
You are not sure you remember anything at all. [[Restart->Start]] the visit from the beginning.
You are not sure you remember who these people are… Colin Frank? Does this name have anything to do with the [[Rotting Fruit Still Life->rotting]] on your bedroom wall?
Maria Sappho? Were you not intimate with her before she became a tuk tuk driver in Thailand? Didn’t she leave you [[the Illusion of Noise->noise]] tapestry her friend Sister Maria Nuestra Señora de La Providencia had made and given her in the first place?
You are not sure you remember the taste of [[Prosecco]]. Have a glass.</div><</if>><<if $prosecco is "4">><div class="upside-down">You are on your deathbed, and you think you remember. But do you really? Were you there? All memories are reconstructions. But this event… It has been much commented on, written about. Thesis, articles and pamphlets have been published. Deniers have pretended the performance never took place; some even pretended the book was a fake. Were you there? You are so tired. Maybe it’s just all the films you have watched about it that make it so familiar that you feel you were there. Have you actually ever set foot in Switzerland at all? Switzerland… It was a country before the climate collapse. They had banks, they were wealthy. You do remember the millions of Swiss climate refugees storming Italy, Germany, France, Austria, and the many of them who got shot at sight at these borders. This is recent. This is a fresh memory. But 2021… What were you doing in 2021? 8 May 2021, any school kid knows this date. It was the warming of [[Rhododendron normal->rn]]. There were performers, namely Maria Sappho, Brice Catherin, Christophe Schweizer, Laurent Estoppey, Dejana Sekulič, Colin Frank, Raymond MacDonald and singer Aurélie Gravas, who chose, compiled, and improvised songs on the poems of the book. These guys have portraits, busts and altars in most public and private institutions and homes nowadays.
<<linkreplace "Were you there in person?">><div class="centred"><iframe src="https://drive.google.com/file/d/1kHXWgFRUgwciWSdXzQq8_MVFg1DDl7fE/preview" width="1080" height="720" allow="autoplay"></iframe></div><</linkreplace>>
You are not sure you remember anything at all. [[Restart->Start]] the visit from the beginning.
You are not sure you remember who these people are… Colin Frank? Does this name have anything to do with the [[Rotting Fruit Still Life->rotting]] on your bedroom wall?
Maria Sappho? Were you not intimate with her before she became a tuk tuk driver in Thailand? Didn’t she leave you [[the Illusion of Noise->noise]] tapestry her friend Sister Maria Nuestra Señora de La Providencia had made and given her in the first place?
You are not sure you remember the taste of [[Prosecco]]. Have a glass.</div><</if>><<if $prosecco is "5">>You are on your deathbed, and you think you remember. But do you really? Were you there? All memories are reconstructions. But this event… It has been much commented on, written about. Thesis, articles and pamphlets have been published. Deniers have pretended the performance never took place; some even pretended the book was a fake. Were you there? You are so tired. Maybe it’s just all the films you have watched about it that make it so familiar that you feel you were there. Have you actually ever set foot in Switzerland at all? Switzerland… It was a country before the climate collapse. They had banks, they were wealthy. You do remember the millions of Swiss climate refugees storming Italy, Germany, France, Austria, and the many of them who got shot at sight at these borders. This is recent. This is a fresh memory. But 2021… What were you doing in 2021? 8 May 2021, any school kid knows this date. It was the warming of [[Rhododendron normal->rn]]. There were performers, namely Maria Sappho, Brice Catherin, Christophe Schweizer, Laurent Estoppey, Dejana Sekulič, Colin Frank, Raymond MacDonald and singer Aurélie Gravas, who chose, compiled, and improvised songs on the poems of the book. These guys have portraits, busts and altars in most public and private institutions and homes nowadays.
<<linkreplace "Were you there in person?">><div class="centred"><iframe src="https://drive.google.com/file/d/1kHXWgFRUgwciWSdXzQq8_MVFg1DDl7fE/preview" width="1080" height="720" allow="autoplay"></iframe></div><</linkreplace>>
You are not sure you remember anything at all. [[Restart->Start]] the visit from the beginning.
You are not sure you remember who these people are… Colin Frank? Does this name have anything to do with the [[Rotting Fruit Still Life->rotting]] on your bedroom wall?
Maria Sappho? Were you not intimate with her before she became a tuk tuk driver in Thailand? Didn’t she leave you [[the Illusion of Noise->noise]] tapestry her friend Sister Maria Nuestra Señora de La Providencia had made and given her in the first place?
You are not sure you remember the taste of [[Prosecco]]. Have a glass.<</if>><<if $prosecco is "0">>Finally it is the dusk of humankind. The world population peaked at 11 billion people a long time ago, then dropped dramatically to 3 billions within a handful of decades. The slow decrescendo you are now seeing the end of has been lasting for too long. The last Noisebringer died yesterday, which means that the Noisebringers’ Samples reached an end. You read an old notice from older, more hectic times:
//The Noisebringers’ Samples is a collection of continuous texts, part of the epic Noisebringers novel. It is thought to be (when finished) one of the longest co-authored improvised novels ever created: it is at least 200 times longer than the Mahabharata (in which, by the way, some of the characters are themselves proven former Noisebringers). The intensely unresearched book brazenly lays out the history of time, as collected over the centuries by Noisebringers and Noisebringer associates. A number of selections from the novel have been chosen by the omnipotent one and presented to you here.//
When this notice was written, it is said that dogs used to bring their masters their newspapers in their mouth. You smile at this idea as you whistle for your mammoth. Mammoths! No one seriously thought they’d become humans’ most faithful friends when they were brought back to life in a dodgy half-secret lab in Siberia, before any authorisation of any kind had been issued. They were hard to feed when the population was peaking, but soon enough, there was plenty of room and nature for anyone to possess a couple or more of those proud and fluffy animals. They became so familiar that in some poorly documented historical films, one can see a Amos Tutuola and a Zora Neale Hurston petting their mammoth respectively in Nigeria and in Alabama. You own a particularly small mammoth that you named Cooper. As you whistle at her, Cooper brings you the three hundred sixty million words of the Noisebringers’ samples, some of which you have read many times, and some of which were written yesterday. When this notice was written, only a few samples had been found and collected.
-----------
Transcript from re-mushing, given by Sister Hen brigid the limp and cathe of the order of the mushroom from our lady of mushroom 3rd re-invention after the time of Camille. Recordings of all re-mushings were thought to have been destroyed after the presumed first death of Camille. The full recording was edited and only the following decipherable section was collected by Herbax Keflanigan while he chartered the forgotten things in his arc of deserters after the peaceful handover of power.
It is unknown if Herbax doctored these recordings as she did in her infamous re-fictionalizing and subsequent movie franchise of the age old feud of two squabbling men, Bristophe and another unknown associate of our noble and loved guardians of gentle existence – the Noisebringers. Herbax famously conflated these documents to such an extent that they have since been pronounced dismissible in the university of Ledburg, much like Wikipedia once was in the back time.
Sister Hen brigid the limp and cathe:
Bless me mushroom for I have strayed, it been now bout 30 year since my last communication
Unknown:
Do not worry my child your heart has been within us and we have felt your contributions nevertheless. Tell me hyphe what labours have taken you so far away from your community? Tell me all and we shall mend the paths which have brought you so far from home.
So it all started round about 8th street, where I run into Camille - you see what I remember now about this is that when i ran into Camille on 8th street, this must have been oh i dont member bout 25 odd year back, what year is it now? She asked me if I could spot her. And I dont like spottin nobody but Camille didn ever ask nothing off nobody and I thought she was fine as hell. I was racking up gaup at the time with the family so it was no sweat of my bazzoties but I got the feelin, you know when you get that feelin? Like you stepped clear into some elses dimension, and suddenly everything was gonna go wack? So I got that feeling. Only other time I ever got that feelin was stepping off a train in Glasgow, but nothing ever came of that one, so im not sayin im physi-atric or nothing like that, but I just want you to know now, i got that feeling, and jeezo was that a damn warning from Mother Maria Nuestra Seńora de la provedencia may the power of the mushrooms alter the fate of mankind, blessed be thy fungi and may you rest in madness, ah woman.
Sister Hen brigid the limp and cathe:
Yes ancient one connected to all, child of mycelium, and gateway to time, I know this feeling well. What happened child, do not be afraid.
Unknown:
I cant know see, cuz after I spotted Camille that bit, it was like i was handed over ya ken? Went right off. After that exact moment. And found myself in wrong land. Write me like, I been off clock for time now, and only just found my way back. Lots has happened since then but what I know is last person I seen from here were Camille. And last thing she tolds me was that they were coming and that I had to choose sides soon. I know Camille like, she prettier than a dime bag left on a bench on a hot summer day, but she got that dark shit too. Full of sumit else you know? Like she drawn towards things that nobody drawn towards unless they like fancying themselves larger than they is. So I didn’t much mind Camille. She always sayin shit. But that’s it. All I members from then was that moment. Handing over to Camille, thinking I better act on this one day then. I was gone.
telling those who were foolish enough to ask that a key element was scale, mere scale. This of course was not in my mind when I came across the unusual obituary. Unusual because at this point, who was worth marking and for whom.
It seems that for a time during the period under discussion there emerged a new type of literary genre I’ve seen referred to as equinc achma and presented in the form of a business card book. He writes (perhaps in defence of his actions or lack of action) that it was developed because for some, a business card could not possibly fit all achievements to date, some like himself having had prenatal success, and were continuing to achieve at a rate that made reprinting of business cards tedious. The solution therefore was to make a sort of book-file to which one could attach additional pages as achievements were collected. The other novel part was not that it would be carried everywhere, it was that it would be visibly carried by everyone. The etiquette that emerged, when you came across a book was to not speak to its carrier until one had read their complete works. He recounts a entering a room full of his contemporaries and being struck by the ‘shpk’ sound of flipping pages occasionally interrupted by silence. These gatherings were regular, it appears and so successful and effective were equinc achma that faces became unnecessary.
He confesses that this success disappointed him quite a bit and out of envy or boredom or nostalgia inserted into another’s book-file a card reading “falsifier of achievements”. None at the gathering knew it was him and from the speculation grew the realisation that their system was flawed. He does not write anymore at this point, but I was able to get some pieces of a rule book which considering this record, was developed after the creation of the genre and this incident. It is unclear who the author(s) of the rulebook is, but I speculate that it was done collectively as the rules appear to cover general and specific occurrences. For example:
61-acheivments can only be added to, not taken off book-files. An achievement once achieved cannot be unachieved; such is not the nature of achievement.
173-the equinc achma book-file cannot be placed aside, neither to the left nor to the right. It may be placed above or below the face but never in front of it.
205-if one forgets their book-file, they must list their achievements by appropriate gestures but only after completing, in silence, the book-file of their cohort. These gestures must be sufficiently clear but without inclusion of the face and be in line with rules 17, 32-35, 40 and 99.
41. In the event that you are unable to complete reading your cohort’s book-file by the time they finish yours, this discourtesy to yourself and your cohort must be indicated by withdrawing from the reading.
1. All achievements are valid including the achievement of falsification of achievements.
Rules 2 to 30 cover matters of font size, paper thickness, paper colour and acceptable dimensions. What is fascinating is that around the time of the circulation of these rules the book-files begin to be worn around the waist, attached to band and the positioning indicates the influence of rule 173.
He returns a short while later, named in the obituary headed-“Death by Accomplishment”. I am disappointed that there are no more records of this time, or at least a surviving book-file. But I believe this was just before the period when it occurred to them to burn and bury all material that came from trees in a ritual that was said would spark a miraculous regrowth.
[INS]
are a series of recently translated verses (colloquially known as “the Twins” by speakers of high Mush) known to have been chanted by the Order. We had some input from that big woman, miss J (?), but she wasn’t very forthcoming with the exact nuance of some of the phrases. She’s been very evasive since those letters were uncovered in the archive. Anyway, from what we can tell, these were used excessively, at nearly every kind of occasion imaginable. We have concrete evidence of their usage at: daily and nightly cooking (woodland only); breastfeeding; calypso [citation needed]; spannering and wrenchwork; courtship and wooing; tailgating; blind-man’s buff [EDIT: improper use of “blind”]; and of course, MASS. Anyway, see my previous mail for further info, but I think we can work on the premise that these are as good as we’ll get. Hate the fact that the kitchen ran out of bread rolls yester-
[INS>END]
My lips are moistened by the soup of eternity
In tentacularity do I take my breathless form
My utterance is eternal as the clapid noise of the universe
In undulating folds of flesh do I cradle my braid
My bliss is a flesh-shaped inner tube of malice
In second sexlessness do I call forth my spawn
My bedazlements are varifold and plunging
In viscous puddles do I challenge men to die
Hark, the hood of the maiden is glowing!
Hark, the blinking and thrashing is come!
Hark, how the oozing of glibulence is open!
Hark, how the ancient singing is begun!
May the bladder of man be emptied
by the shE who commands the broth
[INS]
-nyway the strippers were neither here nor there, but should we let them get away with it? I’m starting to worry that these revolutionaries really mean business. With all the supermarkets closing, how will we buy stock? The market has been flooded recently, and cousin Johnny can only lend me his boat on Wednesdays so I’ve been forced to raid uncle Angela’s house for supplies [EDIT]. I have this sinking feeling that the Uprising might bring more harm than good. And it’s only been a minute since the last announcement of the changes. Did they give you a datapad? They say every house has to have one, and all the bicycles have to be registered on the resurrection platform or they’re gonna risk deportation. Only thing is Ginny didn’t have hers painted right and they took it right off the street into a van and she never heard anything else. Have you had a chance to-
[INS>END]
[#] Better begun, better be thine
Better be swim, better be glam
In phim and farm and piss and gork
Elsa Environment clads New York.
Ooh yeah yeah yeah (x5)
[And then my second favourite]
[#] When my baby come to town (yeah yeah yeah)
She gonna throw that system down (oi oi oi)
In a chasm of clim, with a fractal sheen
She gonna g-g-g-g-griddle on that Man Machine
Ooh can you see her (see her)
Comin’ along old ladle lane (she gotta ladle)
When it’s high time flibe or in a croomin blare (blare)
She gonna smack O’Mally with that Kremlin snare! (ba-da-da)
Sin-sister gonna (oi oi) carry my grave
Sin-sister gonna (oi oi) radel the flave (ooh yeah)
She g-g-g-g-grown up with a house on legs
And she WOAH (woah) she gonna
Smash them bots an then-a
Shingle in the Derry skate (ooh na na)
[# instrumental #]
When I cam down-
[INS]
forever, but Weston had that stupid hat on and it was really distracting. So, if we rehearse Tuesday night then we can use the big studio, but we have to watch out for the security drones because you saw what they did to Harry. It’s only a precaution, but if we wear the reflective masks then the trackers shouldn’t pick up our eye colour. I think if Maria were still here, she’d have told us “fuck em” and marched in there with instruments visible and everything, but I think we’re too close to the Warehouse for that. There’ll be too many of them to contend with if something goes wrong, and around the lockdown anniversary they send out even more. Did you get the chance to export the Clavichord engine? I think that will help us if it comes to projectiles, because Clavichords are heavy and with two of us to throw it it shouldn’t be a problem. I just can’t believe how much has changed in a year. Anyway, my 50% off all government produce came today and they say if I donate another 2 litres from my left arm I can split it with a friend so do you wa-
[INS>END]
Send me your tired, your weak, your mucosal linings and your fleas.
My mother is one who knows not of different bodies.
shE is the eternal, the one in whom the waters were collected,
before whom there was nothing and from whom all witches are descended.
The first son of the Ancient one was named “Exscblwelk” which translates roughly into the mononym “Brutus” if we parse it through the lithic vortex.
When he came clambering out of the shuddering will of Hur
in yelling, and yowling, and scrambling, and great laying and loafing and lumping,
shE did recognise his hunger and procured a great feast of all the beasts save those of the sea
(for shE did not enter the sea, nor from it draw water, nor flesh, nor fish, nor flim
as it was known to Hur that the fish and flesh and flim were wise and not to be taken)
yet noticing the pining in the eyes to Exscblewarkn (for thus was it also written)
shE took great pity and allowed a single fish to dance
on the plate of Hur Magnificence
and so it came to be that My Mother who is of all bodies and none
Commander of the universal spoon and spatula appreciation society
and recogniser of the potential for bagel shaped temporalities to exude the extra real, as opposed to just the regular real which we’re all quite familiar with
came to me and bid me
“EAT” for it is the flesh of fish which will strengthen the spirit of the Grey One
and thus it came to be that all the fish bowed down unto the plate of the Great Grey Yowler who comes in the night to claw at the door of eternity
He whose very essence commands convulsions of the moist cavities of the face
in whose warmth the evening lengthens into sleeping sculpture
in the figure of the shape of bread (not bagel, or baguette)
Henceforth all folk knew of the wonder of Exccascherbeb (for thus it was also written)
And shE, in Hur last act of musicking before the turning out of the light of the world, decreed:
Upon your death, my son, may your body become as unto a Diamond, that it may grace the hand of the Mother of Mushrooms forever, and may your descendientes carry many forms and shapes and be forever known by that name which you carry – the name to carry across the ages from now until the end of Tim.
And thus was it so.
And thus was it so.
And thus was it-
[INS]
Blimey! Brenda was a fucking nutcase! She only gone and choked the poor sod to death before the machines even had a chance to flange him! Crikey mikey what a fucking mess it was. All bits and bobs and bobbly bits all floating around in a pool like. Stank as well – like a rotten moose that’s out-thawed too quickly on the cascade. My eye, mice for lice! But if I’m gonna fucking go down townside any time soon I’ll fucking avoid her or I’ll end up terminator fodder. Bloomin mess it was. Even the robots wouldn’t have been able to yank his hair up over his tonsils like that. Crying shame it was. Crying shame. Black market’s open Cransday night – you wanna spend 3 credits for a new sex tank babe?
[INS>END>PERM]
But that is not why you are here,
Dear Bringer of Noise
Bringer of Noise
Bringer of Noise
And I write to tell you that I reflected on the invitation to serve as minister of poetry and economics. But you had caught me in the middle of a thought or rather, you joined me in the middle of a thought, and so I was obliged to carry you along with it, or maybe you were obliged to join me having found me as you did.
In honesty, I am still greatly angered by the interruption by this catastrophe of the plans to finally, because yes-it was about time they realised that this would happen, to finally turn Not, Worst, S’out Africa, and the other undetermined parts into Real Africa. There is only one thing that soothes me and even this is only momentary and never when I am alone. What soothes me, NoiseBringers, is that I can use the greeting mwapusukeni.
With such a greeting, I can claim that I was in the presence of Her Royal Chieftainess who in her royal benevolence addressed me this way. Though I had by that point a reasonable command of the language, this was the first time I was hearing the word and this manner of greeting was strange to me. Iluba later explained that it translates to “you have survived” and I was struck by how effectively one word could convey fact, celebration, lament, relief and regret.
The meeting was for those who were willing to return to their roots to see that Her Royal Chieftainess did not object to their desires to do so. Given that they were sufficiently desperate to and had at last admitted failure, they felt it necessary to seek her disapproval and approval; neither of which she gave. And a considerable portion of the meeting was spent determining the best way to physically restructure the geography and in a way that did not result in a visible defeat.
So, knowing what I know, I cannot compromise. Even for something as inconsequential as a title. Well, if we agree that it is inconsequential then you will allow-you must allow-you will have the generosity to accept, my rejection of it. In exchange I will make myself available as a ‘conversationalist’. A conversationalist of poetry and economics. This way I won’t feel so bitter when I greet others with mwapusukeni, and they return with a greeting that they are more familiar with.
With respect and admiration,
Afulodidim Nikefolosi.
---------------
Cathe (neuter) – (Brasgravian, KAY-TH:)
noun
1. (archaic) an outgrowth of serpentine natural protrusions, often found under logs in dense woodland
Ex. “Do you got any cathe, my beloved? We be needin’ for the chumpubit stew”
2. (Maria Brasgravian) An offering of sheep’s wool, blossom, and the forearm veins of slain enemies of state (common before the Coup D’État / FCU)
Ex. “Only by cathe can the three-headed one who dwells in the deepest chasms of the most mighty Womb be appeased”
3. (Henry Brasgravian) An undertaking of pilgrimage to an ancient shrine, particularly those located underground
Ex. “And if you don’t do cathe at least once, be sure to know there’s only one place you’ll end up, and it won’t be Real Africa that’s for sure!”
4. (Brice Brasgravian) A kind of night-blossom, growing outwards into the shape of a constellation
Ex. “She was radiant, shimmering in the moonlight like the brightest and most sinewy winter cathe”
ver.
1. (vulgar) to suck or blow as if mimicking the drinking of blood from a vein
Ex “They had been cathing their soup steadily for three hours by the time they noticed the double-bodied figure in the corner of the restaurant, glaring maliciously and scribbling notes in a dirty notepad, muttering under its breath ‘no good, not enough peoples for drinking’ “
2. (common) to bleat like a mountain goat during acts of ritual possession
Ex. “The cleric cathed wildly as the group nearest the door was rent asunder by the entrance of the hooded pink figure.”
adj.
1. (derogatory) pertaining to the collecting and ingesting of poisonous snakes
Ex. “He does look like a cathe one, that Johnny, with a right look of the badlands about him, almost like he’s never had seen a sweat-bench or francked a ballgown party. Terrible really.”
2. (complimentary) referring to long, tendrilous outgrowths from the torso or hands
Ex. “My sister has such a beautiful cathe figure, she always gets comments at the holiday cottages in French Speaking Switzerland ™”
3. (mystical) of substantial length disproportionate to perceived width
Ex. “Juliana observed the dangling object, rotating about a foot away from her face, with the awe that can only come from being naked in the presence of a truly cathe phenomenon”
adv.
1. (common) in trickster fashion, often referring to the poisoning of fruit.
Ex. “Quick! He killed grandma with an ice-cream scoop, and he sure done it cathe!”
2. (common) as if shedding a long skin with substantial effort
Ex. “She jumped up, and set about undressing cathe”
Editor’s note: usage of “cathe” is heavily restricted to Brasgravian and Brasgravian-adjacent communities, although recent online trends involving high-velocity bot-driven retro-inspired polyphonic folk-song performance have greatly boosted popularity of the once archaic term.
I couldn't remember what triggered it eventually. Mariabrice and I had been French-kissing every day and every evening for months now, there was a lot of hugging, a lot of desire, and, I dare say, a lot of love, but we had never crossed the line of close intimacy because Blob was waiting for me at home, probably watching more poorly-staged Lithuanian porn 'out of nostalgia' (I quote), and this thought was acting on me like Abel's eye watching me in the bedroom. I had always had lovers on the side while with Blob for reasons I'll make obvious in a few lines, but I was in love with Mariabrice, which made it a whole other story. I knew that diving into Mariabrice's flesh would mark the end of my relationship with Blob, something I was not ready for. So, what had happened this time? The precise moment when Mariabrice and I had ended up naked from the waste down on its bed had totally escaped us, the same way our first hand laying on each other's thigh (on a train back from Deighton, please don't ask why) had escaped us months ago, and just a bit later the first kiss, with Mariabrice's palm on the back of my neck and its fingers sneaking under my wooly hat (the one I wear after I wash my hair).
'Let's play a game: no penetration whatsoever. Just all the rest.' I had wanted try that for years, and I had been thinking for a while Mariabrice would be the right candidate for this little experiment. While at the same time thinking I should never have sex with it. I lived with my contradictions. I hardly ever had sex with Blob during our almost two years of relationship — including a year and a half living together — and my other lovers had never seemed to be ready to experiment anything else than good old daddy's penetration-focused sexual intercourses. I don't know why I assumed it'd be different with Mariabrice, but I was right. Mariabrice was an improviser, it was an experimentalist, it was generous, it listened to my words and I knew it'd listen to my body. Also, I had never had sex with an entity before. I did not know what to expect on a practical level before we got half naked in this bed. Now, I know it would have been impossible to expect this. It's hard to explain to people who've never been with an entity. Mariabrice had a set of hermaphrodite genitalia near the crotch, and boobs on the chest, but it wasn't so straight (no pun intended) forward. Its gender fluidity was continuous. Its body shape, its skin texture, even its pubic hairs were constantly changing, depending where I would stroke, grab and lick. I thought for a second 'it's like being in bed with Mystique from the X-Men, just in real life and less blue'. Also, there's a possibility that if I had scratched and pinched Mystique equally hard, she might have chopped my head off, while Mariabrice was painfully enjoying it.
Anyway, that evening was not a good one for Mariabrice's housemates. There was a lot of loud coming for a very long moment. My favourite part was probably when I was just pressing my clitoris against Mariabrice's thigh and it was changing the texture of its skin and the size of its quadriceps, not only by contracting and releasing the muscle, no, but more by literally changing its size from 'tiny woman that men upsettingly find cute in their jumpers' to 'Dwayne Johnson except with great hair'. Mariabrice was moaning like it was coming endlessly as I was hardly brushing its genitals with the tip of my fingers, while I was singing some of the songs I had been collecting for years at the top of my voice every time I was coming, which probably shocked greatly some of the aforementioned housemates who were familiar with my album of whispered traditional songs. Do not get me wrong, though, Mariabrice was no sex god, or even particularly skilled in any way. I was just releasing months of sexual tension by helping myself with whatever part of its body I felt like having a bit of fun with. I've always considered that coming needed some work, at least for me. I had become quite good at this particular work and Mariabrice just happened to be a good collaborator I happened to be in love with. And, well, it was hot. (Did I mention Mariabrice's pronoun is 'it'? It's a bit confusing at times. It's because it's an entity. I probably should have written this in some kind of introduction.) It was hot, it was beautiful, it was funny, it was angry, it was radical, I wanted it in me so hard but I had set the rule and it needed to be followed.
After some time, I don't know if my body had started mimicking Mariabrice's, but my clitoris had swollen so much that it looked like a grotesquely oversized penis. (Not that I had never seen such penises in my life once or twice, but at each occurence I did think they were grotesquely oversized.) Actually it was a penis. It made me feel a great desire to penetrate Mariabrice whose eyes were begging me to do it. Man, it's hard to get totally rid of good old daddy's penetration-focused sexuality, but we resisted. There was more stroking, licking, grabbing, pressing, scratching to the blood, until Mariabrice performed with its last vulva some kind of hug-massage around my newly acquired grotesquely oversized penis but without penetration, more like using the labia as some kind of embracing arms. That was skilled. That specific move definitely ponders what I wrote earlier about Mariabrice's average skills. That did not qualify as average. Actually, that was the end of me. I came again, stronger, further, louder, and woke up from that dream next to Blob, who would scold me in the morning for having squirted again during the night, like most nights, for almost a year and a half, since the last time I had seen and kissed and hugged Mariabrice for the last time, before I decided to never see it again.
[Here it opens. I haven’t got the translation 100% right I don’t think, but I’ll check with B-dog (haha funny that it’s “dog” isn’t it) and get back to you]
He had been feeling like a wet sock for weeks by the time the small woman (of indeterminate height) entered the catacomb. Brandishing an axe, two ball-bearings and a pink catflap, dressed head-to-hoof in hot-pink Gucci pyjamas bedazzled with “beware the ides”, and sighing melancholically like they used to back in that time before you know where I lost my train of thought?
Anyway, he shook his hands violently, nearly crushing the small animal which he held close to his mottled chest. Visibly trembling in disbelief and shouting in what could have been Spanish, he drove home his challenge to the approaching pink incomer:
“You cathe bitch! You sunny blossom-coloured oochie-moochie wowza! Since when have you known? My best friend (my BEST friend) at the time was Johnny Ravenspotter. He was a big guy, you know, the kind you can really leeeeeeeean into, like a water-couch, plastic to the very core. He broke my nose in grade eight, and I never could sight-read, so we had to part ways. But the point is, HE was going to introduce me to you and he couldn’t before the funeral. [a note – the funeral was an archaic means of disposing of flesh post-vitam. It was discontinued shortly after the Great Revisiting but, crucially, before the coming of Ostreech, which we all know was more or less the catalyst for the whole damn thing] We wept for days. Marmalade sandwiches and mathcore was all that kept us company, but he hadn’t opened it yet. He hadn’t, so we couldn’t stay. Boy if I’d had a nickel for every big dicked mary who flounced through that chasm boy I’ll tell ya! Anyway, she didn’t flatten the curve well enough to make it out alive (egg-nog poisoning), and the Bloomsbury group was her main thesis topic. [it’s worth mentioning here that- ] DON’T YOU INTERRUPT ME!”
The cry rang out like a bad memory, shattering the eerie silence that had fallen over the watching crowd. Ms Gucci stepped gingerly from the carriage, unphased by the hullaballoo, and marched towards the decrepit figure, who now cowered like a lost lamp under the lambpost. As the eyes of the gathering throng rose to meet her, she removed her outer sunglasses, and spoke proudly as if all of Hur creation were listening:
“My name is Herbax Keflanigan, Godkeeper of broken hearts, Queen of the Scalple, Ringbearer of Instant Bliss, and Mother of the House of OOZE. You have taken my son, the princeess Brutus XI, heir proper to the dominion of Shrüm, Cupholder of the Cataclysm, and Manifestation of my deepest and most profound joy. For this you must die.”
The crowd gasped.
“What say you?”
You could have heard a flea blink. The Shadow, emboldened by the display of maternal aggression that Herbax had unleashed, rose to his full height, towering above the lambpost, the pink aggressor, and dwarfing the tiny grey bundle that mewed shrilly in his grotesque hand.
“Flanigan! Kerrrrrrrrrrrrflangipangie! Damn that moose-brained sonofa why-I-oughta! thinking of comin in here all ‘ooh look at me pink flaps and all’. Well lah-di-dah. Josephine was right [note – here it is important to emphasise again that it is, at present, unknown if Josephine and Bristophe are in fact the same entity] you should never have come!”
And with a flap of one enormous wing the colour of honey-baked ham, he flung himself at the pink figure in front of him. The universe, and all who sail in Hur, held its breath.
[Here the record runs out. It’s possible that more will turn up, but I haven’t had the chance to go through the rest of the archive – they keep running away, and I’ve lost my Holonet. In any case, I’ll do my best to recover as much as I can. Watch this space]
-----------------
The carousel (a memory)
I remember as a little boy, I can't remember which carousel it was, or where it was, but I remember staring at it with great desire. What were these oscillating unicorns and dolphins promising me, I can't remember either, or maybe I could not grasp it at that time already, but I remember I knew it'd be wonderful to ride one of these unicorns, or maybe one of the make-believe cars with a make-believe steering-wheel, yes!, of course, I needed to ride one of the make-believe cars, I needed to, the desire was too great to be ignored, I remember the excitement when I was granted the right to climb it, I had dreamt for so long (did I think "since forever" at that moment?) to ride such a make-believe car on such a carousel, I remember the great excitement indeed, and the feeling of fulfilment, I could probably compare this feeling of fulfilment to what might go through an apostle when kissed by Jesus, there was something divine, much too big indeed to be fully embraceable. Everything was finally making sense, this was what life was about, I was finally living in the present, I was the riding Bodhidharma, my body and my mind were a unique and whole thing now, and this unique and whole thing was pure ecstasy.
These feelings came back to me when you got naked, Max. You were the carousel and your penis was the make-believe car.
I remember vividly the light vertigo as the carousel started its motion and the make-believe car its vertical thrusting. It was immediately followed by immense disappointment. Was that all there was to it? The boredom, the annoying music and the even more annoying man's voice saying pretentious nonsense that was failing to be smart and funny, the make-believe steering wheel that did not react in any way to anything I was doing to it, that was it? This thing was revolving steadily, stubbornly, it did not matter if I was on it or not. I got embarrassed. I felt I was somehow a disturbance. And then, at some point, the carousel decided to stop without warning and the man's voice asked me to leave.
---
So we can conclude that, while at the episcopal level this might have raised eyebrows in some quarters, it was nevertheless actively practiced by all member-pairs throughout what could well be considered every major settlement in the region. I think the best illustration of the importance placed on this particular ritual activity, as distinguished from the familiar Ploughing-and-Reaping sequence prevalent in adjacent communities, can be found the following extract, taken from the opening of the Akylis manuscript (see Mlum and Mism, 2021a). The exact nuance of the text is at times obscure, but we can infer, at least in part from the naturalistic imagery, a bold association with rejuvenation, nourishment, and sensations of interpersonal connection rooted in the “muscles of speech”, which we must necessarily consider beyond metaphor. The extract is presented in translation from the original Mush, per the Donohovian method:
Without wanting to be heard I crawl out under the halogen and ask my god to be eaten. Having moved from the chamber of cleansing and cast off the cloak of concealment, I make unto the Altar. My face turns now into the deep, as the likeness of the cow comes upon me in anticipation of the laying of hands.
I have set pumice to my knees and smudged ash upon my brow in the shape of a collapsing star. I have sent word to the Mission of my absence, and bowed three times before the portrait of my father without breathing. I have sown milkweed and willowherb across my lower terraces. I have sunk a bloated animal into my depth, and I have taken only water without feasting for three days in preparation.
Only now might I invoke that Unity which arises in the Act; only now might I make vessel of my frame; only now might I be spoken into.
My chalice is soft. It is scented with chamomile. It is spread into offering as unto a ripening flower. It is an augury. It is mother’s milk. It indulges in reciprocity and commands to be opened by the muscles of speech.
I now entreat the ancient rite, as was practiced by my forebears in all corners under cloth. That which is called Ovation, by which sacred posture might the breath of divinity move within the flesh of M*n.
May my mind be stilled by the coming presence of that One by whom my holiness ascends to Rapture. May I be unhollowed by that unspoken Tongue known by the acolytes of H*m that moves in the dark places. May the –
Here the fragment frustratingly ends. I am in agreement with Dr. McPherson that it is worth referring to other contemporary accounts in order to piece together the final component of the ritual, lest we omit a crucial aspect in our understanding of the mystical psychophysical processes which seem to underlie much of the activity of the group.
I will now open the floor to any questions.
-----------------
[[BUT WAIT! I WANT TO ACCES MORE OF THE SAMPLES!!!->archive]]
<div class="bigtext">The Noisebringers’ Samples (found fragments as of the year 2021)</div>
<div class="placard">//Noisebringers, 24 Ad-Unkown
These are the last days of humankind. It has recorded billions and trillions of hours of music. But for its end credits, you choose [[Watching Paint Dry->wpd]].
These are the last days of humankind. It has written billions and trillions of pages. But in place of end credits, as a coda to the Noisebringers’s samples, you choose [[The Mariabrice Sitcker Album for->stickeralbum]].
These are the last days of humankind. It has made billions and trillions of images. But for its end credits, you choose to go back to where it all started, in the yarn vulvas of [[Self Portraits on a Theme of Her->herportraits]].
These are the last days of humankind. It has vinified billions and trillions of litters of grape. But for its end credits, you choose to drink a glass of [[Prosecco]].//</div>
<</if>>
<<if $prosecco is "1">><div class="blur">Finally it is the dusk of humankind. The world population peaked at 11 billion people a long time ago, then dropped dramatically to 3 billions within a handful of decades. The slow decrescendo you are now seeing the end of has been lasting for too long. The last Noisebringer died yesterday, which means that the Noisebringers’ Samples reached an end. You read an old notice from older, more hectic times:
//The Noisebringers’ Samples is a collection of continuous texts, part of the epic Noisebringers novel. It is thought to be (when finished) one of the longest co-authored improvised novels ever created: it is at least 200 times longer than the Mahabharata (in which, by the way, some of the characters are themselves proven former Noisebringers). The intensely unresearched book brazenly lays out the history of time, as collected over the centuries by Noisebringers and Noisebringer associates. A number of selections from the novel have been chosen by the omnipotent one and presented to you here.//
When this notice was written, it is said that dogs used to bring their masters their newspapers in their mouth. You smile at this idea as you whistle for your mammoth. Mammoths! No one seriously thought they’d become humans’ most faithful friends when they were brought back to life in a dodgy half-secret lab in Siberia, before any authorisation of any kind had been issued. They were hard to feed when the population was peaking, but soon enough, there was plenty of room and nature for anyone to possess a couple or more of those proud and fluffy animals. They became so familiar that in some poorly documented historical films, one can see a Amos Tutuola and a Zora Neale Hurston petting their mammoth respectively in Nigeria and in Alabama. You own a particularly small mammoth that you named Cooper. As you whistle at her, Cooper brings you the three hundred sixty million words of the Noisebringers’ samples, some of which you have read many times, and some of which were written yesterday. When this notice was written, only a few samples had been found and collected.
-----------
Transcript from re-mushing, given by Sister Hen brigid the limp and cathe of the order of the mushroom from our lady of mushroom 3rd re-invention after the time of Camille. Recordings of all re-mushings were thought to have been destroyed after the presumed first death of Camille. The full recording was edited and only the following decipherable section was collected by Herbax Keflanigan while he chartered the forgotten things in his arc of deserters after the peaceful handover of power.
It is unknown if Herbax doctored these recordings as she did in her infamous re-fictionalizing and subsequent movie franchise of the age old feud of two squabbling men, Bristophe and another unknown associate of our noble and loved guardians of gentle existence – the Noisebringers. Herbax famously conflated these documents to such an extent that they have since been pronounced dismissible in the university of Ledburg, much like Wikipedia once was in the back time.
Sister Hen brigid the limp and cathe:
Bless me mushroom for I have strayed, it been now bout 30 year since my last communication
Unknown:
Do not worry my child your heart has been within us and we have felt your contributions nevertheless. Tell me hyphe what labours have taken you so far away from your community? Tell me all and we shall mend the paths which have brought you so far from home.
So it all started round about 8th street, where I run into Camille - you see what I remember now about this is that when i ran into Camille on 8th street, this must have been oh i dont member bout 25 odd year back, what year is it now? She asked me if I could spot her. And I dont like spottin nobody but Camille didn ever ask nothing off nobody and I thought she was fine as hell. I was racking up gaup at the time with the family so it was no sweat of my bazzoties but I got the feelin, you know when you get that feelin? Like you stepped clear into some elses dimension, and suddenly everything was gonna go wack? So I got that feeling. Only other time I ever got that feelin was stepping off a train in Glasgow, but nothing ever came of that one, so im not sayin im physi-atric or nothing like that, but I just want you to know now, i got that feeling, and jeezo was that a damn warning from Mother Maria Nuestra Seńora de la provedencia may the power of the mushrooms alter the fate of mankind, blessed be thy fungi and may you rest in madness, ah woman.
Sister Hen brigid the limp and cathe:
Yes ancient one connected to all, child of mycelium, and gateway to time, I know this feeling well. What happened child, do not be afraid.
Unknown:
I cant know see, cuz after I spotted Camille that bit, it was like i was handed over ya ken? Went right off. After that exact moment. And found myself in wrong land. Write me like, I been off clock for time now, and only just found my way back. Lots has happened since then but what I know is last person I seen from here were Camille. And last thing she tolds me was that they were coming and that I had to choose sides soon. I know Camille like, she prettier than a dime bag left on a bench on a hot summer day, but she got that dark shit too. Full of sumit else you know? Like she drawn towards things that nobody drawn towards unless they like fancying themselves larger than they is. So I didn’t much mind Camille. She always sayin shit. But that’s it. All I members from then was that moment. Handing over to Camille, thinking I better act on this one day then. I was gone.
telling those who were foolish enough to ask that a key element was scale, mere scale. This of course was not in my mind when I came across the unusual obituary. Unusual because at this point, who was worth marking and for whom.
It seems that for a time during the period under discussion there emerged a new type of literary genre I’ve seen referred to as equinc achma and presented in the form of a business card book. He writes (perhaps in defence of his actions or lack of action) that it was developed because for some, a business card could not possibly fit all achievements to date, some like himself having had prenatal success, and were continuing to achieve at a rate that made reprinting of business cards tedious. The solution therefore was to make a sort of book-file to which one could attach additional pages as achievements were collected. The other novel part was not that it would be carried everywhere, it was that it would be visibly carried by everyone. The etiquette that emerged, when you came across a book was to not speak to its carrier until one had read their complete works. He recounts a entering a room full of his contemporaries and being struck by the ‘shpk’ sound of flipping pages occasionally interrupted by silence. These gatherings were regular, it appears and so successful and effective were equinc achma that faces became unnecessary.
He confesses that this success disappointed him quite a bit and out of envy or boredom or nostalgia inserted into another’s book-file a card reading “falsifier of achievements”. None at the gathering knew it was him and from the speculation grew the realisation that their system was flawed. He does not write anymore at this point, but I was able to get some pieces of a rule book which considering this record, was developed after the creation of the genre and this incident. It is unclear who the author(s) of the rulebook is, but I speculate that it was done collectively as the rules appear to cover general and specific occurrences. For example:
61-acheivments can only be added to, not taken off book-files. An achievement once achieved cannot be unachieved; such is not the nature of achievement.
173-the equinc achma book-file cannot be placed aside, neither to the left nor to the right. It may be placed above or below the face but never in front of it.
205-if one forgets their book-file, they must list their achievements by appropriate gestures but only after completing, in silence, the book-file of their cohort. These gestures must be sufficiently clear but without inclusion of the face and be in line with rules 17, 32-35, 40 and 99.
41. In the event that you are unable to complete reading your cohort’s book-file by the time they finish yours, this discourtesy to yourself and your cohort must be indicated by withdrawing from the reading.
1. All achievements are valid including the achievement of falsification of achievements.
Rules 2 to 30 cover matters of font size, paper thickness, paper colour and acceptable dimensions. What is fascinating is that around the time of the circulation of these rules the book-files begin to be worn around the waist, attached to band and the positioning indicates the influence of rule 173.
He returns a short while later, named in the obituary headed-“Death by Accomplishment”. I am disappointed that there are no more records of this time, or at least a surviving book-file. But I believe this was just before the period when it occurred to them to burn and bury all material that came from trees in a ritual that was said would spark a miraculous regrowth.
[INS]
are a series of recently translated verses (colloquially known as “the Twins” by speakers of high Mush) known to have been chanted by the Order. We had some input from that big woman, miss J (?), but she wasn’t very forthcoming with the exact nuance of some of the phrases. She’s been very evasive since those letters were uncovered in the archive. Anyway, from what we can tell, these were used excessively, at nearly every kind of occasion imaginable. We have concrete evidence of their usage at: daily and nightly cooking (woodland only); breastfeeding; calypso [citation needed]; spannering and wrenchwork; courtship and wooing; tailgating; blind-man’s buff [EDIT: improper use of “blind”]; and of course, MASS. Anyway, see my previous mail for further info, but I think we can work on the premise that these are as good as we’ll get. Hate the fact that the kitchen ran out of bread rolls yester-
[INS>END]
My lips are moistened by the soup of eternity
In tentacularity do I take my breathless form
My utterance is eternal as the clapid noise of the universe
In undulating folds of flesh do I cradle my braid
My bliss is a flesh-shaped inner tube of malice
In second sexlessness do I call forth my spawn
My bedazlements are varifold and plunging
In viscous puddles do I challenge men to die
Hark, the hood of the maiden is glowing!
Hark, the blinking and thrashing is come!
Hark, how the oozing of glibulence is open!
Hark, how the ancient singing is begun!
May the bladder of man be emptied
by the shE who commands the broth
[INS]
-nyway the strippers were neither here nor there, but should we let them get away with it? I’m starting to worry that these revolutionaries really mean business. With all the supermarkets closing, how will we buy stock? The market has been flooded recently, and cousin Johnny can only lend me his boat on Wednesdays so I’ve been forced to raid uncle Angela’s house for supplies [EDIT]. I have this sinking feeling that the Uprising might bring more harm than good. And it’s only been a minute since the last announcement of the changes. Did they give you a datapad? They say every house has to have one, and all the bicycles have to be registered on the resurrection platform or they’re gonna risk deportation. Only thing is Ginny didn’t have hers painted right and they took it right off the street into a van and she never heard anything else. Have you had a chance to-
[INS>END]
[#] Better begun, better be thine
Better be swim, better be glam
In phim and farm and piss and gork
Elsa Environment clads New York.
Ooh yeah yeah yeah (x5)
[And then my second favourite]
[#] When my baby come to town (yeah yeah yeah)
She gonna throw that system down (oi oi oi)
In a chasm of clim, with a fractal sheen
She gonna g-g-g-g-griddle on that Man Machine
Ooh can you see her (see her)
Comin’ along old ladle lane (she gotta ladle)
When it’s high time flibe or in a croomin blare (blare)
She gonna smack O’Mally with that Kremlin snare! (ba-da-da)
Sin-sister gonna (oi oi) carry my grave
Sin-sister gonna (oi oi) radel the flave (ooh yeah)
She g-g-g-g-grown up with a house on legs
And she WOAH (woah) she gonna
Smash them bots an then-a
Shingle in the Derry skate (ooh na na)
[# instrumental #]
When I cam down-
[INS]
forever, but Weston had that stupid hat on and it was really distracting. So, if we rehearse Tuesday night then we can use the big studio, but we have to watch out for the security drones because you saw what they did to Harry. It’s only a precaution, but if we wear the reflective masks then the trackers shouldn’t pick up our eye colour. I think if Maria were still here, she’d have told us “fuck em” and marched in there with instruments visible and everything, but I think we’re too close to the Warehouse for that. There’ll be too many of them to contend with if something goes wrong, and around the lockdown anniversary they send out even more. Did you get the chance to export the Clavichord engine? I think that will help us if it comes to projectiles, because Clavichords are heavy and with two of us to throw it it shouldn’t be a problem. I just can’t believe how much has changed in a year. Anyway, my 50% off all government produce came today and they say if I donate another 2 litres from my left arm I can split it with a friend so do you wa-
[INS>END]
Send me your tired, your weak, your mucosal linings and your fleas.
My mother is one who knows not of different bodies.
shE is the eternal, the one in whom the waters were collected,
before whom there was nothing and from whom all witches are descended.
The first son of the Ancient one was named “Exscblwelk” which translates roughly into the mononym “Brutus” if we parse it through the lithic vortex.
When he came clambering out of the shuddering will of Hur
in yelling, and yowling, and scrambling, and great laying and loafing and lumping,
shE did recognise his hunger and procured a great feast of all the beasts save those of the sea
(for shE did not enter the sea, nor from it draw water, nor flesh, nor fish, nor flim
as it was known to Hur that the fish and flesh and flim were wise and not to be taken)
yet noticing the pining in the eyes to Exscblewarkn (for thus was it also written)
shE took great pity and allowed a single fish to dance
on the plate of Hur Magnificence
and so it came to be that My Mother who is of all bodies and none
Commander of the universal spoon and spatula appreciation society
and recogniser of the potential for bagel shaped temporalities to exude the extra real, as opposed to just the regular real which we’re all quite familiar with
came to me and bid me
“EAT” for it is the flesh of fish which will strengthen the spirit of the Grey One
and thus it came to be that all the fish bowed down unto the plate of the Great Grey Yowler who comes in the night to claw at the door of eternity
He whose very essence commands convulsions of the moist cavities of the face
in whose warmth the evening lengthens into sleeping sculpture
in the figure of the shape of bread (not bagel, or baguette)
Henceforth all folk knew of the wonder of Exccascherbeb (for thus it was also written)
And shE, in Hur last act of musicking before the turning out of the light of the world, decreed:
Upon your death, my son, may your body become as unto a Diamond, that it may grace the hand of the Mother of Mushrooms forever, and may your descendientes carry many forms and shapes and be forever known by that name which you carry – the name to carry across the ages from now until the end of Tim.
And thus was it so.
And thus was it so.
And thus was it-
[INS]
Blimey! Brenda was a fucking nutcase! She only gone and choked the poor sod to death before the machines even had a chance to flange him! Crikey mikey what a fucking mess it was. All bits and bobs and bobbly bits all floating around in a pool like. Stank as well – like a rotten moose that’s out-thawed too quickly on the cascade. My eye, mice for lice! But if I’m gonna fucking go down townside any time soon I’ll fucking avoid her or I’ll end up terminator fodder. Bloomin mess it was. Even the robots wouldn’t have been able to yank his hair up over his tonsils like that. Crying shame it was. Crying shame. Black market’s open Cransday night – you wanna spend 3 credits for a new sex tank babe?
[INS>END>PERM]
But that is not why you are here,
Dear Bringer of Noise
Bringer of Noise
Bringer of Noise
And I write to tell you that I reflected on the invitation to serve as minister of poetry and economics. But you had caught me in the middle of a thought or rather, you joined me in the middle of a thought, and so I was obliged to carry you along with it, or maybe you were obliged to join me having found me as you did.
In honesty, I am still greatly angered by the interruption by this catastrophe of the plans to finally, because yes-it was about time they realised that this would happen, to finally turn Not, Worst, S’out Africa, and the other undetermined parts into Real Africa. There is only one thing that soothes me and even this is only momentary and never when I am alone. What soothes me, NoiseBringers, is that I can use the greeting mwapusukeni.
With such a greeting, I can claim that I was in the presence of Her Royal Chieftainess who in her royal benevolence addressed me this way. Though I had by that point a reasonable command of the language, this was the first time I was hearing the word and this manner of greeting was strange to me. Iluba later explained that it translates to “you have survived” and I was struck by how effectively one word could convey fact, celebration, lament, relief and regret.
The meeting was for those who were willing to return to their roots to see that Her Royal Chieftainess did not object to their desires to do so. Given that they were sufficiently desperate to and had at last admitted failure, they felt it necessary to seek her disapproval and approval; neither of which she gave. And a considerable portion of the meeting was spent determining the best way to physically restructure the geography and in a way that did not result in a visible defeat.
So, knowing what I know, I cannot compromise. Even for something as inconsequential as a title. Well, if we agree that it is inconsequential then you will allow-you must allow-you will have the generosity to accept, my rejection of it. In exchange I will make myself available as a ‘conversationalist’. A conversationalist of poetry and economics. This way I won’t feel so bitter when I greet others with mwapusukeni, and they return with a greeting that they are more familiar with.
With respect and admiration,
Afulodidim Nikefolosi.
---------------
Cathe (neuter) – (Brasgravian, KAY-TH:)
noun
1. (archaic) an outgrowth of serpentine natural protrusions, often found under logs in dense woodland
Ex. “Do you got any cathe, my beloved? We be needin’ for the chumpubit stew”
2. (Maria Brasgravian) An offering of sheep’s wool, blossom, and the forearm veins of slain enemies of state (common before the Coup D’État / FCU)
Ex. “Only by cathe can the three-headed one who dwells in the deepest chasms of the most mighty Womb be appeased”
3. (Henry Brasgravian) An undertaking of pilgrimage to an ancient shrine, particularly those located underground
Ex. “And if you don’t do cathe at least once, be sure to know there’s only one place you’ll end up, and it won’t be Real Africa that’s for sure!”
4. (Brice Brasgravian) A kind of night-blossom, growing outwards into the shape of a constellation
Ex. “She was radiant, shimmering in the moonlight like the brightest and most sinewy winter cathe”
ver.
1. (vulgar) to suck or blow as if mimicking the drinking of blood from a vein
Ex “They had been cathing their soup steadily for three hours by the time they noticed the double-bodied figure in the corner of the restaurant, glaring maliciously and scribbling notes in a dirty notepad, muttering under its breath ‘no good, not enough peoples for drinking’ “
2. (common) to bleat like a mountain goat during acts of ritual possession
Ex. “The cleric cathed wildly as the group nearest the door was rent asunder by the entrance of the hooded pink figure.”
adj.
1. (derogatory) pertaining to the collecting and ingesting of poisonous snakes
Ex. “He does look like a cathe one, that Johnny, with a right look of the badlands about him, almost like he’s never had seen a sweat-bench or francked a ballgown party. Terrible really.”
2. (complimentary) referring to long, tendrilous outgrowths from the torso or hands
Ex. “My sister has such a beautiful cathe figure, she always gets comments at the holiday cottages in French Speaking Switzerland ™”
3. (mystical) of substantial length disproportionate to perceived width
Ex. “Juliana observed the dangling object, rotating about a foot away from her face, with the awe that can only come from being naked in the presence of a truly cathe phenomenon”
adv.
1. (common) in trickster fashion, often referring to the poisoning of fruit.
Ex. “Quick! He killed grandma with an ice-cream scoop, and he sure done it cathe!”
2. (common) as if shedding a long skin with substantial effort
Ex. “She jumped up, and set about undressing cathe”
Editor’s note: usage of “cathe” is heavily restricted to Brasgravian and Brasgravian-adjacent communities, although recent online trends involving high-velocity bot-driven retro-inspired polyphonic folk-song performance have greatly boosted popularity of the once archaic term.
I couldn't remember what triggered it eventually. Mariabrice and I had been French-kissing every day and every evening for months now, there was a lot of hugging, a lot of desire, and, I dare say, a lot of love, but we had never crossed the line of close intimacy because Blob was waiting for me at home, probably watching more poorly-staged Lithuanian porn 'out of nostalgia' (I quote), and this thought was acting on me like Abel's eye watching me in the bedroom. I had always had lovers on the side while with Blob for reasons I'll make obvious in a few lines, but I was in love with Mariabrice, which made it a whole other story. I knew that diving into Mariabrice's flesh would mark the end of my relationship with Blob, something I was not ready for. So, what had happened this time? The precise moment when Mariabrice and I had ended up naked from the waste down on its bed had totally escaped us, the same way our first hand laying on each other's thigh (on a train back from Deighton, please don't ask why) had escaped us months ago, and just a bit later the first kiss, with Mariabrice's palm on the back of my neck and its fingers sneaking under my wooly hat (the one I wear after I wash my hair).
'Let's play a game: no penetration whatsoever. Just all the rest.' I had wanted try that for years, and I had been thinking for a while Mariabrice would be the right candidate for this little experiment. While at the same time thinking I should never have sex with it. I lived with my contradictions. I hardly ever had sex with Blob during our almost two years of relationship — including a year and a half living together — and my other lovers had never seemed to be ready to experiment anything else than good old daddy's penetration-focused sexual intercourses. I don't know why I assumed it'd be different with Mariabrice, but I was right. Mariabrice was an improviser, it was an experimentalist, it was generous, it listened to my words and I knew it'd listen to my body. Also, I had never had sex with an entity before. I did not know what to expect on a practical level before we got half naked in this bed. Now, I know it would have been impossible to expect this. It's hard to explain to people who've never been with an entity. Mariabrice had a set of hermaphrodite genitalia near the crotch, and boobs on the chest, but it wasn't so straight (no pun intended) forward. Its gender fluidity was continuous. Its body shape, its skin texture, even its pubic hairs were constantly changing, depending where I would stroke, grab and lick. I thought for a second 'it's like being in bed with Mystique from the X-Men, just in real life and less blue'. Also, there's a possibility that if I had scratched and pinched Mystique equally hard, she might have chopped my head off, while Mariabrice was painfully enjoying it.
Anyway, that evening was not a good one for Mariabrice's housemates. There was a lot of loud coming for a very long moment. My favourite part was probably when I was just pressing my clitoris against Mariabrice's thigh and it was changing the texture of its skin and the size of its quadriceps, not only by contracting and releasing the muscle, no, but more by literally changing its size from 'tiny woman that men upsettingly find cute in their jumpers' to 'Dwayne Johnson except with great hair'. Mariabrice was moaning like it was coming endlessly as I was hardly brushing its genitals with the tip of my fingers, while I was singing some of the songs I had been collecting for years at the top of my voice every time I was coming, which probably shocked greatly some of the aforementioned housemates who were familiar with my album of whispered traditional songs. Do not get me wrong, though, Mariabrice was no sex god, or even particularly skilled in any way. I was just releasing months of sexual tension by helping myself with whatever part of its body I felt like having a bit of fun with. I've always considered that coming needed some work, at least for me. I had become quite good at this particular work and Mariabrice just happened to be a good collaborator I happened to be in love with. And, well, it was hot. (Did I mention Mariabrice's pronoun is 'it'? It's a bit confusing at times. It's because it's an entity. I probably should have written this in some kind of introduction.) It was hot, it was beautiful, it was funny, it was angry, it was radical, I wanted it in me so hard but I had set the rule and it needed to be followed.
After some time, I don't know if my body had started mimicking Mariabrice's, but my clitoris had swollen so much that it looked like a grotesquely oversized penis. (Not that I had never seen such penises in my life once or twice, but at each occurence I did think they were grotesquely oversized.) Actually it was a penis. It made me feel a great desire to penetrate Mariabrice whose eyes were begging me to do it. Man, it's hard to get totally rid of good old daddy's penetration-focused sexuality, but we resisted. There was more stroking, licking, grabbing, pressing, scratching to the blood, until Mariabrice performed with its last vulva some kind of hug-massage around my newly acquired grotesquely oversized penis but without penetration, more like using the labia as some kind of embracing arms. That was skilled. That specific move definitely ponders what I wrote earlier about Mariabrice's average skills. That did not qualify as average. Actually, that was the end of me. I came again, stronger, further, louder, and woke up from that dream next to Blob, who would scold me in the morning for having squirted again during the night, like most nights, for almost a year and a half, since the last time I had seen and kissed and hugged Mariabrice for the last time, before I decided to never see it again.
[Here it opens. I haven’t got the translation 100% right I don’t think, but I’ll check with B-dog (haha funny that it’s “dog” isn’t it) and get back to you]
He had been feeling like a wet sock for weeks by the time the small woman (of indeterminate height) entered the catacomb. Brandishing an axe, two ball-bearings and a pink catflap, dressed head-to-hoof in hot-pink Gucci pyjamas bedazzled with “beware the ides”, and sighing melancholically like they used to back in that time before you know where I lost my train of thought?
Anyway, he shook his hands violently, nearly crushing the small animal which he held close to his mottled chest. Visibly trembling in disbelief and shouting in what could have been Spanish, he drove home his challenge to the approaching pink incomer:
“You cathe bitch! You sunny blossom-coloured oochie-moochie wowza! Since when have you known? My best friend (my BEST friend) at the time was Johnny Ravenspotter. He was a big guy, you know, the kind you can really leeeeeeeean into, like a water-couch, plastic to the very core. He broke my nose in grade eight, and I never could sight-read, so we had to part ways. But the point is, HE was going to introduce me to you and he couldn’t before the funeral. [a note – the funeral was an archaic means of disposing of flesh post-vitam. It was discontinued shortly after the Great Revisiting but, crucially, before the coming of Ostreech, which we all know was more or less the catalyst for the whole damn thing] We wept for days. Marmalade sandwiches and mathcore was all that kept us company, but he hadn’t opened it yet. He hadn’t, so we couldn’t stay. Boy if I’d had a nickel for every big dicked mary who flounced through that chasm boy I’ll tell ya! Anyway, she didn’t flatten the curve well enough to make it out alive (egg-nog poisoning), and the Bloomsbury group was her main thesis topic. [it’s worth mentioning here that- ] DON’T YOU INTERRUPT ME!”
The cry rang out like a bad memory, shattering the eerie silence that had fallen over the watching crowd. Ms Gucci stepped gingerly from the carriage, unphased by the hullaballoo, and marched towards the decrepit figure, who now cowered like a lost lamp under the lambpost. As the eyes of the gathering throng rose to meet her, she removed her outer sunglasses, and spoke proudly as if all of Hur creation were listening:
“My name is Herbax Keflanigan, Godkeeper of broken hearts, Queen of the Scalple, Ringbearer of Instant Bliss, and Mother of the House of OOZE. You have taken my son, the princeess Brutus XI, heir proper to the dominion of Shrüm, Cupholder of the Cataclysm, and Manifestation of my deepest and most profound joy. For this you must die.”
The crowd gasped.
“What say you?”
You could have heard a flea blink. The Shadow, emboldened by the display of maternal aggression that Herbax had unleashed, rose to his full height, towering above the lambpost, the pink aggressor, and dwarfing the tiny grey bundle that mewed shrilly in his grotesque hand.
“Flanigan! Kerrrrrrrrrrrrflangipangie! Damn that moose-brained sonofa why-I-oughta! thinking of comin in here all ‘ooh look at me pink flaps and all’. Well lah-di-dah. Josephine was right [note – here it is important to emphasise again that it is, at present, unknown if Josephine and Bristophe are in fact the same entity] you should never have come!”
And with a flap of one enormous wing the colour of honey-baked ham, he flung himself at the pink figure in front of him. The universe, and all who sail in Hur, held its breath.
[Here the record runs out. It’s possible that more will turn up, but I haven’t had the chance to go through the rest of the archive – they keep running away, and I’ve lost my Holonet. In any case, I’ll do my best to recover as much as I can. Watch this space]
-----------------
The carousel (a memory)
I remember as a little boy, I can't remember which carousel it was, or where it was, but I remember staring at it with great desire. What were these oscillating unicorns and dolphins promising me, I can't remember either, or maybe I could not grasp it at that time already, but I remember I knew it'd be wonderful to ride one of these unicorns, or maybe one of the make-believe cars with a make-believe steering-wheel, yes!, of course, I needed to ride one of the make-believe cars, I needed to, the desire was too great to be ignored, I remember the excitement when I was granted the right to climb it, I had dreamt for so long (did I think "since forever" at that moment?) to ride such a make-believe car on such a carousel, I remember the great excitement indeed, and the feeling of fulfilment, I could probably compare this feeling of fulfilment to what might go through an apostle when kissed by Jesus, there was something divine, much too big indeed to be fully embraceable. Everything was finally making sense, this was what life was about, I was finally living in the present, I was the riding Bodhidharma, my body and my mind were a unique and whole thing now, and this unique and whole thing was pure ecstasy.
These feelings came back to me when you got naked, Max. You were the carousel and your penis was the make-believe car.
I remember vividly the light vertigo as the carousel started its motion and the make-believe car its vertical thrusting. It was immediately followed by immense disappointment. Was that all there was to it? The boredom, the annoying music and the even more annoying man's voice saying pretentious nonsense that was failing to be smart and funny, the make-believe steering wheel that did not react in any way to anything I was doing to it, that was it? This thing was revolving steadily, stubbornly, it did not matter if I was on it or not. I got embarrassed. I felt I was somehow a disturbance. And then, at some point, the carousel decided to stop without warning and the man's voice asked me to leave.
---
So we can conclude that, while at the episcopal level this might have raised eyebrows in some quarters, it was nevertheless actively practiced by all member-pairs throughout what could well be considered every major settlement in the region. I think the best illustration of the importance placed on this particular ritual activity, as distinguished from the familiar Ploughing-and-Reaping sequence prevalent in adjacent communities, can be found the following extract, taken from the opening of the Akylis manuscript (see Mlum and Mism, 2021a). The exact nuance of the text is at times obscure, but we can infer, at least in part from the naturalistic imagery, a bold association with rejuvenation, nourishment, and sensations of interpersonal connection rooted in the “muscles of speech”, which we must necessarily consider beyond metaphor. The extract is presented in translation from the original Mush, per the Donohovian method:
Without wanting to be heard I crawl out under the halogen and ask my god to be eaten. Having moved from the chamber of cleansing and cast off the cloak of concealment, I make unto the Altar. My face turns now into the deep, as the likeness of the cow comes upon me in anticipation of the laying of hands.
I have set pumice to my knees and smudged ash upon my brow in the shape of a collapsing star. I have sent word to the Mission of my absence, and bowed three times before the portrait of my father without breathing. I have sown milkweed and willowherb across my lower terraces. I have sunk a bloated animal into my depth, and I have taken only water without feasting for three days in preparation.
Only now might I invoke that Unity which arises in the Act; only now might I make vessel of my frame; only now might I be spoken into.
My chalice is soft. It is scented with chamomile. It is spread into offering as unto a ripening flower. It is an augury. It is mother’s milk. It indulges in reciprocity and commands to be opened by the muscles of speech.
I now entreat the ancient rite, as was practiced by my forebears in all corners under cloth. That which is called Ovation, by which sacred posture might the breath of divinity move within the flesh of M*n.
May my mind be stilled by the coming presence of that One by whom my holiness ascends to Rapture. May I be unhollowed by that unspoken Tongue known by the acolytes of H*m that moves in the dark places. May the –
Here the fragment frustratingly ends. I am in agreement with Dr. McPherson that it is worth referring to other contemporary accounts in order to piece together the final component of the ritual, lest we omit a crucial aspect in our understanding of the mystical psychophysical processes which seem to underlie much of the activity of the group.
I will now open the floor to any questions.
-----------------
[[BUT WAIT! I WANT TO ACCES MORE OF THE SAMPLES!!!->archive]]
<div class="bigtext">The Noisebringers’ Samples (found fragments as of the year 2021)</div>
<div class="placard">//Noisebringers, 24 Ad-Unkown
These are the last days of humankind. It has recorded billions and trillions of hours of music. But for its end credits, you choose [[Watching Paint Dry->wpd]].
These are the last days of humankind. It has written billions and trillions of pages. But in place of end credits, as a coda to the Noisebringers’s samples, you choose [[The Mariabrice Sitcker Album for->stickeralbum]].
These are the last days of humankind. It has made billions and trillions of images. But for its end credits, you choose to go back to where it all started, in the yarn vulvas of [[Self Portraits on a Theme of Her->herportraits]].
These are the last days of humankind. It has vinified billions and trillions of litters of grape. But for its end credits, you choose to drink a glass of [[Prosecco]].//</div>
</div><</if>>
<<if $prosecco is "2">><div class="blurrier">Finally it is the dusk of humankind. The world population peaked at 11 billion people a long time ago, then dropped dramatically to 3 billions within a handful of decades. The slow decrescendo you are now seeing the end of has been lasting for too long. The last Noisebringer died yesterday, which means that the Noisebringers’ Samples reached an end. You read an old notice from older, more hectic times:
//The Noisebringers’ Samples is a collection of continuous texts, part of the epic Noisebringers novel. It is thought to be (when finished) one of the longest co-authored improvised novels ever created: it is at least 200 times longer than the Mahabharata (in which, by the way, some of the characters are themselves proven former Noisebringers). The intensely unresearched book brazenly lays out the history of time, as collected over the centuries by Noisebringers and Noisebringer associates. A number of selections from the novel have been chosen by the omnipotent one and presented to you here.//
When this notice was written, it is said that dogs used to bring their masters their newspapers in their mouth. You smile at this idea as you whistle for your mammoth. Mammoths! No one seriously thought they’d become humans’ most faithful friends when they were brought back to life in a dodgy half-secret lab in Siberia, before any authorisation of any kind had been issued. They were hard to feed when the population was peaking, but soon enough, there was plenty of room and nature for anyone to possess a couple or more of those proud and fluffy animals. They became so familiar that in some poorly documented historical films, one can see a Amos Tutuola and a Zora Neale Hurston petting their mammoth respectively in Nigeria and in Alabama. You own a particularly small mammoth that you named Cooper. As you whistle at her, Cooper brings you the three hundred sixty million words of the Noisebringers’ samples, some of which you have read many times, and some of which were written yesterday. When this notice was written, only a few samples had been found and collected.
-----------
Transcript from re-mushing, given by Sister Hen brigid the limp and cathe of the order of the mushroom from our lady of mushroom 3rd re-invention after the time of Camille. Recordings of all re-mushings were thought to have been destroyed after the presumed first death of Camille. The full recording was edited and only the following decipherable section was collected by Herbax Keflanigan while he chartered the forgotten things in his arc of deserters after the peaceful handover of power.
It is unknown if Herbax doctored these recordings as she did in her infamous re-fictionalizing and subsequent movie franchise of the age old feud of two squabbling men, Bristophe and another unknown associate of our noble and loved guardians of gentle existence – the Noisebringers. Herbax famously conflated these documents to such an extent that they have since been pronounced dismissible in the university of Ledburg, much like Wikipedia once was in the back time.
Sister Hen brigid the limp and cathe:
Bless me mushroom for I have strayed, it been now bout 30 year since my last communication
Unknown:
Do not worry my child your heart has been within us and we have felt your contributions nevertheless. Tell me hyphe what labours have taken you so far away from your community? Tell me all and we shall mend the paths which have brought you so far from home.
So it all started round about 8th street, where I run into Camille - you see what I remember now about this is that when i ran into Camille on 8th street, this must have been oh i dont member bout 25 odd year back, what year is it now? She asked me if I could spot her. And I dont like spottin nobody but Camille didn ever ask nothing off nobody and I thought she was fine as hell. I was racking up gaup at the time with the family so it was no sweat of my bazzoties but I got the feelin, you know when you get that feelin? Like you stepped clear into some elses dimension, and suddenly everything was gonna go wack? So I got that feeling. Only other time I ever got that feelin was stepping off a train in Glasgow, but nothing ever came of that one, so im not sayin im physi-atric or nothing like that, but I just want you to know now, i got that feeling, and jeezo was that a damn warning from Mother Maria Nuestra Seńora de la provedencia may the power of the mushrooms alter the fate of mankind, blessed be thy fungi and may you rest in madness, ah woman.
Sister Hen brigid the limp and cathe:
Yes ancient one connected to all, child of mycelium, and gateway to time, I know this feeling well. What happened child, do not be afraid.
Unknown:
I cant know see, cuz after I spotted Camille that bit, it was like i was handed over ya ken? Went right off. After that exact moment. And found myself in wrong land. Write me like, I been off clock for time now, and only just found my way back. Lots has happened since then but what I know is last person I seen from here were Camille. And last thing she tolds me was that they were coming and that I had to choose sides soon. I know Camille like, she prettier than a dime bag left on a bench on a hot summer day, but she got that dark shit too. Full of sumit else you know? Like she drawn towards things that nobody drawn towards unless they like fancying themselves larger than they is. So I didn’t much mind Camille. She always sayin shit. But that’s it. All I members from then was that moment. Handing over to Camille, thinking I better act on this one day then. I was gone.
telling those who were foolish enough to ask that a key element was scale, mere scale. This of course was not in my mind when I came across the unusual obituary. Unusual because at this point, who was worth marking and for whom.
It seems that for a time during the period under discussion there emerged a new type of literary genre I’ve seen referred to as equinc achma and presented in the form of a business card book. He writes (perhaps in defence of his actions or lack of action) that it was developed because for some, a business card could not possibly fit all achievements to date, some like himself having had prenatal success, and were continuing to achieve at a rate that made reprinting of business cards tedious. The solution therefore was to make a sort of book-file to which one could attach additional pages as achievements were collected. The other novel part was not that it would be carried everywhere, it was that it would be visibly carried by everyone. The etiquette that emerged, when you came across a book was to not speak to its carrier until one had read their complete works. He recounts a entering a room full of his contemporaries and being struck by the ‘shpk’ sound of flipping pages occasionally interrupted by silence. These gatherings were regular, it appears and so successful and effective were equinc achma that faces became unnecessary.
He confesses that this success disappointed him quite a bit and out of envy or boredom or nostalgia inserted into another’s book-file a card reading “falsifier of achievements”. None at the gathering knew it was him and from the speculation grew the realisation that their system was flawed. He does not write anymore at this point, but I was able to get some pieces of a rule book which considering this record, was developed after the creation of the genre and this incident. It is unclear who the author(s) of the rulebook is, but I speculate that it was done collectively as the rules appear to cover general and specific occurrences. For example:
61-acheivments can only be added to, not taken off book-files. An achievement once achieved cannot be unachieved; such is not the nature of achievement.
173-the equinc achma book-file cannot be placed aside, neither to the left nor to the right. It may be placed above or below the face but never in front of it.
205-if one forgets their book-file, they must list their achievements by appropriate gestures but only after completing, in silence, the book-file of their cohort. These gestures must be sufficiently clear but without inclusion of the face and be in line with rules 17, 32-35, 40 and 99.
41. In the event that you are unable to complete reading your cohort’s book-file by the time they finish yours, this discourtesy to yourself and your cohort must be indicated by withdrawing from the reading.
1. All achievements are valid including the achievement of falsification of achievements.
Rules 2 to 30 cover matters of font size, paper thickness, paper colour and acceptable dimensions. What is fascinating is that around the time of the circulation of these rules the book-files begin to be worn around the waist, attached to band and the positioning indicates the influence of rule 173.
He returns a short while later, named in the obituary headed-“Death by Accomplishment”. I am disappointed that there are no more records of this time, or at least a surviving book-file. But I believe this was just before the period when it occurred to them to burn and bury all material that came from trees in a ritual that was said would spark a miraculous regrowth.
[INS]
are a series of recently translated verses (colloquially known as “the Twins” by speakers of high Mush) known to have been chanted by the Order. We had some input from that big woman, miss J (?), but she wasn’t very forthcoming with the exact nuance of some of the phrases. She’s been very evasive since those letters were uncovered in the archive. Anyway, from what we can tell, these were used excessively, at nearly every kind of occasion imaginable. We have concrete evidence of their usage at: daily and nightly cooking (woodland only); breastfeeding; calypso [citation needed]; spannering and wrenchwork; courtship and wooing; tailgating; blind-man’s buff [EDIT: improper use of “blind”]; and of course, MASS. Anyway, see my previous mail for further info, but I think we can work on the premise that these are as good as we’ll get. Hate the fact that the kitchen ran out of bread rolls yester-
[INS>END]
My lips are moistened by the soup of eternity
In tentacularity do I take my breathless form
My utterance is eternal as the clapid noise of the universe
In undulating folds of flesh do I cradle my braid
My bliss is a flesh-shaped inner tube of malice
In second sexlessness do I call forth my spawn
My bedazlements are varifold and plunging
In viscous puddles do I challenge men to die
Hark, the hood of the maiden is glowing!
Hark, the blinking and thrashing is come!
Hark, how the oozing of glibulence is open!
Hark, how the ancient singing is begun!
May the bladder of man be emptied
by the shE who commands the broth
[INS]
-nyway the strippers were neither here nor there, but should we let them get away with it? I’m starting to worry that these revolutionaries really mean business. With all the supermarkets closing, how will we buy stock? The market has been flooded recently, and cousin Johnny can only lend me his boat on Wednesdays so I’ve been forced to raid uncle Angela’s house for supplies [EDIT]. I have this sinking feeling that the Uprising might bring more harm than good. And it’s only been a minute since the last announcement of the changes. Did they give you a datapad? They say every house has to have one, and all the bicycles have to be registered on the resurrection platform or they’re gonna risk deportation. Only thing is Ginny didn’t have hers painted right and they took it right off the street into a van and she never heard anything else. Have you had a chance to-
[INS>END]
[#] Better begun, better be thine
Better be swim, better be glam
In phim and farm and piss and gork
Elsa Environment clads New York.
Ooh yeah yeah yeah (x5)
[And then my second favourite]
[#] When my baby come to town (yeah yeah yeah)
She gonna throw that system down (oi oi oi)
In a chasm of clim, with a fractal sheen
She gonna g-g-g-g-griddle on that Man Machine
Ooh can you see her (see her)
Comin’ along old ladle lane (she gotta ladle)
When it’s high time flibe or in a croomin blare (blare)
She gonna smack O’Mally with that Kremlin snare! (ba-da-da)
Sin-sister gonna (oi oi) carry my grave
Sin-sister gonna (oi oi) radel the flave (ooh yeah)
She g-g-g-g-grown up with a house on legs
And she WOAH (woah) she gonna
Smash them bots an then-a
Shingle in the Derry skate (ooh na na)
[# instrumental #]
When I cam down-
[INS]
forever, but Weston had that stupid hat on and it was really distracting. So, if we rehearse Tuesday night then we can use the big studio, but we have to watch out for the security drones because you saw what they did to Harry. It’s only a precaution, but if we wear the reflective masks then the trackers shouldn’t pick up our eye colour. I think if Maria were still here, she’d have told us “fuck em” and marched in there with instruments visible and everything, but I think we’re too close to the Warehouse for that. There’ll be too many of them to contend with if something goes wrong, and around the lockdown anniversary they send out even more. Did you get the chance to export the Clavichord engine? I think that will help us if it comes to projectiles, because Clavichords are heavy and with two of us to throw it it shouldn’t be a problem. I just can’t believe how much has changed in a year. Anyway, my 50% off all government produce came today and they say if I donate another 2 litres from my left arm I can split it with a friend so do you wa-
[INS>END]
Send me your tired, your weak, your mucosal linings and your fleas.
My mother is one who knows not of different bodies.
shE is the eternal, the one in whom the waters were collected,
before whom there was nothing and from whom all witches are descended.
The first son of the Ancient one was named “Exscblwelk” which translates roughly into the mononym “Brutus” if we parse it through the lithic vortex.
When he came clambering out of the shuddering will of Hur
in yelling, and yowling, and scrambling, and great laying and loafing and lumping,
shE did recognise his hunger and procured a great feast of all the beasts save those of the sea
(for shE did not enter the sea, nor from it draw water, nor flesh, nor fish, nor flim
as it was known to Hur that the fish and flesh and flim were wise and not to be taken)
yet noticing the pining in the eyes to Exscblewarkn (for thus was it also written)
shE took great pity and allowed a single fish to dance
on the plate of Hur Magnificence
and so it came to be that My Mother who is of all bodies and none
Commander of the universal spoon and spatula appreciation society
and recogniser of the potential for bagel shaped temporalities to exude the extra real, as opposed to just the regular real which we’re all quite familiar with
came to me and bid me
“EAT” for it is the flesh of fish which will strengthen the spirit of the Grey One
and thus it came to be that all the fish bowed down unto the plate of the Great Grey Yowler who comes in the night to claw at the door of eternity
He whose very essence commands convulsions of the moist cavities of the face
in whose warmth the evening lengthens into sleeping sculpture
in the figure of the shape of bread (not bagel, or baguette)
Henceforth all folk knew of the wonder of Exccascherbeb (for thus it was also written)
And shE, in Hur last act of musicking before the turning out of the light of the world, decreed:
Upon your death, my son, may your body become as unto a Diamond, that it may grace the hand of the Mother of Mushrooms forever, and may your descendientes carry many forms and shapes and be forever known by that name which you carry – the name to carry across the ages from now until the end of Tim.
And thus was it so.
And thus was it so.
And thus was it-
[INS]
Blimey! Brenda was a fucking nutcase! She only gone and choked the poor sod to death before the machines even had a chance to flange him! Crikey mikey what a fucking mess it was. All bits and bobs and bobbly bits all floating around in a pool like. Stank as well – like a rotten moose that’s out-thawed too quickly on the cascade. My eye, mice for lice! But if I’m gonna fucking go down townside any time soon I’ll fucking avoid her or I’ll end up terminator fodder. Bloomin mess it was. Even the robots wouldn’t have been able to yank his hair up over his tonsils like that. Crying shame it was. Crying shame. Black market’s open Cransday night – you wanna spend 3 credits for a new sex tank babe?
[INS>END>PERM]
But that is not why you are here,
Dear Bringer of Noise
Bringer of Noise
Bringer of Noise
And I write to tell you that I reflected on the invitation to serve as minister of poetry and economics. But you had caught me in the middle of a thought or rather, you joined me in the middle of a thought, and so I was obliged to carry you along with it, or maybe you were obliged to join me having found me as you did.
In honesty, I am still greatly angered by the interruption by this catastrophe of the plans to finally, because yes-it was about time they realised that this would happen, to finally turn Not, Worst, S’out Africa, and the other undetermined parts into Real Africa. There is only one thing that soothes me and even this is only momentary and never when I am alone. What soothes me, NoiseBringers, is that I can use the greeting mwapusukeni.
With such a greeting, I can claim that I was in the presence of Her Royal Chieftainess who in her royal benevolence addressed me this way. Though I had by that point a reasonable command of the language, this was the first time I was hearing the word and this manner of greeting was strange to me. Iluba later explained that it translates to “you have survived” and I was struck by how effectively one word could convey fact, celebration, lament, relief and regret.
The meeting was for those who were willing to return to their roots to see that Her Royal Chieftainess did not object to their desires to do so. Given that they were sufficiently desperate to and had at last admitted failure, they felt it necessary to seek her disapproval and approval; neither of which she gave. And a considerable portion of the meeting was spent determining the best way to physically restructure the geography and in a way that did not result in a visible defeat.
So, knowing what I know, I cannot compromise. Even for something as inconsequential as a title. Well, if we agree that it is inconsequential then you will allow-you must allow-you will have the generosity to accept, my rejection of it. In exchange I will make myself available as a ‘conversationalist’. A conversationalist of poetry and economics. This way I won’t feel so bitter when I greet others with mwapusukeni, and they return with a greeting that they are more familiar with.
With respect and admiration,
Afulodidim Nikefolosi.
---------------
Cathe (neuter) – (Brasgravian, KAY-TH:)
noun
1. (archaic) an outgrowth of serpentine natural protrusions, often found under logs in dense woodland
Ex. “Do you got any cathe, my beloved? We be needin’ for the chumpubit stew”
2. (Maria Brasgravian) An offering of sheep’s wool, blossom, and the forearm veins of slain enemies of state (common before the Coup D’État / FCU)
Ex. “Only by cathe can the three-headed one who dwells in the deepest chasms of the most mighty Womb be appeased”
3. (Henry Brasgravian) An undertaking of pilgrimage to an ancient shrine, particularly those located underground
Ex. “And if you don’t do cathe at least once, be sure to know there’s only one place you’ll end up, and it won’t be Real Africa that’s for sure!”
4. (Brice Brasgravian) A kind of night-blossom, growing outwards into the shape of a constellation
Ex. “She was radiant, shimmering in the moonlight like the brightest and most sinewy winter cathe”
ver.
1. (vulgar) to suck or blow as if mimicking the drinking of blood from a vein
Ex “They had been cathing their soup steadily for three hours by the time they noticed the double-bodied figure in the corner of the restaurant, glaring maliciously and scribbling notes in a dirty notepad, muttering under its breath ‘no good, not enough peoples for drinking’ “
2. (common) to bleat like a mountain goat during acts of ritual possession
Ex. “The cleric cathed wildly as the group nearest the door was rent asunder by the entrance of the hooded pink figure.”
adj.
1. (derogatory) pertaining to the collecting and ingesting of poisonous snakes
Ex. “He does look like a cathe one, that Johnny, with a right look of the badlands about him, almost like he’s never had seen a sweat-bench or francked a ballgown party. Terrible really.”
2. (complimentary) referring to long, tendrilous outgrowths from the torso or hands
Ex. “My sister has such a beautiful cathe figure, she always gets comments at the holiday cottages in French Speaking Switzerland ™”
3. (mystical) of substantial length disproportionate to perceived width
Ex. “Juliana observed the dangling object, rotating about a foot away from her face, with the awe that can only come from being naked in the presence of a truly cathe phenomenon”
adv.
1. (common) in trickster fashion, often referring to the poisoning of fruit.
Ex. “Quick! He killed grandma with an ice-cream scoop, and he sure done it cathe!”
2. (common) as if shedding a long skin with substantial effort
Ex. “She jumped up, and set about undressing cathe”
Editor’s note: usage of “cathe” is heavily restricted to Brasgravian and Brasgravian-adjacent communities, although recent online trends involving high-velocity bot-driven retro-inspired polyphonic folk-song performance have greatly boosted popularity of the once archaic term.
I couldn't remember what triggered it eventually. Mariabrice and I had been French-kissing every day and every evening for months now, there was a lot of hugging, a lot of desire, and, I dare say, a lot of love, but we had never crossed the line of close intimacy because Blob was waiting for me at home, probably watching more poorly-staged Lithuanian porn 'out of nostalgia' (I quote), and this thought was acting on me like Abel's eye watching me in the bedroom. I had always had lovers on the side while with Blob for reasons I'll make obvious in a few lines, but I was in love with Mariabrice, which made it a whole other story. I knew that diving into Mariabrice's flesh would mark the end of my relationship with Blob, something I was not ready for. So, what had happened this time? The precise moment when Mariabrice and I had ended up naked from the waste down on its bed had totally escaped us, the same way our first hand laying on each other's thigh (on a train back from Deighton, please don't ask why) had escaped us months ago, and just a bit later the first kiss, with Mariabrice's palm on the back of my neck and its fingers sneaking under my wooly hat (the one I wear after I wash my hair).
'Let's play a game: no penetration whatsoever. Just all the rest.' I had wanted try that for years, and I had been thinking for a while Mariabrice would be the right candidate for this little experiment. While at the same time thinking I should never have sex with it. I lived with my contradictions. I hardly ever had sex with Blob during our almost two years of relationship — including a year and a half living together — and my other lovers had never seemed to be ready to experiment anything else than good old daddy's penetration-focused sexual intercourses. I don't know why I assumed it'd be different with Mariabrice, but I was right. Mariabrice was an improviser, it was an experimentalist, it was generous, it listened to my words and I knew it'd listen to my body. Also, I had never had sex with an entity before. I did not know what to expect on a practical level before we got half naked in this bed. Now, I know it would have been impossible to expect this. It's hard to explain to people who've never been with an entity. Mariabrice had a set of hermaphrodite genitalia near the crotch, and boobs on the chest, but it wasn't so straight (no pun intended) forward. Its gender fluidity was continuous. Its body shape, its skin texture, even its pubic hairs were constantly changing, depending where I would stroke, grab and lick. I thought for a second 'it's like being in bed with Mystique from the X-Men, just in real life and less blue'. Also, there's a possibility that if I had scratched and pinched Mystique equally hard, she might have chopped my head off, while Mariabrice was painfully enjoying it.
Anyway, that evening was not a good one for Mariabrice's housemates. There was a lot of loud coming for a very long moment. My favourite part was probably when I was just pressing my clitoris against Mariabrice's thigh and it was changing the texture of its skin and the size of its quadriceps, not only by contracting and releasing the muscle, no, but more by literally changing its size from 'tiny woman that men upsettingly find cute in their jumpers' to 'Dwayne Johnson except with great hair'. Mariabrice was moaning like it was coming endlessly as I was hardly brushing its genitals with the tip of my fingers, while I was singing some of the songs I had been collecting for years at the top of my voice every time I was coming, which probably shocked greatly some of the aforementioned housemates who were familiar with my album of whispered traditional songs. Do not get me wrong, though, Mariabrice was no sex god, or even particularly skilled in any way. I was just releasing months of sexual tension by helping myself with whatever part of its body I felt like having a bit of fun with. I've always considered that coming needed some work, at least for me. I had become quite good at this particular work and Mariabrice just happened to be a good collaborator I happened to be in love with. And, well, it was hot. (Did I mention Mariabrice's pronoun is 'it'? It's a bit confusing at times. It's because it's an entity. I probably should have written this in some kind of introduction.) It was hot, it was beautiful, it was funny, it was angry, it was radical, I wanted it in me so hard but I had set the rule and it needed to be followed.
After some time, I don't know if my body had started mimicking Mariabrice's, but my clitoris had swollen so much that it looked like a grotesquely oversized penis. (Not that I had never seen such penises in my life once or twice, but at each occurence I did think they were grotesquely oversized.) Actually it was a penis. It made me feel a great desire to penetrate Mariabrice whose eyes were begging me to do it. Man, it's hard to get totally rid of good old daddy's penetration-focused sexuality, but we resisted. There was more stroking, licking, grabbing, pressing, scratching to the blood, until Mariabrice performed with its last vulva some kind of hug-massage around my newly acquired grotesquely oversized penis but without penetration, more like using the labia as some kind of embracing arms. That was skilled. That specific move definitely ponders what I wrote earlier about Mariabrice's average skills. That did not qualify as average. Actually, that was the end of me. I came again, stronger, further, louder, and woke up from that dream next to Blob, who would scold me in the morning for having squirted again during the night, like most nights, for almost a year and a half, since the last time I had seen and kissed and hugged Mariabrice for the last time, before I decided to never see it again.
[Here it opens. I haven’t got the translation 100% right I don’t think, but I’ll check with B-dog (haha funny that it’s “dog” isn’t it) and get back to you]
He had been feeling like a wet sock for weeks by the time the small woman (of indeterminate height) entered the catacomb. Brandishing an axe, two ball-bearings and a pink catflap, dressed head-to-hoof in hot-pink Gucci pyjamas bedazzled with “beware the ides”, and sighing melancholically like they used to back in that time before you know where I lost my train of thought?
Anyway, he shook his hands violently, nearly crushing the small animal which he held close to his mottled chest. Visibly trembling in disbelief and shouting in what could have been Spanish, he drove home his challenge to the approaching pink incomer:
“You cathe bitch! You sunny blossom-coloured oochie-moochie wowza! Since when have you known? My best friend (my BEST friend) at the time was Johnny Ravenspotter. He was a big guy, you know, the kind you can really leeeeeeeean into, like a water-couch, plastic to the very core. He broke my nose in grade eight, and I never could sight-read, so we had to part ways. But the point is, HE was going to introduce me to you and he couldn’t before the funeral. [a note – the funeral was an archaic means of disposing of flesh post-vitam. It was discontinued shortly after the Great Revisiting but, crucially, before the coming of Ostreech, which we all know was more or less the catalyst for the whole damn thing] We wept for days. Marmalade sandwiches and mathcore was all that kept us company, but he hadn’t opened it yet. He hadn’t, so we couldn’t stay. Boy if I’d had a nickel for every big dicked mary who flounced through that chasm boy I’ll tell ya! Anyway, she didn’t flatten the curve well enough to make it out alive (egg-nog poisoning), and the Bloomsbury group was her main thesis topic. [it’s worth mentioning here that- ] DON’T YOU INTERRUPT ME!”
The cry rang out like a bad memory, shattering the eerie silence that had fallen over the watching crowd. Ms Gucci stepped gingerly from the carriage, unphased by the hullaballoo, and marched towards the decrepit figure, who now cowered like a lost lamp under the lambpost. As the eyes of the gathering throng rose to meet her, she removed her outer sunglasses, and spoke proudly as if all of Hur creation were listening:
“My name is Herbax Keflanigan, Godkeeper of broken hearts, Queen of the Scalple, Ringbearer of Instant Bliss, and Mother of the House of OOZE. You have taken my son, the princeess Brutus XI, heir proper to the dominion of Shrüm, Cupholder of the Cataclysm, and Manifestation of my deepest and most profound joy. For this you must die.”
The crowd gasped.
“What say you?”
You could have heard a flea blink. The Shadow, emboldened by the display of maternal aggression that Herbax had unleashed, rose to his full height, towering above the lambpost, the pink aggressor, and dwarfing the tiny grey bundle that mewed shrilly in his grotesque hand.
“Flanigan! Kerrrrrrrrrrrrflangipangie! Damn that moose-brained sonofa why-I-oughta! thinking of comin in here all ‘ooh look at me pink flaps and all’. Well lah-di-dah. Josephine was right [note – here it is important to emphasise again that it is, at present, unknown if Josephine and Bristophe are in fact the same entity] you should never have come!”
And with a flap of one enormous wing the colour of honey-baked ham, he flung himself at the pink figure in front of him. The universe, and all who sail in Hur, held its breath.
[Here the record runs out. It’s possible that more will turn up, but I haven’t had the chance to go through the rest of the archive – they keep running away, and I’ve lost my Holonet. In any case, I’ll do my best to recover as much as I can. Watch this space]
-----------------
The carousel (a memory)
I remember as a little boy, I can't remember which carousel it was, or where it was, but I remember staring at it with great desire. What were these oscillating unicorns and dolphins promising me, I can't remember either, or maybe I could not grasp it at that time already, but I remember I knew it'd be wonderful to ride one of these unicorns, or maybe one of the make-believe cars with a make-believe steering-wheel, yes!, of course, I needed to ride one of the make-believe cars, I needed to, the desire was too great to be ignored, I remember the excitement when I was granted the right to climb it, I had dreamt for so long (did I think "since forever" at that moment?) to ride such a make-believe car on such a carousel, I remember the great excitement indeed, and the feeling of fulfilment, I could probably compare this feeling of fulfilment to what might go through an apostle when kissed by Jesus, there was something divine, much too big indeed to be fully embraceable. Everything was finally making sense, this was what life was about, I was finally living in the present, I was the riding Bodhidharma, my body and my mind were a unique and whole thing now, and this unique and whole thing was pure ecstasy.
These feelings came back to me when you got naked, Max. You were the carousel and your penis was the make-believe car.
I remember vividly the light vertigo as the carousel started its motion and the make-believe car its vertical thrusting. It was immediately followed by immense disappointment. Was that all there was to it? The boredom, the annoying music and the even more annoying man's voice saying pretentious nonsense that was failing to be smart and funny, the make-believe steering wheel that did not react in any way to anything I was doing to it, that was it? This thing was revolving steadily, stubbornly, it did not matter if I was on it or not. I got embarrassed. I felt I was somehow a disturbance. And then, at some point, the carousel decided to stop without warning and the man's voice asked me to leave.
---
So we can conclude that, while at the episcopal level this might have raised eyebrows in some quarters, it was nevertheless actively practiced by all member-pairs throughout what could well be considered every major settlement in the region. I think the best illustration of the importance placed on this particular ritual activity, as distinguished from the familiar Ploughing-and-Reaping sequence prevalent in adjacent communities, can be found the following extract, taken from the opening of the Akylis manuscript (see Mlum and Mism, 2021a). The exact nuance of the text is at times obscure, but we can infer, at least in part from the naturalistic imagery, a bold association with rejuvenation, nourishment, and sensations of interpersonal connection rooted in the “muscles of speech”, which we must necessarily consider beyond metaphor. The extract is presented in translation from the original Mush, per the Donohovian method:
Without wanting to be heard I crawl out under the halogen and ask my god to be eaten. Having moved from the chamber of cleansing and cast off the cloak of concealment, I make unto the Altar. My face turns now into the deep, as the likeness of the cow comes upon me in anticipation of the laying of hands.
I have set pumice to my knees and smudged ash upon my brow in the shape of a collapsing star. I have sent word to the Mission of my absence, and bowed three times before the portrait of my father without breathing. I have sown milkweed and willowherb across my lower terraces. I have sunk a bloated animal into my depth, and I have taken only water without feasting for three days in preparation.
Only now might I invoke that Unity which arises in the Act; only now might I make vessel of my frame; only now might I be spoken into.
My chalice is soft. It is scented with chamomile. It is spread into offering as unto a ripening flower. It is an augury. It is mother’s milk. It indulges in reciprocity and commands to be opened by the muscles of speech.
I now entreat the ancient rite, as was practiced by my forebears in all corners under cloth. That which is called Ovation, by which sacred posture might the breath of divinity move within the flesh of M*n.
May my mind be stilled by the coming presence of that One by whom my holiness ascends to Rapture. May I be unhollowed by that unspoken Tongue known by the acolytes of H*m that moves in the dark places. May the –
Here the fragment frustratingly ends. I am in agreement with Dr. McPherson that it is worth referring to other contemporary accounts in order to piece together the final component of the ritual, lest we omit a crucial aspect in our understanding of the mystical psychophysical processes which seem to underlie much of the activity of the group.
I will now open the floor to any questions.
-----------------
[[BUT WAIT! I WANT TO ACCES MORE OF THE SAMPLES!!!->archive]]
<div class="bigtext">The Noisebringers’ Samples (found fragments as of the year 2021)</div>
<div class="placard">//Noisebringers, 24 Ad-Unkown
These are the last days of humankind. It has recorded billions and trillions of hours of music. But for its end credits, you choose [[Watching Paint Dry->wpd]].
These are the last days of humankind. It has written billions and trillions of pages. But in place of end credits, as a coda to the Noisebringers’s samples, you choose [[The Mariabrice Sitcker Album for->stickeralbum]].
These are the last days of humankind. It has made billions and trillions of images. But for its end credits, you choose to go back to where it all started, in the yarn vulvas of [[Self Portraits on a Theme of Her->herportraits]].
These are the last days of humankind. It has vinified billions and trillions of litters of grape. But for its end credits, you choose to drink a glass of [[Prosecco]].//</div>
</div><</if>>
<<if $prosecco is "3">><div class="blurrier2">Finally it is the dusk of humankind. The world population peaked at 11 billion people a long time ago, then dropped dramatically to 3 billions within a handful of decades. The slow decrescendo you are now seeing the end of has been lasting for too long. The last Noisebringer died yesterday, which means that the Noisebringers’ Samples reached an end. You read an old notice from older, more hectic times:
//The Noisebringers’ Samples is a collection of continuous texts, part of the epic Noisebringers novel. It is thought to be (when finished) one of the longest co-authored improvised novels ever created: it is at least 200 times longer than the Mahabharata (in which, by the way, some of the characters are themselves proven former Noisebringers). The intensely unresearched book brazenly lays out the history of time, as collected over the centuries by Noisebringers and Noisebringer associates. A number of selections from the novel have been chosen by the omnipotent one and presented to you here.//
When this notice was written, it is said that dogs used to bring their masters their newspapers in their mouth. You smile at this idea as you whistle for your mammoth. Mammoths! No one seriously thought they’d become humans’ most faithful friends when they were brought back to life in a dodgy half-secret lab in Siberia, before any authorisation of any kind had been issued. They were hard to feed when the population was peaking, but soon enough, there was plenty of room and nature for anyone to possess a couple or more of those proud and fluffy animals. They became so familiar that in some poorly documented historical films, one can see a Amos Tutuola and a Zora Neale Hurston petting their mammoth respectively in Nigeria and in Alabama. You own a particularly small mammoth that you named Cooper. As you whistle at her, Cooper brings you the three hundred sixty million words of the Noisebringers’ samples, some of which you have read many times, and some of which were written yesterday. When this notice was written, only a few samples had been found and collected.
-----------
Transcript from re-mushing, given by Sister Hen brigid the limp and cathe of the order of the mushroom from our lady of mushroom 3rd re-invention after the time of Camille. Recordings of all re-mushings were thought to have been destroyed after the presumed first death of Camille. The full recording was edited and only the following decipherable section was collected by Herbax Keflanigan while he chartered the forgotten things in his arc of deserters after the peaceful handover of power.
It is unknown if Herbax doctored these recordings as she did in her infamous re-fictionalizing and subsequent movie franchise of the age old feud of two squabbling men, Bristophe and another unknown associate of our noble and loved guardians of gentle existence – the Noisebringers. Herbax famously conflated these documents to such an extent that they have since been pronounced dismissible in the university of Ledburg, much like Wikipedia once was in the back time.
Sister Hen brigid the limp and cathe:
Bless me mushroom for I have strayed, it been now bout 30 year since my last communication
Unknown:
Do not worry my child your heart has been within us and we have felt your contributions nevertheless. Tell me hyphe what labours have taken you so far away from your community? Tell me all and we shall mend the paths which have brought you so far from home.
So it all started round about 8th street, where I run into Camille - you see what I remember now about this is that when i ran into Camille on 8th street, this must have been oh i dont member bout 25 odd year back, what year is it now? She asked me if I could spot her. And I dont like spottin nobody but Camille didn ever ask nothing off nobody and I thought she was fine as hell. I was racking up gaup at the time with the family so it was no sweat of my bazzoties but I got the feelin, you know when you get that feelin? Like you stepped clear into some elses dimension, and suddenly everything was gonna go wack? So I got that feeling. Only other time I ever got that feelin was stepping off a train in Glasgow, but nothing ever came of that one, so im not sayin im physi-atric or nothing like that, but I just want you to know now, i got that feeling, and jeezo was that a damn warning from Mother Maria Nuestra Seńora de la provedencia may the power of the mushrooms alter the fate of mankind, blessed be thy fungi and may you rest in madness, ah woman.
Sister Hen brigid the limp and cathe:
Yes ancient one connected to all, child of mycelium, and gateway to time, I know this feeling well. What happened child, do not be afraid.
Unknown:
I cant know see, cuz after I spotted Camille that bit, it was like i was handed over ya ken? Went right off. After that exact moment. And found myself in wrong land. Write me like, I been off clock for time now, and only just found my way back. Lots has happened since then but what I know is last person I seen from here were Camille. And last thing she tolds me was that they were coming and that I had to choose sides soon. I know Camille like, she prettier than a dime bag left on a bench on a hot summer day, but she got that dark shit too. Full of sumit else you know? Like she drawn towards things that nobody drawn towards unless they like fancying themselves larger than they is. So I didn’t much mind Camille. She always sayin shit. But that’s it. All I members from then was that moment. Handing over to Camille, thinking I better act on this one day then. I was gone.
telling those who were foolish enough to ask that a key element was scale, mere scale. This of course was not in my mind when I came across the unusual obituary. Unusual because at this point, who was worth marking and for whom.
It seems that for a time during the period under discussion there emerged a new type of literary genre I’ve seen referred to as equinc achma and presented in the form of a business card book. He writes (perhaps in defence of his actions or lack of action) that it was developed because for some, a business card could not possibly fit all achievements to date, some like himself having had prenatal success, and were continuing to achieve at a rate that made reprinting of business cards tedious. The solution therefore was to make a sort of book-file to which one could attach additional pages as achievements were collected. The other novel part was not that it would be carried everywhere, it was that it would be visibly carried by everyone. The etiquette that emerged, when you came across a book was to not speak to its carrier until one had read their complete works. He recounts a entering a room full of his contemporaries and being struck by the ‘shpk’ sound of flipping pages occasionally interrupted by silence. These gatherings were regular, it appears and so successful and effective were equinc achma that faces became unnecessary.
He confesses that this success disappointed him quite a bit and out of envy or boredom or nostalgia inserted into another’s book-file a card reading “falsifier of achievements”. None at the gathering knew it was him and from the speculation grew the realisation that their system was flawed. He does not write anymore at this point, but I was able to get some pieces of a rule book which considering this record, was developed after the creation of the genre and this incident. It is unclear who the author(s) of the rulebook is, but I speculate that it was done collectively as the rules appear to cover general and specific occurrences. For example:
61-acheivments can only be added to, not taken off book-files. An achievement once achieved cannot be unachieved; such is not the nature of achievement.
173-the equinc achma book-file cannot be placed aside, neither to the left nor to the right. It may be placed above or below the face but never in front of it.
205-if one forgets their book-file, they must list their achievements by appropriate gestures but only after completing, in silence, the book-file of their cohort. These gestures must be sufficiently clear but without inclusion of the face and be in line with rules 17, 32-35, 40 and 99.
41. In the event that you are unable to complete reading your cohort’s book-file by the time they finish yours, this discourtesy to yourself and your cohort must be indicated by withdrawing from the reading.
1. All achievements are valid including the achievement of falsification of achievements.
Rules 2 to 30 cover matters of font size, paper thickness, paper colour and acceptable dimensions. What is fascinating is that around the time of the circulation of these rules the book-files begin to be worn around the waist, attached to band and the positioning indicates the influence of rule 173.
He returns a short while later, named in the obituary headed-“Death by Accomplishment”. I am disappointed that there are no more records of this time, or at least a surviving book-file. But I believe this was just before the period when it occurred to them to burn and bury all material that came from trees in a ritual that was said would spark a miraculous regrowth.
[INS]
are a series of recently translated verses (colloquially known as “the Twins” by speakers of high Mush) known to have been chanted by the Order. We had some input from that big woman, miss J (?), but she wasn’t very forthcoming with the exact nuance of some of the phrases. She’s been very evasive since those letters were uncovered in the archive. Anyway, from what we can tell, these were used excessively, at nearly every kind of occasion imaginable. We have concrete evidence of their usage at: daily and nightly cooking (woodland only); breastfeeding; calypso [citation needed]; spannering and wrenchwork; courtship and wooing; tailgating; blind-man’s buff [EDIT: improper use of “blind”]; and of course, MASS. Anyway, see my previous mail for further info, but I think we can work on the premise that these are as good as we’ll get. Hate the fact that the kitchen ran out of bread rolls yester-
[INS>END]
My lips are moistened by the soup of eternity
In tentacularity do I take my breathless form
My utterance is eternal as the clapid noise of the universe
In undulating folds of flesh do I cradle my braid
My bliss is a flesh-shaped inner tube of malice
In second sexlessness do I call forth my spawn
My bedazlements are varifold and plunging
In viscous puddles do I challenge men to die
Hark, the hood of the maiden is glowing!
Hark, the blinking and thrashing is come!
Hark, how the oozing of glibulence is open!
Hark, how the ancient singing is begun!
May the bladder of man be emptied
by the shE who commands the broth
[INS]
-nyway the strippers were neither here nor there, but should we let them get away with it? I’m starting to worry that these revolutionaries really mean business. With all the supermarkets closing, how will we buy stock? The market has been flooded recently, and cousin Johnny can only lend me his boat on Wednesdays so I’ve been forced to raid uncle Angela’s house for supplies [EDIT]. I have this sinking feeling that the Uprising might bring more harm than good. And it’s only been a minute since the last announcement of the changes. Did they give you a datapad? They say every house has to have one, and all the bicycles have to be registered on the resurrection platform or they’re gonna risk deportation. Only thing is Ginny didn’t have hers painted right and they took it right off the street into a van and she never heard anything else. Have you had a chance to-
[INS>END]
[#] Better begun, better be thine
Better be swim, better be glam
In phim and farm and piss and gork
Elsa Environment clads New York.
Ooh yeah yeah yeah (x5)
[And then my second favourite]
[#] When my baby come to town (yeah yeah yeah)
She gonna throw that system down (oi oi oi)
In a chasm of clim, with a fractal sheen
She gonna g-g-g-g-griddle on that Man Machine
Ooh can you see her (see her)
Comin’ along old ladle lane (she gotta ladle)
When it’s high time flibe or in a croomin blare (blare)
She gonna smack O’Mally with that Kremlin snare! (ba-da-da)
Sin-sister gonna (oi oi) carry my grave
Sin-sister gonna (oi oi) radel the flave (ooh yeah)
She g-g-g-g-grown up with a house on legs
And she WOAH (woah) she gonna
Smash them bots an then-a
Shingle in the Derry skate (ooh na na)
[# instrumental #]
When I cam down-
[INS]
forever, but Weston had that stupid hat on and it was really distracting. So, if we rehearse Tuesday night then we can use the big studio, but we have to watch out for the security drones because you saw what they did to Harry. It’s only a precaution, but if we wear the reflective masks then the trackers shouldn’t pick up our eye colour. I think if Maria were still here, she’d have told us “fuck em” and marched in there with instruments visible and everything, but I think we’re too close to the Warehouse for that. There’ll be too many of them to contend with if something goes wrong, and around the lockdown anniversary they send out even more. Did you get the chance to export the Clavichord engine? I think that will help us if it comes to projectiles, because Clavichords are heavy and with two of us to throw it it shouldn’t be a problem. I just can’t believe how much has changed in a year. Anyway, my 50% off all government produce came today and they say if I donate another 2 litres from my left arm I can split it with a friend so do you wa-
[INS>END]
Send me your tired, your weak, your mucosal linings and your fleas.
My mother is one who knows not of different bodies.
shE is the eternal, the one in whom the waters were collected,
before whom there was nothing and from whom all witches are descended.
The first son of the Ancient one was named “Exscblwelk” which translates roughly into the mononym “Brutus” if we parse it through the lithic vortex.
When he came clambering out of the shuddering will of Hur
in yelling, and yowling, and scrambling, and great laying and loafing and lumping,
shE did recognise his hunger and procured a great feast of all the beasts save those of the sea
(for shE did not enter the sea, nor from it draw water, nor flesh, nor fish, nor flim
as it was known to Hur that the fish and flesh and flim were wise and not to be taken)
yet noticing the pining in the eyes to Exscblewarkn (for thus was it also written)
shE took great pity and allowed a single fish to dance
on the plate of Hur Magnificence
and so it came to be that My Mother who is of all bodies and none
Commander of the universal spoon and spatula appreciation society
and recogniser of the potential for bagel shaped temporalities to exude the extra real, as opposed to just the regular real which we’re all quite familiar with
came to me and bid me
“EAT” for it is the flesh of fish which will strengthen the spirit of the Grey One
and thus it came to be that all the fish bowed down unto the plate of the Great Grey Yowler who comes in the night to claw at the door of eternity
He whose very essence commands convulsions of the moist cavities of the face
in whose warmth the evening lengthens into sleeping sculpture
in the figure of the shape of bread (not bagel, or baguette)
Henceforth all folk knew of the wonder of Exccascherbeb (for thus it was also written)
And shE, in Hur last act of musicking before the turning out of the light of the world, decreed:
Upon your death, my son, may your body become as unto a Diamond, that it may grace the hand of the Mother of Mushrooms forever, and may your descendientes carry many forms and shapes and be forever known by that name which you carry – the name to carry across the ages from now until the end of Tim.
And thus was it so.
And thus was it so.
And thus was it-
[INS]
Blimey! Brenda was a fucking nutcase! She only gone and choked the poor sod to death before the machines even had a chance to flange him! Crikey mikey what a fucking mess it was. All bits and bobs and bobbly bits all floating around in a pool like. Stank as well – like a rotten moose that’s out-thawed too quickly on the cascade. My eye, mice for lice! But if I’m gonna fucking go down townside any time soon I’ll fucking avoid her or I’ll end up terminator fodder. Bloomin mess it was. Even the robots wouldn’t have been able to yank his hair up over his tonsils like that. Crying shame it was. Crying shame. Black market’s open Cransday night – you wanna spend 3 credits for a new sex tank babe?
[INS>END>PERM]
But that is not why you are here,
Dear Bringer of Noise
Bringer of Noise
Bringer of Noise
And I write to tell you that I reflected on the invitation to serve as minister of poetry and economics. But you had caught me in the middle of a thought or rather, you joined me in the middle of a thought, and so I was obliged to carry you along with it, or maybe you were obliged to join me having found me as you did.
In honesty, I am still greatly angered by the interruption by this catastrophe of the plans to finally, because yes-it was about time they realised that this would happen, to finally turn Not, Worst, S’out Africa, and the other undetermined parts into Real Africa. There is only one thing that soothes me and even this is only momentary and never when I am alone. What soothes me, NoiseBringers, is that I can use the greeting mwapusukeni.
With such a greeting, I can claim that I was in the presence of Her Royal Chieftainess who in her royal benevolence addressed me this way. Though I had by that point a reasonable command of the language, this was the first time I was hearing the word and this manner of greeting was strange to me. Iluba later explained that it translates to “you have survived” and I was struck by how effectively one word could convey fact, celebration, lament, relief and regret.
The meeting was for those who were willing to return to their roots to see that Her Royal Chieftainess did not object to their desires to do so. Given that they were sufficiently desperate to and had at last admitted failure, they felt it necessary to seek her disapproval and approval; neither of which she gave. And a considerable portion of the meeting was spent determining the best way to physically restructure the geography and in a way that did not result in a visible defeat.
So, knowing what I know, I cannot compromise. Even for something as inconsequential as a title. Well, if we agree that it is inconsequential then you will allow-you must allow-you will have the generosity to accept, my rejection of it. In exchange I will make myself available as a ‘conversationalist’. A conversationalist of poetry and economics. This way I won’t feel so bitter when I greet others with mwapusukeni, and they return with a greeting that they are more familiar with.
With respect and admiration,
Afulodidim Nikefolosi.
---------------
Cathe (neuter) – (Brasgravian, KAY-TH:)
noun
1. (archaic) an outgrowth of serpentine natural protrusions, often found under logs in dense woodland
Ex. “Do you got any cathe, my beloved? We be needin’ for the chumpubit stew”
2. (Maria Brasgravian) An offering of sheep’s wool, blossom, and the forearm veins of slain enemies of state (common before the Coup D’État / FCU)
Ex. “Only by cathe can the three-headed one who dwells in the deepest chasms of the most mighty Womb be appeased”
3. (Henry Brasgravian) An undertaking of pilgrimage to an ancient shrine, particularly those located underground
Ex. “And if you don’t do cathe at least once, be sure to know there’s only one place you’ll end up, and it won’t be Real Africa that’s for sure!”
4. (Brice Brasgravian) A kind of night-blossom, growing outwards into the shape of a constellation
Ex. “She was radiant, shimmering in the moonlight like the brightest and most sinewy winter cathe”
ver.
1. (vulgar) to suck or blow as if mimicking the drinking of blood from a vein
Ex “They had been cathing their soup steadily for three hours by the time they noticed the double-bodied figure in the corner of the restaurant, glaring maliciously and scribbling notes in a dirty notepad, muttering under its breath ‘no good, not enough peoples for drinking’ “
2. (common) to bleat like a mountain goat during acts of ritual possession
Ex. “The cleric cathed wildly as the group nearest the door was rent asunder by the entrance of the hooded pink figure.”
adj.
1. (derogatory) pertaining to the collecting and ingesting of poisonous snakes
Ex. “He does look like a cathe one, that Johnny, with a right look of the badlands about him, almost like he’s never had seen a sweat-bench or francked a ballgown party. Terrible really.”
2. (complimentary) referring to long, tendrilous outgrowths from the torso or hands
Ex. “My sister has such a beautiful cathe figure, she always gets comments at the holiday cottages in French Speaking Switzerland ™”
3. (mystical) of substantial length disproportionate to perceived width
Ex. “Juliana observed the dangling object, rotating about a foot away from her face, with the awe that can only come from being naked in the presence of a truly cathe phenomenon”
adv.
1. (common) in trickster fashion, often referring to the poisoning of fruit.
Ex. “Quick! He killed grandma with an ice-cream scoop, and he sure done it cathe!”
2. (common) as if shedding a long skin with substantial effort
Ex. “She jumped up, and set about undressing cathe”
Editor’s note: usage of “cathe” is heavily restricted to Brasgravian and Brasgravian-adjacent communities, although recent online trends involving high-velocity bot-driven retro-inspired polyphonic folk-song performance have greatly boosted popularity of the once archaic term.
I couldn't remember what triggered it eventually. Mariabrice and I had been French-kissing every day and every evening for months now, there was a lot of hugging, a lot of desire, and, I dare say, a lot of love, but we had never crossed the line of close intimacy because Blob was waiting for me at home, probably watching more poorly-staged Lithuanian porn 'out of nostalgia' (I quote), and this thought was acting on me like Abel's eye watching me in the bedroom. I had always had lovers on the side while with Blob for reasons I'll make obvious in a few lines, but I was in love with Mariabrice, which made it a whole other story. I knew that diving into Mariabrice's flesh would mark the end of my relationship with Blob, something I was not ready for. So, what had happened this time? The precise moment when Mariabrice and I had ended up naked from the waste down on its bed had totally escaped us, the same way our first hand laying on each other's thigh (on a train back from Deighton, please don't ask why) had escaped us months ago, and just a bit later the first kiss, with Mariabrice's palm on the back of my neck and its fingers sneaking under my wooly hat (the one I wear after I wash my hair).
'Let's play a game: no penetration whatsoever. Just all the rest.' I had wanted try that for years, and I had been thinking for a while Mariabrice would be the right candidate for this little experiment. While at the same time thinking I should never have sex with it. I lived with my contradictions. I hardly ever had sex with Blob during our almost two years of relationship — including a year and a half living together — and my other lovers had never seemed to be ready to experiment anything else than good old daddy's penetration-focused sexual intercourses. I don't know why I assumed it'd be different with Mariabrice, but I was right. Mariabrice was an improviser, it was an experimentalist, it was generous, it listened to my words and I knew it'd listen to my body. Also, I had never had sex with an entity before. I did not know what to expect on a practical level before we got half naked in this bed. Now, I know it would have been impossible to expect this. It's hard to explain to people who've never been with an entity. Mariabrice had a set of hermaphrodite genitalia near the crotch, and boobs on the chest, but it wasn't so straight (no pun intended) forward. Its gender fluidity was continuous. Its body shape, its skin texture, even its pubic hairs were constantly changing, depending where I would stroke, grab and lick. I thought for a second 'it's like being in bed with Mystique from the X-Men, just in real life and less blue'. Also, there's a possibility that if I had scratched and pinched Mystique equally hard, she might have chopped my head off, while Mariabrice was painfully enjoying it.
Anyway, that evening was not a good one for Mariabrice's housemates. There was a lot of loud coming for a very long moment. My favourite part was probably when I was just pressing my clitoris against Mariabrice's thigh and it was changing the texture of its skin and the size of its quadriceps, not only by contracting and releasing the muscle, no, but more by literally changing its size from 'tiny woman that men upsettingly find cute in their jumpers' to 'Dwayne Johnson except with great hair'. Mariabrice was moaning like it was coming endlessly as I was hardly brushing its genitals with the tip of my fingers, while I was singing some of the songs I had been collecting for years at the top of my voice every time I was coming, which probably shocked greatly some of the aforementioned housemates who were familiar with my album of whispered traditional songs. Do not get me wrong, though, Mariabrice was no sex god, or even particularly skilled in any way. I was just releasing months of sexual tension by helping myself with whatever part of its body I felt like having a bit of fun with. I've always considered that coming needed some work, at least for me. I had become quite good at this particular work and Mariabrice just happened to be a good collaborator I happened to be in love with. And, well, it was hot. (Did I mention Mariabrice's pronoun is 'it'? It's a bit confusing at times. It's because it's an entity. I probably should have written this in some kind of introduction.) It was hot, it was beautiful, it was funny, it was angry, it was radical, I wanted it in me so hard but I had set the rule and it needed to be followed.
After some time, I don't know if my body had started mimicking Mariabrice's, but my clitoris had swollen so much that it looked like a grotesquely oversized penis. (Not that I had never seen such penises in my life once or twice, but at each occurence I did think they were grotesquely oversized.) Actually it was a penis. It made me feel a great desire to penetrate Mariabrice whose eyes were begging me to do it. Man, it's hard to get totally rid of good old daddy's penetration-focused sexuality, but we resisted. There was more stroking, licking, grabbing, pressing, scratching to the blood, until Mariabrice performed with its last vulva some kind of hug-massage around my newly acquired grotesquely oversized penis but without penetration, more like using the labia as some kind of embracing arms. That was skilled. That specific move definitely ponders what I wrote earlier about Mariabrice's average skills. That did not qualify as average. Actually, that was the end of me. I came again, stronger, further, louder, and woke up from that dream next to Blob, who would scold me in the morning for having squirted again during the night, like most nights, for almost a year and a half, since the last time I had seen and kissed and hugged Mariabrice for the last time, before I decided to never see it again.
[Here it opens. I haven’t got the translation 100% right I don’t think, but I’ll check with B-dog (haha funny that it’s “dog” isn’t it) and get back to you]
He had been feeling like a wet sock for weeks by the time the small woman (of indeterminate height) entered the catacomb. Brandishing an axe, two ball-bearings and a pink catflap, dressed head-to-hoof in hot-pink Gucci pyjamas bedazzled with “beware the ides”, and sighing melancholically like they used to back in that time before you know where I lost my train of thought?
Anyway, he shook his hands violently, nearly crushing the small animal which he held close to his mottled chest. Visibly trembling in disbelief and shouting in what could have been Spanish, he drove home his challenge to the approaching pink incomer:
“You cathe bitch! You sunny blossom-coloured oochie-moochie wowza! Since when have you known? My best friend (my BEST friend) at the time was Johnny Ravenspotter. He was a big guy, you know, the kind you can really leeeeeeeean into, like a water-couch, plastic to the very core. He broke my nose in grade eight, and I never could sight-read, so we had to part ways. But the point is, HE was going to introduce me to you and he couldn’t before the funeral. [a note – the funeral was an archaic means of disposing of flesh post-vitam. It was discontinued shortly after the Great Revisiting but, crucially, before the coming of Ostreech, which we all know was more or less the catalyst for the whole damn thing] We wept for days. Marmalade sandwiches and mathcore was all that kept us company, but he hadn’t opened it yet. He hadn’t, so we couldn’t stay. Boy if I’d had a nickel for every big dicked mary who flounced through that chasm boy I’ll tell ya! Anyway, she didn’t flatten the curve well enough to make it out alive (egg-nog poisoning), and the Bloomsbury group was her main thesis topic. [it’s worth mentioning here that- ] DON’T YOU INTERRUPT ME!”
The cry rang out like a bad memory, shattering the eerie silence that had fallen over the watching crowd. Ms Gucci stepped gingerly from the carriage, unphased by the hullaballoo, and marched towards the decrepit figure, who now cowered like a lost lamp under the lambpost. As the eyes of the gathering throng rose to meet her, she removed her outer sunglasses, and spoke proudly as if all of Hur creation were listening:
“My name is Herbax Keflanigan, Godkeeper of broken hearts, Queen of the Scalple, Ringbearer of Instant Bliss, and Mother of the House of OOZE. You have taken my son, the princeess Brutus XI, heir proper to the dominion of Shrüm, Cupholder of the Cataclysm, and Manifestation of my deepest and most profound joy. For this you must die.”
The crowd gasped.
“What say you?”
You could have heard a flea blink. The Shadow, emboldened by the display of maternal aggression that Herbax had unleashed, rose to his full height, towering above the lambpost, the pink aggressor, and dwarfing the tiny grey bundle that mewed shrilly in his grotesque hand.
“Flanigan! Kerrrrrrrrrrrrflangipangie! Damn that moose-brained sonofa why-I-oughta! thinking of comin in here all ‘ooh look at me pink flaps and all’. Well lah-di-dah. Josephine was right [note – here it is important to emphasise again that it is, at present, unknown if Josephine and Bristophe are in fact the same entity] you should never have come!”
And with a flap of one enormous wing the colour of honey-baked ham, he flung himself at the pink figure in front of him. The universe, and all who sail in Hur, held its breath.
[Here the record runs out. It’s possible that more will turn up, but I haven’t had the chance to go through the rest of the archive – they keep running away, and I’ve lost my Holonet. In any case, I’ll do my best to recover as much as I can. Watch this space]
-----------------
The carousel (a memory)
I remember as a little boy, I can't remember which carousel it was, or where it was, but I remember staring at it with great desire. What were these oscillating unicorns and dolphins promising me, I can't remember either, or maybe I could not grasp it at that time already, but I remember I knew it'd be wonderful to ride one of these unicorns, or maybe one of the make-believe cars with a make-believe steering-wheel, yes!, of course, I needed to ride one of the make-believe cars, I needed to, the desire was too great to be ignored, I remember the excitement when I was granted the right to climb it, I had dreamt for so long (did I think "since forever" at that moment?) to ride such a make-believe car on such a carousel, I remember the great excitement indeed, and the feeling of fulfilment, I could probably compare this feeling of fulfilment to what might go through an apostle when kissed by Jesus, there was something divine, much too big indeed to be fully embraceable. Everything was finally making sense, this was what life was about, I was finally living in the present, I was the riding Bodhidharma, my body and my mind were a unique and whole thing now, and this unique and whole thing was pure ecstasy.
These feelings came back to me when you got naked, Max. You were the carousel and your penis was the make-believe car.
I remember vividly the light vertigo as the carousel started its motion and the make-believe car its vertical thrusting. It was immediately followed by immense disappointment. Was that all there was to it? The boredom, the annoying music and the even more annoying man's voice saying pretentious nonsense that was failing to be smart and funny, the make-believe steering wheel that did not react in any way to anything I was doing to it, that was it? This thing was revolving steadily, stubbornly, it did not matter if I was on it or not. I got embarrassed. I felt I was somehow a disturbance. And then, at some point, the carousel decided to stop without warning and the man's voice asked me to leave.
---
So we can conclude that, while at the episcopal level this might have raised eyebrows in some quarters, it was nevertheless actively practiced by all member-pairs throughout what could well be considered every major settlement in the region. I think the best illustration of the importance placed on this particular ritual activity, as distinguished from the familiar Ploughing-and-Reaping sequence prevalent in adjacent communities, can be found the following extract, taken from the opening of the Akylis manuscript (see Mlum and Mism, 2021a). The exact nuance of the text is at times obscure, but we can infer, at least in part from the naturalistic imagery, a bold association with rejuvenation, nourishment, and sensations of interpersonal connection rooted in the “muscles of speech”, which we must necessarily consider beyond metaphor. The extract is presented in translation from the original Mush, per the Donohovian method:
Without wanting to be heard I crawl out under the halogen and ask my god to be eaten. Having moved from the chamber of cleansing and cast off the cloak of concealment, I make unto the Altar. My face turns now into the deep, as the likeness of the cow comes upon me in anticipation of the laying of hands.
I have set pumice to my knees and smudged ash upon my brow in the shape of a collapsing star. I have sent word to the Mission of my absence, and bowed three times before the portrait of my father without breathing. I have sown milkweed and willowherb across my lower terraces. I have sunk a bloated animal into my depth, and I have taken only water without feasting for three days in preparation.
Only now might I invoke that Unity which arises in the Act; only now might I make vessel of my frame; only now might I be spoken into.
My chalice is soft. It is scented with chamomile. It is spread into offering as unto a ripening flower. It is an augury. It is mother’s milk. It indulges in reciprocity and commands to be opened by the muscles of speech.
I now entreat the ancient rite, as was practiced by my forebears in all corners under cloth. That which is called Ovation, by which sacred posture might the breath of divinity move within the flesh of M*n.
May my mind be stilled by the coming presence of that One by whom my holiness ascends to Rapture. May I be unhollowed by that unspoken Tongue known by the acolytes of H*m that moves in the dark places. May the –
Here the fragment frustratingly ends. I am in agreement with Dr. McPherson that it is worth referring to other contemporary accounts in order to piece together the final component of the ritual, lest we omit a crucial aspect in our understanding of the mystical psychophysical processes which seem to underlie much of the activity of the group.
I will now open the floor to any questions.
-----------------
[[BUT WAIT! I WANT TO ACCES MORE OF THE SAMPLES!!!->archive]]
<div class="bigtext">The Noisebringers’ Samples (found fragments as of the year 2021)</div>
<div class="placard">//Noisebringers, 24 Ad-Unkown
These are the last days of humankind. It has recorded billions and trillions of hours of music. But for its end credits, you choose [[Watching Paint Dry->wpd]].
These are the last days of humankind. It has written billions and trillions of pages. But in place of end credits, as a coda to the Noisebringers’s samples, you choose [[The Mariabrice Sitcker Album for->stickeralbum]].
These are the last days of humankind. It has made billions and trillions of images. But for its end credits, you choose to go back to where it all started, in the yarn vulvas of [[Self Portraits on a Theme of Her->herportraits]].
These are the last days of humankind. It has vinified billions and trillions of litters of grape. But for its end credits, you choose to drink a glass of [[Prosecco]].//</div>
</div><</if>>
<<if $prosecco is "4">><div class="upside-down">Finally it is the dusk of humankind. The world population peaked at 11 billion people a long time ago, then dropped dramatically to 3 billions within a handful of decades. The slow decrescendo you are now seeing the end of has been lasting for too long. The last Noisebringer died yesterday, which means that the Noisebringers’ Samples reached an end. You read an old notice from older, more hectic times:
//The Noisebringers’ Samples is a collection of continuous texts, part of the epic Noisebringers novel. It is thought to be (when finished) one of the longest co-authored improvised novels ever created: it is at least 200 times longer than the Mahabharata (in which, by the way, some of the characters are themselves proven former Noisebringers). The intensely unresearched book brazenly lays out the history of time, as collected over the centuries by Noisebringers and Noisebringer associates. A number of selections from the novel have been chosen by the omnipotent one and presented to you here.//
When this notice was written, it is said that dogs used to bring their masters their newspapers in their mouth. You smile at this idea as you whistle for your mammoth. Mammoths! No one seriously thought they’d become humans’ most faithful friends when they were brought back to life in a dodgy half-secret lab in Siberia, before any authorisation of any kind had been issued. They were hard to feed when the population was peaking, but soon enough, there was plenty of room and nature for anyone to possess a couple or more of those proud and fluffy animals. They became so familiar that in some poorly documented historical films, one can see a Amos Tutuola and a Zora Neale Hurston petting their mammoth respectively in Nigeria and in Alabama. You own a particularly small mammoth that you named Cooper. As you whistle at her, Cooper brings you the three hundred sixty million words of the Noisebringers’ samples, some of which you have read many times, and some of which were written yesterday. When this notice was written, only a few samples had been found and collected.
-----------
Transcript from re-mushing, given by Sister Hen brigid the limp and cathe of the order of the mushroom from our lady of mushroom 3rd re-invention after the time of Camille. Recordings of all re-mushings were thought to have been destroyed after the presumed first death of Camille. The full recording was edited and only the following decipherable section was collected by Herbax Keflanigan while he chartered the forgotten things in his arc of deserters after the peaceful handover of power.
It is unknown if Herbax doctored these recordings as she did in her infamous re-fictionalizing and subsequent movie franchise of the age old feud of two squabbling men, Bristophe and another unknown associate of our noble and loved guardians of gentle existence – the Noisebringers. Herbax famously conflated these documents to such an extent that they have since been pronounced dismissible in the university of Ledburg, much like Wikipedia once was in the back time.
Sister Hen brigid the limp and cathe:
Bless me mushroom for I have strayed, it been now bout 30 year since my last communication
Unknown:
Do not worry my child your heart has been within us and we have felt your contributions nevertheless. Tell me hyphe what labours have taken you so far away from your community? Tell me all and we shall mend the paths which have brought you so far from home.
So it all started round about 8th street, where I run into Camille - you see what I remember now about this is that when i ran into Camille on 8th street, this must have been oh i dont member bout 25 odd year back, what year is it now? She asked me if I could spot her. And I dont like spottin nobody but Camille didn ever ask nothing off nobody and I thought she was fine as hell. I was racking up gaup at the time with the family so it was no sweat of my bazzoties but I got the feelin, you know when you get that feelin? Like you stepped clear into some elses dimension, and suddenly everything was gonna go wack? So I got that feeling. Only other time I ever got that feelin was stepping off a train in Glasgow, but nothing ever came of that one, so im not sayin im physi-atric or nothing like that, but I just want you to know now, i got that feeling, and jeezo was that a damn warning from Mother Maria Nuestra Seńora de la provedencia may the power of the mushrooms alter the fate of mankind, blessed be thy fungi and may you rest in madness, ah woman.
Sister Hen brigid the limp and cathe:
Yes ancient one connected to all, child of mycelium, and gateway to time, I know this feeling well. What happened child, do not be afraid.
Unknown:
I cant know see, cuz after I spotted Camille that bit, it was like i was handed over ya ken? Went right off. After that exact moment. And found myself in wrong land. Write me like, I been off clock for time now, and only just found my way back. Lots has happened since then but what I know is last person I seen from here were Camille. And last thing she tolds me was that they were coming and that I had to choose sides soon. I know Camille like, she prettier than a dime bag left on a bench on a hot summer day, but she got that dark shit too. Full of sumit else you know? Like she drawn towards things that nobody drawn towards unless they like fancying themselves larger than they is. So I didn’t much mind Camille. She always sayin shit. But that’s it. All I members from then was that moment. Handing over to Camille, thinking I better act on this one day then. I was gone.
telling those who were foolish enough to ask that a key element was scale, mere scale. This of course was not in my mind when I came across the unusual obituary. Unusual because at this point, who was worth marking and for whom.
It seems that for a time during the period under discussion there emerged a new type of literary genre I’ve seen referred to as equinc achma and presented in the form of a business card book. He writes (perhaps in defence of his actions or lack of action) that it was developed because for some, a business card could not possibly fit all achievements to date, some like himself having had prenatal success, and were continuing to achieve at a rate that made reprinting of business cards tedious. The solution therefore was to make a sort of book-file to which one could attach additional pages as achievements were collected. The other novel part was not that it would be carried everywhere, it was that it would be visibly carried by everyone. The etiquette that emerged, when you came across a book was to not speak to its carrier until one had read their complete works. He recounts a entering a room full of his contemporaries and being struck by the ‘shpk’ sound of flipping pages occasionally interrupted by silence. These gatherings were regular, it appears and so successful and effective were equinc achma that faces became unnecessary.
He confesses that this success disappointed him quite a bit and out of envy or boredom or nostalgia inserted into another’s book-file a card reading “falsifier of achievements”. None at the gathering knew it was him and from the speculation grew the realisation that their system was flawed. He does not write anymore at this point, but I was able to get some pieces of a rule book which considering this record, was developed after the creation of the genre and this incident. It is unclear who the author(s) of the rulebook is, but I speculate that it was done collectively as the rules appear to cover general and specific occurrences. For example:
61-acheivments can only be added to, not taken off book-files. An achievement once achieved cannot be unachieved; such is not the nature of achievement.
173-the equinc achma book-file cannot be placed aside, neither to the left nor to the right. It may be placed above or below the face but never in front of it.
205-if one forgets their book-file, they must list their achievements by appropriate gestures but only after completing, in silence, the book-file of their cohort. These gestures must be sufficiently clear but without inclusion of the face and be in line with rules 17, 32-35, 40 and 99.
41. In the event that you are unable to complete reading your cohort’s book-file by the time they finish yours, this discourtesy to yourself and your cohort must be indicated by withdrawing from the reading.
1. All achievements are valid including the achievement of falsification of achievements.
Rules 2 to 30 cover matters of font size, paper thickness, paper colour and acceptable dimensions. What is fascinating is that around the time of the circulation of these rules the book-files begin to be worn around the waist, attached to band and the positioning indicates the influence of rule 173.
He returns a short while later, named in the obituary headed-“Death by Accomplishment”. I am disappointed that there are no more records of this time, or at least a surviving book-file. But I believe this was just before the period when it occurred to them to burn and bury all material that came from trees in a ritual that was said would spark a miraculous regrowth.
[INS]
are a series of recently translated verses (colloquially known as “the Twins” by speakers of high Mush) known to have been chanted by the Order. We had some input from that big woman, miss J (?), but she wasn’t very forthcoming with the exact nuance of some of the phrases. She’s been very evasive since those letters were uncovered in the archive. Anyway, from what we can tell, these were used excessively, at nearly every kind of occasion imaginable. We have concrete evidence of their usage at: daily and nightly cooking (woodland only); breastfeeding; calypso [citation needed]; spannering and wrenchwork; courtship and wooing; tailgating; blind-man’s buff [EDIT: improper use of “blind”]; and of course, MASS. Anyway, see my previous mail for further info, but I think we can work on the premise that these are as good as we’ll get. Hate the fact that the kitchen ran out of bread rolls yester-
[INS>END]
My lips are moistened by the soup of eternity
In tentacularity do I take my breathless form
My utterance is eternal as the clapid noise of the universe
In undulating folds of flesh do I cradle my braid
My bliss is a flesh-shaped inner tube of malice
In second sexlessness do I call forth my spawn
My bedazlements are varifold and plunging
In viscous puddles do I challenge men to die
Hark, the hood of the maiden is glowing!
Hark, the blinking and thrashing is come!
Hark, how the oozing of glibulence is open!
Hark, how the ancient singing is begun!
May the bladder of man be emptied
by the shE who commands the broth
[INS]
-nyway the strippers were neither here nor there, but should we let them get away with it? I’m starting to worry that these revolutionaries really mean business. With all the supermarkets closing, how will we buy stock? The market has been flooded recently, and cousin Johnny can only lend me his boat on Wednesdays so I’ve been forced to raid uncle Angela’s house for supplies [EDIT]. I have this sinking feeling that the Uprising might bring more harm than good. And it’s only been a minute since the last announcement of the changes. Did they give you a datapad? They say every house has to have one, and all the bicycles have to be registered on the resurrection platform or they’re gonna risk deportation. Only thing is Ginny didn’t have hers painted right and they took it right off the street into a van and she never heard anything else. Have you had a chance to-
[INS>END]
[#] Better begun, better be thine
Better be swim, better be glam
In phim and farm and piss and gork
Elsa Environment clads New York.
Ooh yeah yeah yeah (x5)
[And then my second favourite]
[#] When my baby come to town (yeah yeah yeah)
She gonna throw that system down (oi oi oi)
In a chasm of clim, with a fractal sheen
She gonna g-g-g-g-griddle on that Man Machine
Ooh can you see her (see her)
Comin’ along old ladle lane (she gotta ladle)
When it’s high time flibe or in a croomin blare (blare)
She gonna smack O’Mally with that Kremlin snare! (ba-da-da)
Sin-sister gonna (oi oi) carry my grave
Sin-sister gonna (oi oi) radel the flave (ooh yeah)
She g-g-g-g-grown up with a house on legs
And she WOAH (woah) she gonna
Smash them bots an then-a
Shingle in the Derry skate (ooh na na)
[# instrumental #]
When I cam down-
[INS]
forever, but Weston had that stupid hat on and it was really distracting. So, if we rehearse Tuesday night then we can use the big studio, but we have to watch out for the security drones because you saw what they did to Harry. It’s only a precaution, but if we wear the reflective masks then the trackers shouldn’t pick up our eye colour. I think if Maria were still here, she’d have told us “fuck em” and marched in there with instruments visible and everything, but I think we’re too close to the Warehouse for that. There’ll be too many of them to contend with if something goes wrong, and around the lockdown anniversary they send out even more. Did you get the chance to export the Clavichord engine? I think that will help us if it comes to projectiles, because Clavichords are heavy and with two of us to throw it it shouldn’t be a problem. I just can’t believe how much has changed in a year. Anyway, my 50% off all government produce came today and they say if I donate another 2 litres from my left arm I can split it with a friend so do you wa-
[INS>END]
Send me your tired, your weak, your mucosal linings and your fleas.
My mother is one who knows not of different bodies.
shE is the eternal, the one in whom the waters were collected,
before whom there was nothing and from whom all witches are descended.
The first son of the Ancient one was named “Exscblwelk” which translates roughly into the mononym “Brutus” if we parse it through the lithic vortex.
When he came clambering out of the shuddering will of Hur
in yelling, and yowling, and scrambling, and great laying and loafing and lumping,
shE did recognise his hunger and procured a great feast of all the beasts save those of the sea
(for shE did not enter the sea, nor from it draw water, nor flesh, nor fish, nor flim
as it was known to Hur that the fish and flesh and flim were wise and not to be taken)
yet noticing the pining in the eyes to Exscblewarkn (for thus was it also written)
shE took great pity and allowed a single fish to dance
on the plate of Hur Magnificence
and so it came to be that My Mother who is of all bodies and none
Commander of the universal spoon and spatula appreciation society
and recogniser of the potential for bagel shaped temporalities to exude the extra real, as opposed to just the regular real which we’re all quite familiar with
came to me and bid me
“EAT” for it is the flesh of fish which will strengthen the spirit of the Grey One
and thus it came to be that all the fish bowed down unto the plate of the Great Grey Yowler who comes in the night to claw at the door of eternity
He whose very essence commands convulsions of the moist cavities of the face
in whose warmth the evening lengthens into sleeping sculpture
in the figure of the shape of bread (not bagel, or baguette)
Henceforth all folk knew of the wonder of Exccascherbeb (for thus it was also written)
And shE, in Hur last act of musicking before the turning out of the light of the world, decreed:
Upon your death, my son, may your body become as unto a Diamond, that it may grace the hand of the Mother of Mushrooms forever, and may your descendientes carry many forms and shapes and be forever known by that name which you carry – the name to carry across the ages from now until the end of Tim.
And thus was it so.
And thus was it so.
And thus was it-
[INS]
Blimey! Brenda was a fucking nutcase! She only gone and choked the poor sod to death before the machines even had a chance to flange him! Crikey mikey what a fucking mess it was. All bits and bobs and bobbly bits all floating around in a pool like. Stank as well – like a rotten moose that’s out-thawed too quickly on the cascade. My eye, mice for lice! But if I’m gonna fucking go down townside any time soon I’ll fucking avoid her or I’ll end up terminator fodder. Bloomin mess it was. Even the robots wouldn’t have been able to yank his hair up over his tonsils like that. Crying shame it was. Crying shame. Black market’s open Cransday night – you wanna spend 3 credits for a new sex tank babe?
[INS>END>PERM]
But that is not why you are here,
Dear Bringer of Noise
Bringer of Noise
Bringer of Noise
And I write to tell you that I reflected on the invitation to serve as minister of poetry and economics. But you had caught me in the middle of a thought or rather, you joined me in the middle of a thought, and so I was obliged to carry you along with it, or maybe you were obliged to join me having found me as you did.
In honesty, I am still greatly angered by the interruption by this catastrophe of the plans to finally, because yes-it was about time they realised that this would happen, to finally turn Not, Worst, S’out Africa, and the other undetermined parts into Real Africa. There is only one thing that soothes me and even this is only momentary and never when I am alone. What soothes me, NoiseBringers, is that I can use the greeting mwapusukeni.
With such a greeting, I can claim that I was in the presence of Her Royal Chieftainess who in her royal benevolence addressed me this way. Though I had by that point a reasonable command of the language, this was the first time I was hearing the word and this manner of greeting was strange to me. Iluba later explained that it translates to “you have survived” and I was struck by how effectively one word could convey fact, celebration, lament, relief and regret.
The meeting was for those who were willing to return to their roots to see that Her Royal Chieftainess did not object to their desires to do so. Given that they were sufficiently desperate to and had at last admitted failure, they felt it necessary to seek her disapproval and approval; neither of which she gave. And a considerable portion of the meeting was spent determining the best way to physically restructure the geography and in a way that did not result in a visible defeat.
So, knowing what I know, I cannot compromise. Even for something as inconsequential as a title. Well, if we agree that it is inconsequential then you will allow-you must allow-you will have the generosity to accept, my rejection of it. In exchange I will make myself available as a ‘conversationalist’. A conversationalist of poetry and economics. This way I won’t feel so bitter when I greet others with mwapusukeni, and they return with a greeting that they are more familiar with.
With respect and admiration,
Afulodidim Nikefolosi.
---------------
Cathe (neuter) – (Brasgravian, KAY-TH:)
noun
1. (archaic) an outgrowth of serpentine natural protrusions, often found under logs in dense woodland
Ex. “Do you got any cathe, my beloved? We be needin’ for the chumpubit stew”
2. (Maria Brasgravian) An offering of sheep’s wool, blossom, and the forearm veins of slain enemies of state (common before the Coup D’État / FCU)
Ex. “Only by cathe can the three-headed one who dwells in the deepest chasms of the most mighty Womb be appeased”
3. (Henry Brasgravian) An undertaking of pilgrimage to an ancient shrine, particularly those located underground
Ex. “And if you don’t do cathe at least once, be sure to know there’s only one place you’ll end up, and it won’t be Real Africa that’s for sure!”
4. (Brice Brasgravian) A kind of night-blossom, growing outwards into the shape of a constellation
Ex. “She was radiant, shimmering in the moonlight like the brightest and most sinewy winter cathe”
ver.
1. (vulgar) to suck or blow as if mimicking the drinking of blood from a vein
Ex “They had been cathing their soup steadily for three hours by the time they noticed the double-bodied figure in the corner of the restaurant, glaring maliciously and scribbling notes in a dirty notepad, muttering under its breath ‘no good, not enough peoples for drinking’ “
2. (common) to bleat like a mountain goat during acts of ritual possession
Ex. “The cleric cathed wildly as the group nearest the door was rent asunder by the entrance of the hooded pink figure.”
adj.
1. (derogatory) pertaining to the collecting and ingesting of poisonous snakes
Ex. “He does look like a cathe one, that Johnny, with a right look of the badlands about him, almost like he’s never had seen a sweat-bench or francked a ballgown party. Terrible really.”
2. (complimentary) referring to long, tendrilous outgrowths from the torso or hands
Ex. “My sister has such a beautiful cathe figure, she always gets comments at the holiday cottages in French Speaking Switzerland ™”
3. (mystical) of substantial length disproportionate to perceived width
Ex. “Juliana observed the dangling object, rotating about a foot away from her face, with the awe that can only come from being naked in the presence of a truly cathe phenomenon”
adv.
1. (common) in trickster fashion, often referring to the poisoning of fruit.
Ex. “Quick! He killed grandma with an ice-cream scoop, and he sure done it cathe!”
2. (common) as if shedding a long skin with substantial effort
Ex. “She jumped up, and set about undressing cathe”
Editor’s note: usage of “cathe” is heavily restricted to Brasgravian and Brasgravian-adjacent communities, although recent online trends involving high-velocity bot-driven retro-inspired polyphonic folk-song performance have greatly boosted popularity of the once archaic term.
I couldn't remember what triggered it eventually. Mariabrice and I had been French-kissing every day and every evening for months now, there was a lot of hugging, a lot of desire, and, I dare say, a lot of love, but we had never crossed the line of close intimacy because Blob was waiting for me at home, probably watching more poorly-staged Lithuanian porn 'out of nostalgia' (I quote), and this thought was acting on me like Abel's eye watching me in the bedroom. I had always had lovers on the side while with Blob for reasons I'll make obvious in a few lines, but I was in love with Mariabrice, which made it a whole other story. I knew that diving into Mariabrice's flesh would mark the end of my relationship with Blob, something I was not ready for. So, what had happened this time? The precise moment when Mariabrice and I had ended up naked from the waste down on its bed had totally escaped us, the same way our first hand laying on each other's thigh (on a train back from Deighton, please don't ask why) had escaped us months ago, and just a bit later the first kiss, with Mariabrice's palm on the back of my neck and its fingers sneaking under my wooly hat (the one I wear after I wash my hair).
'Let's play a game: no penetration whatsoever. Just all the rest.' I had wanted try that for years, and I had been thinking for a while Mariabrice would be the right candidate for this little experiment. While at the same time thinking I should never have sex with it. I lived with my contradictions. I hardly ever had sex with Blob during our almost two years of relationship — including a year and a half living together — and my other lovers had never seemed to be ready to experiment anything else than good old daddy's penetration-focused sexual intercourses. I don't know why I assumed it'd be different with Mariabrice, but I was right. Mariabrice was an improviser, it was an experimentalist, it was generous, it listened to my words and I knew it'd listen to my body. Also, I had never had sex with an entity before. I did not know what to expect on a practical level before we got half naked in this bed. Now, I know it would have been impossible to expect this. It's hard to explain to people who've never been with an entity. Mariabrice had a set of hermaphrodite genitalia near the crotch, and boobs on the chest, but it wasn't so straight (no pun intended) forward. Its gender fluidity was continuous. Its body shape, its skin texture, even its pubic hairs were constantly changing, depending where I would stroke, grab and lick. I thought for a second 'it's like being in bed with Mystique from the X-Men, just in real life and less blue'. Also, there's a possibility that if I had scratched and pinched Mystique equally hard, she might have chopped my head off, while Mariabrice was painfully enjoying it.
Anyway, that evening was not a good one for Mariabrice's housemates. There was a lot of loud coming for a very long moment. My favourite part was probably when I was just pressing my clitoris against Mariabrice's thigh and it was changing the texture of its skin and the size of its quadriceps, not only by contracting and releasing the muscle, no, but more by literally changing its size from 'tiny woman that men upsettingly find cute in their jumpers' to 'Dwayne Johnson except with great hair'. Mariabrice was moaning like it was coming endlessly as I was hardly brushing its genitals with the tip of my fingers, while I was singing some of the songs I had been collecting for years at the top of my voice every time I was coming, which probably shocked greatly some of the aforementioned housemates who were familiar with my album of whispered traditional songs. Do not get me wrong, though, Mariabrice was no sex god, or even particularly skilled in any way. I was just releasing months of sexual tension by helping myself with whatever part of its body I felt like having a bit of fun with. I've always considered that coming needed some work, at least for me. I had become quite good at this particular work and Mariabrice just happened to be a good collaborator I happened to be in love with. And, well, it was hot. (Did I mention Mariabrice's pronoun is 'it'? It's a bit confusing at times. It's because it's an entity. I probably should have written this in some kind of introduction.) It was hot, it was beautiful, it was funny, it was angry, it was radical, I wanted it in me so hard but I had set the rule and it needed to be followed.
After some time, I don't know if my body had started mimicking Mariabrice's, but my clitoris had swollen so much that it looked like a grotesquely oversized penis. (Not that I had never seen such penises in my life once or twice, but at each occurence I did think they were grotesquely oversized.) Actually it was a penis. It made me feel a great desire to penetrate Mariabrice whose eyes were begging me to do it. Man, it's hard to get totally rid of good old daddy's penetration-focused sexuality, but we resisted. There was more stroking, licking, grabbing, pressing, scratching to the blood, until Mariabrice performed with its last vulva some kind of hug-massage around my newly acquired grotesquely oversized penis but without penetration, more like using the labia as some kind of embracing arms. That was skilled. That specific move definitely ponders what I wrote earlier about Mariabrice's average skills. That did not qualify as average. Actually, that was the end of me. I came again, stronger, further, louder, and woke up from that dream next to Blob, who would scold me in the morning for having squirted again during the night, like most nights, for almost a year and a half, since the last time I had seen and kissed and hugged Mariabrice for the last time, before I decided to never see it again.
[Here it opens. I haven’t got the translation 100% right I don’t think, but I’ll check with B-dog (haha funny that it’s “dog” isn’t it) and get back to you]
He had been feeling like a wet sock for weeks by the time the small woman (of indeterminate height) entered the catacomb. Brandishing an axe, two ball-bearings and a pink catflap, dressed head-to-hoof in hot-pink Gucci pyjamas bedazzled with “beware the ides”, and sighing melancholically like they used to back in that time before you know where I lost my train of thought?
Anyway, he shook his hands violently, nearly crushing the small animal which he held close to his mottled chest. Visibly trembling in disbelief and shouting in what could have been Spanish, he drove home his challenge to the approaching pink incomer:
“You cathe bitch! You sunny blossom-coloured oochie-moochie wowza! Since when have you known? My best friend (my BEST friend) at the time was Johnny Ravenspotter. He was a big guy, you know, the kind you can really leeeeeeeean into, like a water-couch, plastic to the very core. He broke my nose in grade eight, and I never could sight-read, so we had to part ways. But the point is, HE was going to introduce me to you and he couldn’t before the funeral. [a note – the funeral was an archaic means of disposing of flesh post-vitam. It was discontinued shortly after the Great Revisiting but, crucially, before the coming of Ostreech, which we all know was more or less the catalyst for the whole damn thing] We wept for days. Marmalade sandwiches and mathcore was all that kept us company, but he hadn’t opened it yet. He hadn’t, so we couldn’t stay. Boy if I’d had a nickel for every big dicked mary who flounced through that chasm boy I’ll tell ya! Anyway, she didn’t flatten the curve well enough to make it out alive (egg-nog poisoning), and the Bloomsbury group was her main thesis topic. [it’s worth mentioning here that- ] DON’T YOU INTERRUPT ME!”
The cry rang out like a bad memory, shattering the eerie silence that had fallen over the watching crowd. Ms Gucci stepped gingerly from the carriage, unphased by the hullaballoo, and marched towards the decrepit figure, who now cowered like a lost lamp under the lambpost. As the eyes of the gathering throng rose to meet her, she removed her outer sunglasses, and spoke proudly as if all of Hur creation were listening:
“My name is Herbax Keflanigan, Godkeeper of broken hearts, Queen of the Scalple, Ringbearer of Instant Bliss, and Mother of the House of OOZE. You have taken my son, the princeess Brutus XI, heir proper to the dominion of Shrüm, Cupholder of the Cataclysm, and Manifestation of my deepest and most profound joy. For this you must die.”
The crowd gasped.
“What say you?”
You could have heard a flea blink. The Shadow, emboldened by the display of maternal aggression that Herbax had unleashed, rose to his full height, towering above the lambpost, the pink aggressor, and dwarfing the tiny grey bundle that mewed shrilly in his grotesque hand.
“Flanigan! Kerrrrrrrrrrrrflangipangie! Damn that moose-brained sonofa why-I-oughta! thinking of comin in here all ‘ooh look at me pink flaps and all’. Well lah-di-dah. Josephine was right [note – here it is important to emphasise again that it is, at present, unknown if Josephine and Bristophe are in fact the same entity] you should never have come!”
And with a flap of one enormous wing the colour of honey-baked ham, he flung himself at the pink figure in front of him. The universe, and all who sail in Hur, held its breath.
[Here the record runs out. It’s possible that more will turn up, but I haven’t had the chance to go through the rest of the archive – they keep running away, and I’ve lost my Holonet. In any case, I’ll do my best to recover as much as I can. Watch this space]
-----------------
The carousel (a memory)
I remember as a little boy, I can't remember which carousel it was, or where it was, but I remember staring at it with great desire. What were these oscillating unicorns and dolphins promising me, I can't remember either, or maybe I could not grasp it at that time already, but I remember I knew it'd be wonderful to ride one of these unicorns, or maybe one of the make-believe cars with a make-believe steering-wheel, yes!, of course, I needed to ride one of the make-believe cars, I needed to, the desire was too great to be ignored, I remember the excitement when I was granted the right to climb it, I had dreamt for so long (did I think "since forever" at that moment?) to ride such a make-believe car on such a carousel, I remember the great excitement indeed, and the feeling of fulfilment, I could probably compare this feeling of fulfilment to what might go through an apostle when kissed by Jesus, there was something divine, much too big indeed to be fully embraceable. Everything was finally making sense, this was what life was about, I was finally living in the present, I was the riding Bodhidharma, my body and my mind were a unique and whole thing now, and this unique and whole thing was pure ecstasy.
These feelings came back to me when you got naked, Max. You were the carousel and your penis was the make-believe car.
I remember vividly the light vertigo as the carousel started its motion and the make-believe car its vertical thrusting. It was immediately followed by immense disappointment. Was that all there was to it? The boredom, the annoying music and the even more annoying man's voice saying pretentious nonsense that was failing to be smart and funny, the make-believe steering wheel that did not react in any way to anything I was doing to it, that was it? This thing was revolving steadily, stubbornly, it did not matter if I was on it or not. I got embarrassed. I felt I was somehow a disturbance. And then, at some point, the carousel decided to stop without warning and the man's voice asked me to leave.
---
So we can conclude that, while at the episcopal level this might have raised eyebrows in some quarters, it was nevertheless actively practiced by all member-pairs throughout what could well be considered every major settlement in the region. I think the best illustration of the importance placed on this particular ritual activity, as distinguished from the familiar Ploughing-and-Reaping sequence prevalent in adjacent communities, can be found the following extract, taken from the opening of the Akylis manuscript (see Mlum and Mism, 2021a). The exact nuance of the text is at times obscure, but we can infer, at least in part from the naturalistic imagery, a bold association with rejuvenation, nourishment, and sensations of interpersonal connection rooted in the “muscles of speech”, which we must necessarily consider beyond metaphor. The extract is presented in translation from the original Mush, per the Donohovian method:
Without wanting to be heard I crawl out under the halogen and ask my god to be eaten. Having moved from the chamber of cleansing and cast off the cloak of concealment, I make unto the Altar. My face turns now into the deep, as the likeness of the cow comes upon me in anticipation of the laying of hands.
I have set pumice to my knees and smudged ash upon my brow in the shape of a collapsing star. I have sent word to the Mission of my absence, and bowed three times before the portrait of my father without breathing. I have sown milkweed and willowherb across my lower terraces. I have sunk a bloated animal into my depth, and I have taken only water without feasting for three days in preparation.
Only now might I invoke that Unity which arises in the Act; only now might I make vessel of my frame; only now might I be spoken into.
My chalice is soft. It is scented with chamomile. It is spread into offering as unto a ripening flower. It is an augury. It is mother’s milk. It indulges in reciprocity and commands to be opened by the muscles of speech.
I now entreat the ancient rite, as was practiced by my forebears in all corners under cloth. That which is called Ovation, by which sacred posture might the breath of divinity move within the flesh of M*n.
May my mind be stilled by the coming presence of that One by whom my holiness ascends to Rapture. May I be unhollowed by that unspoken Tongue known by the acolytes of H*m that moves in the dark places. May the –
Here the fragment frustratingly ends. I am in agreement with Dr. McPherson that it is worth referring to other contemporary accounts in order to piece together the final component of the ritual, lest we omit a crucial aspect in our understanding of the mystical psychophysical processes which seem to underlie much of the activity of the group.
I will now open the floor to any questions.
-----------------
[[BUT WAIT! I WANT TO ACCES MORE OF THE SAMPLES!!!->archive]]
<div class="bigtext">The Noisebringers’ Samples (found fragments as of the year 2021)</div>
<div class="placard">//Noisebringers, 24 Ad-Unkown
These are the last days of humankind. It has recorded billions and trillions of hours of music. But for its end credits, you choose [[Watching Paint Dry->wpd]].
These are the last days of humankind. It has written billions and trillions of pages. But in place of end credits, as a coda to the Noisebringers’s samples, you choose [[The Mariabrice Sitcker Album for->stickeralbum]].
These are the last days of humankind. It has made billions and trillions of images. But for its end credits, you choose to go back to where it all started, in the yarn vulvas of [[Self Portraits on a Theme of Her->herportraits]].
These are the last days of humankind. It has vinified billions and trillions of litters of grape. But for its end credits, you choose to drink a glass of [[Prosecco]].//</div>
</div><</if>>
<<if $prosecco is "5">>Finally it is the dusk of humankind. The world population peaked at 11 billion people a long time ago, then dropped dramatically to 3 billions within a handful of decades. The slow decrescendo you are now seeing the end of has been lasting for too long. The last Noisebringer died yesterday, which means that the Noisebringers’ Samples reached an end. You read an old notice from older, more hectic times:
//The Noisebringers’ Samples is a collection of continuous texts, part of the epic Noisebringers novel. It is thought to be (when finished) one of the longest co-authored improvised novels ever created: it is at least 200 times longer than the Mahabharata (in which, by the way, some of the characters are themselves proven former Noisebringers). The intensely unresearched book brazenly lays out the history of time, as collected over the centuries by Noisebringers and Noisebringer associates. A number of selections from the novel have been chosen by the omnipotent one and presented to you here.//
When this notice was written, it is said that dogs used to bring their masters their newspapers in their mouth. You smile at this idea as you whistle for your mammoth. Mammoths! No one seriously thought they’d become humans’ most faithful friends when they were brought back to life in a dodgy half-secret lab in Siberia, before any authorisation of any kind had been issued. They were hard to feed when the population was peaking, but soon enough, there was plenty of room and nature for anyone to possess a couple or more of those proud and fluffy animals. They became so familiar that in some poorly documented historical films, one can see a Amos Tutuola and a Zora Neale Hurston petting their mammoth respectively in Nigeria and in Alabama. You own a particularly small mammoth that you named Cooper. As you whistle at her, Cooper brings you the three hundred sixty million words of the Noisebringers’ samples, some of which you have read many times, and some of which were written yesterday. When this notice was written, only a few samples had been found and collected.
-----------
Transcript from re-mushing, given by Sister Hen brigid the limp and cathe of the order of the mushroom from our lady of mushroom 3rd re-invention after the time of Camille. Recordings of all re-mushings were thought to have been destroyed after the presumed first death of Camille. The full recording was edited and only the following decipherable section was collected by Herbax Keflanigan while he chartered the forgotten things in his arc of deserters after the peaceful handover of power.
It is unknown if Herbax doctored these recordings as she did in her infamous re-fictionalizing and subsequent movie franchise of the age old feud of two squabbling men, Bristophe and another unknown associate of our noble and loved guardians of gentle existence – the Noisebringers. Herbax famously conflated these documents to such an extent that they have since been pronounced dismissible in the university of Ledburg, much like Wikipedia once was in the back time.
Sister Hen brigid the limp and cathe:
Bless me mushroom for I have strayed, it been now bout 30 year since my last communication
Unknown:
Do not worry my child your heart has been within us and we have felt your contributions nevertheless. Tell me hyphe what labours have taken you so far away from your community? Tell me all and we shall mend the paths which have brought you so far from home.
So it all started round about 8th street, where I run into Camille - you see what I remember now about this is that when i ran into Camille on 8th street, this must have been oh i dont member bout 25 odd year back, what year is it now? She asked me if I could spot her. And I dont like spottin nobody but Camille didn ever ask nothing off nobody and I thought she was fine as hell. I was racking up gaup at the time with the family so it was no sweat of my bazzoties but I got the feelin, you know when you get that feelin? Like you stepped clear into some elses dimension, and suddenly everything was gonna go wack? So I got that feeling. Only other time I ever got that feelin was stepping off a train in Glasgow, but nothing ever came of that one, so im not sayin im physi-atric or nothing like that, but I just want you to know now, i got that feeling, and jeezo was that a damn warning from Mother Maria Nuestra Seńora de la provedencia may the power of the mushrooms alter the fate of mankind, blessed be thy fungi and may you rest in madness, ah woman.
Sister Hen brigid the limp and cathe:
Yes ancient one connected to all, child of mycelium, and gateway to time, I know this feeling well. What happened child, do not be afraid.
Unknown:
I cant know see, cuz after I spotted Camille that bit, it was like i was handed over ya ken? Went right off. After that exact moment. And found myself in wrong land. Write me like, I been off clock for time now, and only just found my way back. Lots has happened since then but what I know is last person I seen from here were Camille. And last thing she tolds me was that they were coming and that I had to choose sides soon. I know Camille like, she prettier than a dime bag left on a bench on a hot summer day, but she got that dark shit too. Full of sumit else you know? Like she drawn towards things that nobody drawn towards unless they like fancying themselves larger than they is. So I didn’t much mind Camille. She always sayin shit. But that’s it. All I members from then was that moment. Handing over to Camille, thinking I better act on this one day then. I was gone.
telling those who were foolish enough to ask that a key element was scale, mere scale. This of course was not in my mind when I came across the unusual obituary. Unusual because at this point, who was worth marking and for whom.
It seems that for a time during the period under discussion there emerged a new type of literary genre I’ve seen referred to as equinc achma and presented in the form of a business card book. He writes (perhaps in defence of his actions or lack of action) that it was developed because for some, a business card could not possibly fit all achievements to date, some like himself having had prenatal success, and were continuing to achieve at a rate that made reprinting of business cards tedious. The solution therefore was to make a sort of book-file to which one could attach additional pages as achievements were collected. The other novel part was not that it would be carried everywhere, it was that it would be visibly carried by everyone. The etiquette that emerged, when you came across a book was to not speak to its carrier until one had read their complete works. He recounts a entering a room full of his contemporaries and being struck by the ‘shpk’ sound of flipping pages occasionally interrupted by silence. These gatherings were regular, it appears and so successful and effective were equinc achma that faces became unnecessary.
He confesses that this success disappointed him quite a bit and out of envy or boredom or nostalgia inserted into another’s book-file a card reading “falsifier of achievements”. None at the gathering knew it was him and from the speculation grew the realisation that their system was flawed. He does not write anymore at this point, but I was able to get some pieces of a rule book which considering this record, was developed after the creation of the genre and this incident. It is unclear who the author(s) of the rulebook is, but I speculate that it was done collectively as the rules appear to cover general and specific occurrences. For example:
61-acheivments can only be added to, not taken off book-files. An achievement once achieved cannot be unachieved; such is not the nature of achievement.
173-the equinc achma book-file cannot be placed aside, neither to the left nor to the right. It may be placed above or below the face but never in front of it.
205-if one forgets their book-file, they must list their achievements by appropriate gestures but only after completing, in silence, the book-file of their cohort. These gestures must be sufficiently clear but without inclusion of the face and be in line with rules 17, 32-35, 40 and 99.
41. In the event that you are unable to complete reading your cohort’s book-file by the time they finish yours, this discourtesy to yourself and your cohort must be indicated by withdrawing from the reading.
1. All achievements are valid including the achievement of falsification of achievements.
Rules 2 to 30 cover matters of font size, paper thickness, paper colour and acceptable dimensions. What is fascinating is that around the time of the circulation of these rules the book-files begin to be worn around the waist, attached to band and the positioning indicates the influence of rule 173.
He returns a short while later, named in the obituary headed-“Death by Accomplishment”. I am disappointed that there are no more records of this time, or at least a surviving book-file. But I believe this was just before the period when it occurred to them to burn and bury all material that came from trees in a ritual that was said would spark a miraculous regrowth.
[INS]
are a series of recently translated verses (colloquially known as “the Twins” by speakers of high Mush) known to have been chanted by the Order. We had some input from that big woman, miss J (?), but she wasn’t very forthcoming with the exact nuance of some of the phrases. She’s been very evasive since those letters were uncovered in the archive. Anyway, from what we can tell, these were used excessively, at nearly every kind of occasion imaginable. We have concrete evidence of their usage at: daily and nightly cooking (woodland only); breastfeeding; calypso [citation needed]; spannering and wrenchwork; courtship and wooing; tailgating; blind-man’s buff [EDIT: improper use of “blind”]; and of course, MASS. Anyway, see my previous mail for further info, but I think we can work on the premise that these are as good as we’ll get. Hate the fact that the kitchen ran out of bread rolls yester-
[INS>END]
My lips are moistened by the soup of eternity
In tentacularity do I take my breathless form
My utterance is eternal as the clapid noise of the universe
In undulating folds of flesh do I cradle my braid
My bliss is a flesh-shaped inner tube of malice
In second sexlessness do I call forth my spawn
My bedazlements are varifold and plunging
In viscous puddles do I challenge men to die
Hark, the hood of the maiden is glowing!
Hark, the blinking and thrashing is come!
Hark, how the oozing of glibulence is open!
Hark, how the ancient singing is begun!
May the bladder of man be emptied
by the shE who commands the broth
[INS]
-nyway the strippers were neither here nor there, but should we let them get away with it? I’m starting to worry that these revolutionaries really mean business. With all the supermarkets closing, how will we buy stock? The market has been flooded recently, and cousin Johnny can only lend me his boat on Wednesdays so I’ve been forced to raid uncle Angela’s house for supplies [EDIT]. I have this sinking feeling that the Uprising might bring more harm than good. And it’s only been a minute since the last announcement of the changes. Did they give you a datapad? They say every house has to have one, and all the bicycles have to be registered on the resurrection platform or they’re gonna risk deportation. Only thing is Ginny didn’t have hers painted right and they took it right off the street into a van and she never heard anything else. Have you had a chance to-
[INS>END]
[#] Better begun, better be thine
Better be swim, better be glam
In phim and farm and piss and gork
Elsa Environment clads New York.
Ooh yeah yeah yeah (x5)
[And then my second favourite]
[#] When my baby come to town (yeah yeah yeah)
She gonna throw that system down (oi oi oi)
In a chasm of clim, with a fractal sheen
She gonna g-g-g-g-griddle on that Man Machine
Ooh can you see her (see her)
Comin’ along old ladle lane (she gotta ladle)
When it’s high time flibe or in a croomin blare (blare)
She gonna smack O’Mally with that Kremlin snare! (ba-da-da)
Sin-sister gonna (oi oi) carry my grave
Sin-sister gonna (oi oi) radel the flave (ooh yeah)
She g-g-g-g-grown up with a house on legs
And she WOAH (woah) she gonna
Smash them bots an then-a
Shingle in the Derry skate (ooh na na)
[# instrumental #]
When I cam down-
[INS]
forever, but Weston had that stupid hat on and it was really distracting. So, if we rehearse Tuesday night then we can use the big studio, but we have to watch out for the security drones because you saw what they did to Harry. It’s only a precaution, but if we wear the reflective masks then the trackers shouldn’t pick up our eye colour. I think if Maria were still here, she’d have told us “fuck em” and marched in there with instruments visible and everything, but I think we’re too close to the Warehouse for that. There’ll be too many of them to contend with if something goes wrong, and around the lockdown anniversary they send out even more. Did you get the chance to export the Clavichord engine? I think that will help us if it comes to projectiles, because Clavichords are heavy and with two of us to throw it it shouldn’t be a problem. I just can’t believe how much has changed in a year. Anyway, my 50% off all government produce came today and they say if I donate another 2 litres from my left arm I can split it with a friend so do you wa-
[INS>END]
Send me your tired, your weak, your mucosal linings and your fleas.
My mother is one who knows not of different bodies.
shE is the eternal, the one in whom the waters were collected,
before whom there was nothing and from whom all witches are descended.
The first son of the Ancient one was named “Exscblwelk” which translates roughly into the mononym “Brutus” if we parse it through the lithic vortex.
When he came clambering out of the shuddering will of Hur
in yelling, and yowling, and scrambling, and great laying and loafing and lumping,
shE did recognise his hunger and procured a great feast of all the beasts save those of the sea
(for shE did not enter the sea, nor from it draw water, nor flesh, nor fish, nor flim
as it was known to Hur that the fish and flesh and flim were wise and not to be taken)
yet noticing the pining in the eyes to Exscblewarkn (for thus was it also written)
shE took great pity and allowed a single fish to dance
on the plate of Hur Magnificence
and so it came to be that My Mother who is of all bodies and none
Commander of the universal spoon and spatula appreciation society
and recogniser of the potential for bagel shaped temporalities to exude the extra real, as opposed to just the regular real which we’re all quite familiar with
came to me and bid me
“EAT” for it is the flesh of fish which will strengthen the spirit of the Grey One
and thus it came to be that all the fish bowed down unto the plate of the Great Grey Yowler who comes in the night to claw at the door of eternity
He whose very essence commands convulsions of the moist cavities of the face
in whose warmth the evening lengthens into sleeping sculpture
in the figure of the shape of bread (not bagel, or baguette)
Henceforth all folk knew of the wonder of Exccascherbeb (for thus it was also written)
And shE, in Hur last act of musicking before the turning out of the light of the world, decreed:
Upon your death, my son, may your body become as unto a Diamond, that it may grace the hand of the Mother of Mushrooms forever, and may your descendientes carry many forms and shapes and be forever known by that name which you carry – the name to carry across the ages from now until the end of Tim.
And thus was it so.
And thus was it so.
And thus was it-
[INS]
Blimey! Brenda was a fucking nutcase! She only gone and choked the poor sod to death before the machines even had a chance to flange him! Crikey mikey what a fucking mess it was. All bits and bobs and bobbly bits all floating around in a pool like. Stank as well – like a rotten moose that’s out-thawed too quickly on the cascade. My eye, mice for lice! But if I’m gonna fucking go down townside any time soon I’ll fucking avoid her or I’ll end up terminator fodder. Bloomin mess it was. Even the robots wouldn’t have been able to yank his hair up over his tonsils like that. Crying shame it was. Crying shame. Black market’s open Cransday night – you wanna spend 3 credits for a new sex tank babe?
[INS>END>PERM]
But that is not why you are here,
Dear Bringer of Noise
Bringer of Noise
Bringer of Noise
And I write to tell you that I reflected on the invitation to serve as minister of poetry and economics. But you had caught me in the middle of a thought or rather, you joined me in the middle of a thought, and so I was obliged to carry you along with it, or maybe you were obliged to join me having found me as you did.
In honesty, I am still greatly angered by the interruption by this catastrophe of the plans to finally, because yes-it was about time they realised that this would happen, to finally turn Not, Worst, S’out Africa, and the other undetermined parts into Real Africa. There is only one thing that soothes me and even this is only momentary and never when I am alone. What soothes me, NoiseBringers, is that I can use the greeting mwapusukeni.
With such a greeting, I can claim that I was in the presence of Her Royal Chieftainess who in her royal benevolence addressed me this way. Though I had by that point a reasonable command of the language, this was the first time I was hearing the word and this manner of greeting was strange to me. Iluba later explained that it translates to “you have survived” and I was struck by how effectively one word could convey fact, celebration, lament, relief and regret.
The meeting was for those who were willing to return to their roots to see that Her Royal Chieftainess did not object to their desires to do so. Given that they were sufficiently desperate to and had at last admitted failure, they felt it necessary to seek her disapproval and approval; neither of which she gave. And a considerable portion of the meeting was spent determining the best way to physically restructure the geography and in a way that did not result in a visible defeat.
So, knowing what I know, I cannot compromise. Even for something as inconsequential as a title. Well, if we agree that it is inconsequential then you will allow-you must allow-you will have the generosity to accept, my rejection of it. In exchange I will make myself available as a ‘conversationalist’. A conversationalist of poetry and economics. This way I won’t feel so bitter when I greet others with mwapusukeni, and they return with a greeting that they are more familiar with.
With respect and admiration,
Afulodidim Nikefolosi.
---------------
Cathe (neuter) – (Brasgravian, KAY-TH:)
noun
1. (archaic) an outgrowth of serpentine natural protrusions, often found under logs in dense woodland
Ex. “Do you got any cathe, my beloved? We be needin’ for the chumpubit stew”
2. (Maria Brasgravian) An offering of sheep’s wool, blossom, and the forearm veins of slain enemies of state (common before the Coup D’État / FCU)
Ex. “Only by cathe can the three-headed one who dwells in the deepest chasms of the most mighty Womb be appeased”
3. (Henry Brasgravian) An undertaking of pilgrimage to an ancient shrine, particularly those located underground
Ex. “And if you don’t do cathe at least once, be sure to know there’s only one place you’ll end up, and it won’t be Real Africa that’s for sure!”
4. (Brice Brasgravian) A kind of night-blossom, growing outwards into the shape of a constellation
Ex. “She was radiant, shimmering in the moonlight like the brightest and most sinewy winter cathe”
ver.
1. (vulgar) to suck or blow as if mimicking the drinking of blood from a vein
Ex “They had been cathing their soup steadily for three hours by the time they noticed the double-bodied figure in the corner of the restaurant, glaring maliciously and scribbling notes in a dirty notepad, muttering under its breath ‘no good, not enough peoples for drinking’ “
2. (common) to bleat like a mountain goat during acts of ritual possession
Ex. “The cleric cathed wildly as the group nearest the door was rent asunder by the entrance of the hooded pink figure.”
adj.
1. (derogatory) pertaining to the collecting and ingesting of poisonous snakes
Ex. “He does look like a cathe one, that Johnny, with a right look of the badlands about him, almost like he’s never had seen a sweat-bench or francked a ballgown party. Terrible really.”
2. (complimentary) referring to long, tendrilous outgrowths from the torso or hands
Ex. “My sister has such a beautiful cathe figure, she always gets comments at the holiday cottages in French Speaking Switzerland ™”
3. (mystical) of substantial length disproportionate to perceived width
Ex. “Juliana observed the dangling object, rotating about a foot away from her face, with the awe that can only come from being naked in the presence of a truly cathe phenomenon”
adv.
1. (common) in trickster fashion, often referring to the poisoning of fruit.
Ex. “Quick! He killed grandma with an ice-cream scoop, and he sure done it cathe!”
2. (common) as if shedding a long skin with substantial effort
Ex. “She jumped up, and set about undressing cathe”
Editor’s note: usage of “cathe” is heavily restricted to Brasgravian and Brasgravian-adjacent communities, although recent online trends involving high-velocity bot-driven retro-inspired polyphonic folk-song performance have greatly boosted popularity of the once archaic term.
I couldn't remember what triggered it eventually. Mariabrice and I had been French-kissing every day and every evening for months now, there was a lot of hugging, a lot of desire, and, I dare say, a lot of love, but we had never crossed the line of close intimacy because Blob was waiting for me at home, probably watching more poorly-staged Lithuanian porn 'out of nostalgia' (I quote), and this thought was acting on me like Abel's eye watching me in the bedroom. I had always had lovers on the side while with Blob for reasons I'll make obvious in a few lines, but I was in love with Mariabrice, which made it a whole other story. I knew that diving into Mariabrice's flesh would mark the end of my relationship with Blob, something I was not ready for. So, what had happened this time? The precise moment when Mariabrice and I had ended up naked from the waste down on its bed had totally escaped us, the same way our first hand laying on each other's thigh (on a train back from Deighton, please don't ask why) had escaped us months ago, and just a bit later the first kiss, with Mariabrice's palm on the back of my neck and its fingers sneaking under my wooly hat (the one I wear after I wash my hair).
'Let's play a game: no penetration whatsoever. Just all the rest.' I had wanted try that for years, and I had been thinking for a while Mariabrice would be the right candidate for this little experiment. While at the same time thinking I should never have sex with it. I lived with my contradictions. I hardly ever had sex with Blob during our almost two years of relationship — including a year and a half living together — and my other lovers had never seemed to be ready to experiment anything else than good old daddy's penetration-focused sexual intercourses. I don't know why I assumed it'd be different with Mariabrice, but I was right. Mariabrice was an improviser, it was an experimentalist, it was generous, it listened to my words and I knew it'd listen to my body. Also, I had never had sex with an entity before. I did not know what to expect on a practical level before we got half naked in this bed. Now, I know it would have been impossible to expect this. It's hard to explain to people who've never been with an entity. Mariabrice had a set of hermaphrodite genitalia near the crotch, and boobs on the chest, but it wasn't so straight (no pun intended) forward. Its gender fluidity was continuous. Its body shape, its skin texture, even its pubic hairs were constantly changing, depending where I would stroke, grab and lick. I thought for a second 'it's like being in bed with Mystique from the X-Men, just in real life and less blue'. Also, there's a possibility that if I had scratched and pinched Mystique equally hard, she might have chopped my head off, while Mariabrice was painfully enjoying it.
Anyway, that evening was not a good one for Mariabrice's housemates. There was a lot of loud coming for a very long moment. My favourite part was probably when I was just pressing my clitoris against Mariabrice's thigh and it was changing the texture of its skin and the size of its quadriceps, not only by contracting and releasing the muscle, no, but more by literally changing its size from 'tiny woman that men upsettingly find cute in their jumpers' to 'Dwayne Johnson except with great hair'. Mariabrice was moaning like it was coming endlessly as I was hardly brushing its genitals with the tip of my fingers, while I was singing some of the songs I had been collecting for years at the top of my voice every time I was coming, which probably shocked greatly some of the aforementioned housemates who were familiar with my album of whispered traditional songs. Do not get me wrong, though, Mariabrice was no sex god, or even particularly skilled in any way. I was just releasing months of sexual tension by helping myself with whatever part of its body I felt like having a bit of fun with. I've always considered that coming needed some work, at least for me. I had become quite good at this particular work and Mariabrice just happened to be a good collaborator I happened to be in love with. And, well, it was hot. (Did I mention Mariabrice's pronoun is 'it'? It's a bit confusing at times. It's because it's an entity. I probably should have written this in some kind of introduction.) It was hot, it was beautiful, it was funny, it was angry, it was radical, I wanted it in me so hard but I had set the rule and it needed to be followed.
After some time, I don't know if my body had started mimicking Mariabrice's, but my clitoris had swollen so much that it looked like a grotesquely oversized penis. (Not that I had never seen such penises in my life once or twice, but at each occurence I did think they were grotesquely oversized.) Actually it was a penis. It made me feel a great desire to penetrate Mariabrice whose eyes were begging me to do it. Man, it's hard to get totally rid of good old daddy's penetration-focused sexuality, but we resisted. There was more stroking, licking, grabbing, pressing, scratching to the blood, until Mariabrice performed with its last vulva some kind of hug-massage around my newly acquired grotesquely oversized penis but without penetration, more like using the labia as some kind of embracing arms. That was skilled. That specific move definitely ponders what I wrote earlier about Mariabrice's average skills. That did not qualify as average. Actually, that was the end of me. I came again, stronger, further, louder, and woke up from that dream next to Blob, who would scold me in the morning for having squirted again during the night, like most nights, for almost a year and a half, since the last time I had seen and kissed and hugged Mariabrice for the last time, before I decided to never see it again.
[Here it opens. I haven’t got the translation 100% right I don’t think, but I’ll check with B-dog (haha funny that it’s “dog” isn’t it) and get back to you]
He had been feeling like a wet sock for weeks by the time the small woman (of indeterminate height) entered the catacomb. Brandishing an axe, two ball-bearings and a pink catflap, dressed head-to-hoof in hot-pink Gucci pyjamas bedazzled with “beware the ides”, and sighing melancholically like they used to back in that time before you know where I lost my train of thought?
Anyway, he shook his hands violently, nearly crushing the small animal which he held close to his mottled chest. Visibly trembling in disbelief and shouting in what could have been Spanish, he drove home his challenge to the approaching pink incomer:
“You cathe bitch! You sunny blossom-coloured oochie-moochie wowza! Since when have you known? My best friend (my BEST friend) at the time was Johnny Ravenspotter. He was a big guy, you know, the kind you can really leeeeeeeean into, like a water-couch, plastic to the very core. He broke my nose in grade eight, and I never could sight-read, so we had to part ways. But the point is, HE was going to introduce me to you and he couldn’t before the funeral. [a note – the funeral was an archaic means of disposing of flesh post-vitam. It was discontinued shortly after the Great Revisiting but, crucially, before the coming of Ostreech, which we all know was more or less the catalyst for the whole damn thing] We wept for days. Marmalade sandwiches and mathcore was all that kept us company, but he hadn’t opened it yet. He hadn’t, so we couldn’t stay. Boy if I’d had a nickel for every big dicked mary who flounced through that chasm boy I’ll tell ya! Anyway, she didn’t flatten the curve well enough to make it out alive (egg-nog poisoning), and the Bloomsbury group was her main thesis topic. [it’s worth mentioning here that- ] DON’T YOU INTERRUPT ME!”
The cry rang out like a bad memory, shattering the eerie silence that had fallen over the watching crowd. Ms Gucci stepped gingerly from the carriage, unphased by the hullaballoo, and marched towards the decrepit figure, who now cowered like a lost lamp under the lambpost. As the eyes of the gathering throng rose to meet her, she removed her outer sunglasses, and spoke proudly as if all of Hur creation were listening:
“My name is Herbax Keflanigan, Godkeeper of broken hearts, Queen of the Scalple, Ringbearer of Instant Bliss, and Mother of the House of OOZE. You have taken my son, the princeess Brutus XI, heir proper to the dominion of Shrüm, Cupholder of the Cataclysm, and Manifestation of my deepest and most profound joy. For this you must die.”
The crowd gasped.
“What say you?”
You could have heard a flea blink. The Shadow, emboldened by the display of maternal aggression that Herbax had unleashed, rose to his full height, towering above the lambpost, the pink aggressor, and dwarfing the tiny grey bundle that mewed shrilly in his grotesque hand.
“Flanigan! Kerrrrrrrrrrrrflangipangie! Damn that moose-brained sonofa why-I-oughta! thinking of comin in here all ‘ooh look at me pink flaps and all’. Well lah-di-dah. Josephine was right [note – here it is important to emphasise again that it is, at present, unknown if Josephine and Bristophe are in fact the same entity] you should never have come!”
And with a flap of one enormous wing the colour of honey-baked ham, he flung himself at the pink figure in front of him. The universe, and all who sail in Hur, held its breath.
[Here the record runs out. It’s possible that more will turn up, but I haven’t had the chance to go through the rest of the archive – they keep running away, and I’ve lost my Holonet. In any case, I’ll do my best to recover as much as I can. Watch this space]
-----------------
The carousel (a memory)
I remember as a little boy, I can't remember which carousel it was, or where it was, but I remember staring at it with great desire. What were these oscillating unicorns and dolphins promising me, I can't remember either, or maybe I could not grasp it at that time already, but I remember I knew it'd be wonderful to ride one of these unicorns, or maybe one of the make-believe cars with a make-believe steering-wheel, yes!, of course, I needed to ride one of the make-believe cars, I needed to, the desire was too great to be ignored, I remember the excitement when I was granted the right to climb it, I had dreamt for so long (did I think "since forever" at that moment?) to ride such a make-believe car on such a carousel, I remember the great excitement indeed, and the feeling of fulfilment, I could probably compare this feeling of fulfilment to what might go through an apostle when kissed by Jesus, there was something divine, much too big indeed to be fully embraceable. Everything was finally making sense, this was what life was about, I was finally living in the present, I was the riding Bodhidharma, my body and my mind were a unique and whole thing now, and this unique and whole thing was pure ecstasy.
These feelings came back to me when you got naked, Max. You were the carousel and your penis was the make-believe car.
I remember vividly the light vertigo as the carousel started its motion and the make-believe car its vertical thrusting. It was immediately followed by immense disappointment. Was that all there was to it? The boredom, the annoying music and the even more annoying man's voice saying pretentious nonsense that was failing to be smart and funny, the make-believe steering wheel that did not react in any way to anything I was doing to it, that was it? This thing was revolving steadily, stubbornly, it did not matter if I was on it or not. I got embarrassed. I felt I was somehow a disturbance. And then, at some point, the carousel decided to stop without warning and the man's voice asked me to leave.
---
So we can conclude that, while at the episcopal level this might have raised eyebrows in some quarters, it was nevertheless actively practiced by all member-pairs throughout what could well be considered every major settlement in the region. I think the best illustration of the importance placed on this particular ritual activity, as distinguished from the familiar Ploughing-and-Reaping sequence prevalent in adjacent communities, can be found the following extract, taken from the opening of the Akylis manuscript (see Mlum and Mism, 2021a). The exact nuance of the text is at times obscure, but we can infer, at least in part from the naturalistic imagery, a bold association with rejuvenation, nourishment, and sensations of interpersonal connection rooted in the “muscles of speech”, which we must necessarily consider beyond metaphor. The extract is presented in translation from the original Mush, per the Donohovian method:
Without wanting to be heard I crawl out under the halogen and ask my god to be eaten. Having moved from the chamber of cleansing and cast off the cloak of concealment, I make unto the Altar. My face turns now into the deep, as the likeness of the cow comes upon me in anticipation of the laying of hands.
I have set pumice to my knees and smudged ash upon my brow in the shape of a collapsing star. I have sent word to the Mission of my absence, and bowed three times before the portrait of my father without breathing. I have sown milkweed and willowherb across my lower terraces. I have sunk a bloated animal into my depth, and I have taken only water without feasting for three days in preparation.
Only now might I invoke that Unity which arises in the Act; only now might I make vessel of my frame; only now might I be spoken into.
My chalice is soft. It is scented with chamomile. It is spread into offering as unto a ripening flower. It is an augury. It is mother’s milk. It indulges in reciprocity and commands to be opened by the muscles of speech.
I now entreat the ancient rite, as was practiced by my forebears in all corners under cloth. That which is called Ovation, by which sacred posture might the breath of divinity move within the flesh of M*n.
May my mind be stilled by the coming presence of that One by whom my holiness ascends to Rapture. May I be unhollowed by that unspoken Tongue known by the acolytes of H*m that moves in the dark places. May the –
Here the fragment frustratingly ends. I am in agreement with Dr. McPherson that it is worth referring to other contemporary accounts in order to piece together the final component of the ritual, lest we omit a crucial aspect in our understanding of the mystical psychophysical processes which seem to underlie much of the activity of the group.
I will now open the floor to any questions.
-----------------
[[BUT WAIT! I WANT TO ACCES MORE OF THE SAMPLES!!!->archive]]
<div class="bigtext">The Noisebringers’ Samples (found fragments as of the year 2021)</div>
<div class="placard">//Noisebringers, 24 Ad-Unkown
These are the last days of humankind. It has recorded billions and trillions of hours of music. But for its end credits, you choose [[Watching Paint Dry->wpd]].
These are the last days of humankind. It has written billions and trillions of pages. But in place of end credits, as a coda to the Noisebringers’s samples, you choose [[The Mariabrice Sitcker Album for->stickeralbum]].
These are the last days of humankind. It has made billions and trillions of images. But for its end credits, you choose to go back to where it all started, in the yarn vulvas of [[Self Portraits on a Theme of Her->herportraits]].
These are the last days of humankind. It has vinified billions and trillions of litters of grape. But for its end credits, you choose to drink a glass of [[Prosecco]].//</div>
<</if>><<audio erhu play>><<if $prosecco is "0">>
This is what we know...
"Way back before the time when people made soup because they had too much time on their hands, there was a collision of two inconsequential events. The first event is so inconsequential we will not even bother putting it down here, but the other formed the great accident of the mushrooms who bubbled up in the broth of the 46th galaxy, just north of the noiseless universe. At this exact moment - the timely arrival of the mushrooms, who were not quite sure why they had been summoned - two eyes blinked and the great Hur was born annoyed, and humming a song. Although many mycologists have long studied the mycelial lineage of the mushroom empire (Sheldrake, 2020), nothing more is known about Hur besides the fact that shE really was very annoyed, and shE had this song stuck in Hur head, which Oliver Sacks would later write about (2007).
What we do know of Hur is this. Hur was annoyed because shE, who was on the 9th of Hur life cycles, and due to enter the great sleep after this life, so shE had really hoped for a quiet universe where shE could continue to ponder Hur bagel recipes. But shE knew the moment shE opened Hur eyes that this was not going to be the place for such work. Sin embargo, shE knew that if shE were to accomplish anything in this life at all, shE would have to generate some yeast. And so the story goes, at the first blinking of Hur eyes, in annoyance and exhaustion, shE would summon her oldest friends. Blinking and thrashing about (as shE was never a great swimmer) shE called out across the galaxies to that place deep in the only corner that exists in space (space being the shape of an almost a perfect infinite circle, but not an apeirogon with only one abnormal edge). This abnormal pocket, ignored by all else, was where the blooms of silence grew, these great and poly-ancient conversationalists who until this very moment had been very content indeed. But as Hur opened Hur eyes, and thrashed around in impotent broth, those two meeting points on the almost perfect infinite circle blanched. And that corner thought, ‘oh fuck how did I not see it…’ but before it could finish its thought, it was catapulted out of silence and came crashing into noise, which happened to be in the exact location of Hur vagina. The most peculiar part of this event is that Fred Hoyle (an inconsequential man otherwise, with shit english humour) correctly surmised that this great moment of noise, was in fact noiseless (1949). But what nobody knew until many many noisebringer years later, was that this song which was stuck in Hur head, was to birth all that would thereafter be made. And these great silent and poly-ancient dialogue makers would begin to build cities in the vagina of Hur. And it is just these very first yeast colonies where we begin our tale."
To view a found remnant of what we believe to be Hur Earth, welcome:
<div class="placard">''Hur Earth''
//Noisebringers
Canvas, earth, time, date unknown//
Found map of Hur Earth, possibly created before the peaceful handover of power. Authors unknown but most usually attributed to the 21st century Noisberingers. Somehow also picked up by an obscure digital arts collection called ‘the mass’.</div>
<div class="centred"><img height="90%" width="90%" src="image/hurearth.jpg"/>
</div>
Are you taking new citizens, how do I exit this earth and get to [[Hur's? ->wwanth]].
I am interested in knowing more about Hur and Hur Earth, where can I [[go?->novel]]
Actually there have been too many words in this album so far, can I just have it read to [[me?->giolive]]
What else has Hur been [[up to?->herportraits]]
I hear Hur is good friends with [[Tente->tente]]
Bring me the voice of [[HUR!!->directional]]<</if>><<if $prosecco is "1">><div class="blur">
This is what we know...
"Way back before the time when people made soup because they had too much time on their hands, there was a collision of two inconsequential events. The first event is so inconsequential we will not even bother putting it down here, but the other formed the great accident of the mushrooms who bubbled up in the broth of the 46th galaxy, just north of the noiseless universe. At this exact moment - the timely arrival of the mushrooms, who were not quite sure why they had been summoned - two eyes blinked and the great Hur was born annoyed, and humming a song. Although many mycologists have long studied the mycelial lineage of the mushroom empire (Sheldrake, 2020), nothing more is known about Hur besides the fact that shE really was very annoyed, and shE had this song stuck in Hur head, which Oliver Sacks would later write about (2007).
What we do know of Hur is this. Hur was annoyed because shE, who was on the 9th of Hur life cycles, and due to enter the great sleep after this life, so shE had really hoped for a quiet universe where shE could continue to ponder Hur bagel recipes. But shE knew the moment shE opened Hur eyes that this was not going to be the place for such work. Sin embargo, shE knew that if shE were to accomplish anything in this life at all, shE would have to generate some yeast. And so the story goes, at the first blinking of Hur eyes, in annoyance and exhaustion, shE would summon her oldest friends. Blinking and thrashing about (as shE was never a great swimmer) shE called out across the galaxies to that place deep in the only corner that exists in space (space being the shape of an almost a perfect infinite circle, but not an apeirogon with only one abnormal edge). This abnormal pocket, ignored by all else, was where the blooms of silence grew, these great and poly-ancient conversationalists who until this very moment had been very content indeed. But as Hur opened Hur eyes, and thrashed around in impotent broth, those two meeting points on the almost perfect infinite circle blanched. And that corner thought, ‘oh fuck how did I not see it…’ but before it could finish its thought, it was catapulted out of silence and came crashing into noise, which happened to be in the exact location of Hur vagina. The most peculiar part of this event is that Fred Hoyle (an inconsequential man otherwise, with shit english humour) correctly surmised that this great moment of noise, was in fact noiseless (1949). But what nobody knew until many many noisebringer years later, was that this song which was stuck in Hur head, was to birth all that would thereafter be made. And these great silent and poly-ancient dialogue makers would begin to build cities in the vagina of Hur. And it is just these very first yeast colonies where we begin our tale."
To view a found remnant of what we believe to be Hur Earth, welcome:
<div class="placard">''Hur Earth''
//Noisebringers
Canvas, earth, time, date unknown//
Found map of Hur Earth, possibly created before the peaceful handover of power. Authors unknown but most usually attributed to the 21st century Noisberingers. Somehow also picked up by an obscure digital arts collection called ‘the mass’.</div>
<div class="centred"><img height="90%" width="90%" src="image/hurearth.jpg"/>
</div>
Are you taking new citizens, how do I exit this earth and get to [[Hur's? ->wwanth]].
I am interested in knowing more about Hur and Hur Earth, where can I [[go?->novel]]
Actually there have been too many words in this album so far, can I just have it read to [[me?->giolive]]
What else has Hur been [[up to?->herportraits]]
I hear Hur is good friends with [[Tente->tente]]
Bring me the voice of [[HUR!!->directional]]</div><</if>><<if $prosecco is "2">><div class="blurrier">
This is what we know...
"Way back before the time when people made soup because they had too much time on their hands, there was a collision of two inconsequential events. The first event is so inconsequential we will not even bother putting it down here, but the other formed the great accident of the mushrooms who bubbled up in the broth of the 46th galaxy, just north of the noiseless universe. At this exact moment - the timely arrival of the mushrooms, who were not quite sure why they had been summoned - two eyes blinked and the great Hur was born annoyed, and humming a song. Although many mycologists have long studied the mycelial lineage of the mushroom empire (Sheldrake, 2020), nothing more is known about Hur besides the fact that shE really was very annoyed, and shE had this song stuck in Hur head, which Oliver Sacks would later write about (2007).
What we do know of Hur is this. Hur was annoyed because shE, who was on the 9th of Hur life cycles, and due to enter the great sleep after this life, so shE had really hoped for a quiet universe where shE could continue to ponder Hur bagel recipes. But shE knew the moment shE opened Hur eyes that this was not going to be the place for such work. Sin embargo, shE knew that if shE were to accomplish anything in this life at all, shE would have to generate some yeast. And so the story goes, at the first blinking of Hur eyes, in annoyance and exhaustion, shE would summon her oldest friends. Blinking and thrashing about (as shE was never a great swimmer) shE called out across the galaxies to that place deep in the only corner that exists in space (space being the shape of an almost a perfect infinite circle, but not an apeirogon with only one abnormal edge). This abnormal pocket, ignored by all else, was where the blooms of silence grew, these great and poly-ancient conversationalists who until this very moment had been very content indeed. But as Hur opened Hur eyes, and thrashed around in impotent broth, those two meeting points on the almost perfect infinite circle blanched. And that corner thought, ‘oh fuck how did I not see it…’ but before it could finish its thought, it was catapulted out of silence and came crashing into noise, which happened to be in the exact location of Hur vagina. The most peculiar part of this event is that Fred Hoyle (an inconsequential man otherwise, with shit english humour) correctly surmised that this great moment of noise, was in fact noiseless (1949). But what nobody knew until many many noisebringer years later, was that this song which was stuck in Hur head, was to birth all that would thereafter be made. And these great silent and poly-ancient dialogue makers would begin to build cities in the vagina of Hur. And it is just these very first yeast colonies where we begin our tale."
To view a found remnant of what we believe to be Hur Earth, welcome:
<div class="placard">''Hur Earth''
//Noisebringers
Canvas, earth, time, date unknown//
Found map of Hur Earth, possibly created before the peaceful handover of power. Authors unknown but most usually attributed to the 21st century Noisberingers. Somehow also picked up by an obscure digital arts collection called ‘the mass’.</div>
<div class="centred"><img height="90%" width="90%" src="image/hurearth.jpg"/>
</div>
Are you taking new citizens, how do I exit this earth and get to [[Hur's? ->wwanth]].
I am interested in knowing more about Hur and Hur Earth, where can I [[go?->novel]]
Actually there have been too many words in this album so far, can I just have it read to [[me?->giolive]]
What else has Hur been [[up to?->herportraits]]
I hear Hur is good friends with [[Tente->tente]]
Bring me the voice of [[HUR!!->directional]]</div><</if>><<if $prosecco is "3">><div class="blurrier2">
This is what we know...
"Way back before the time when people made soup because they had too much time on their hands, there was a collision of two inconsequential events. The first event is so inconsequential we will not even bother putting it down here, but the other formed the great accident of the mushrooms who bubbled up in the broth of the 46th galaxy, just north of the noiseless universe. At this exact moment - the timely arrival of the mushrooms, who were not quite sure why they had been summoned - two eyes blinked and the great Hur was born annoyed, and humming a song. Although many mycologists have long studied the mycelial lineage of the mushroom empire (Sheldrake, 2020), nothing more is known about Hur besides the fact that shE really was very annoyed, and shE had this song stuck in Hur head, which Oliver Sacks would later write about (2007).
What we do know of Hur is this. Hur was annoyed because shE, who was on the 9th of Hur life cycles, and due to enter the great sleep after this life, so shE had really hoped for a quiet universe where shE could continue to ponder Hur bagel recipes. But shE knew the moment shE opened Hur eyes that this was not going to be the place for such work. Sin embargo, shE knew that if shE were to accomplish anything in this life at all, shE would have to generate some yeast. And so the story goes, at the first blinking of Hur eyes, in annoyance and exhaustion, shE would summon her oldest friends. Blinking and thrashing about (as shE was never a great swimmer) shE called out across the galaxies to that place deep in the only corner that exists in space (space being the shape of an almost a perfect infinite circle, but not an apeirogon with only one abnormal edge). This abnormal pocket, ignored by all else, was where the blooms of silence grew, these great and poly-ancient conversationalists who until this very moment had been very content indeed. But as Hur opened Hur eyes, and thrashed around in impotent broth, those two meeting points on the almost perfect infinite circle blanched. And that corner thought, ‘oh fuck how did I not see it…’ but before it could finish its thought, it was catapulted out of silence and came crashing into noise, which happened to be in the exact location of Hur vagina. The most peculiar part of this event is that Fred Hoyle (an inconsequential man otherwise, with shit english humour) correctly surmised that this great moment of noise, was in fact noiseless (1949). But what nobody knew until many many noisebringer years later, was that this song which was stuck in Hur head, was to birth all that would thereafter be made. And these great silent and poly-ancient dialogue makers would begin to build cities in the vagina of Hur. And it is just these very first yeast colonies where we begin our tale."
To view a found remnant of what we believe to be Hur Earth, welcome:
<div class="placard">''Hur Earth''
//Noisebringers
Canvas, earth, time, date unknown//
Found map of Hur Earth, possibly created before the peaceful handover of power. Authors unknown but most usually attributed to the 21st century Noisberingers. Somehow also picked up by an obscure digital arts collection called ‘the mass’.</div>
<div class="centred"><img height="90%" width="90%" src="image/hurearth.jpg"/>
</div>
Are you taking new citizens, how do I exit this earth and get to [[Hur's? ->wwanth]].
I am interested in knowing more about Hur and Hur Earth, where can I [[go?->novel]]
Actually there have been too many words in this album so far, can I just have it read to [[me?->giolive]]
What else has Hur been [[up to?->herportraits]]
I hear Hur is good friends with [[Tente->tente]]
Bring me the voice of [[HUR!!->directional]]</div><</if>><<if $prosecco is "4">><div class="upside-down">
This is what we know...
"Way back before the time when people made soup because they had too much time on their hands, there was a collision of two inconsequential events. The first event is so inconsequential we will not even bother putting it down here, but the other formed the great accident of the mushrooms who bubbled up in the broth of the 46th galaxy, just north of the noiseless universe. At this exact moment - the timely arrival of the mushrooms, who were not quite sure why they had been summoned - two eyes blinked and the great Hur was born annoyed, and humming a song. Although many mycologists have long studied the mycelial lineage of the mushroom empire (Sheldrake, 2020), nothing more is known about Hur besides the fact that shE really was very annoyed, and shE had this song stuck in Hur head, which Oliver Sacks would later write about (2007).
What we do know of Hur is this. Hur was annoyed because shE, who was on the 9th of Hur life cycles, and due to enter the great sleep after this life, so shE had really hoped for a quiet universe where shE could continue to ponder Hur bagel recipes. But shE knew the moment shE opened Hur eyes that this was not going to be the place for such work. Sin embargo, shE knew that if shE were to accomplish anything in this life at all, shE would have to generate some yeast. And so the story goes, at the first blinking of Hur eyes, in annoyance and exhaustion, shE would summon her oldest friends. Blinking and thrashing about (as shE was never a great swimmer) shE called out across the galaxies to that place deep in the only corner that exists in space (space being the shape of an almost a perfect infinite circle, but not an apeirogon with only one abnormal edge). This abnormal pocket, ignored by all else, was where the blooms of silence grew, these great and poly-ancient conversationalists who until this very moment had been very content indeed. But as Hur opened Hur eyes, and thrashed around in impotent broth, those two meeting points on the almost perfect infinite circle blanched. And that corner thought, ‘oh fuck how did I not see it…’ but before it could finish its thought, it was catapulted out of silence and came crashing into noise, which happened to be in the exact location of Hur vagina. The most peculiar part of this event is that Fred Hoyle (an inconsequential man otherwise, with shit english humour) correctly surmised that this great moment of noise, was in fact noiseless (1949). But what nobody knew until many many noisebringer years later, was that this song which was stuck in Hur head, was to birth all that would thereafter be made. And these great silent and poly-ancient dialogue makers would begin to build cities in the vagina of Hur. And it is just these very first yeast colonies where we begin our tale."
To view a found remnant of what we believe to be Hur Earth, welcome:
<div class="placard">''Hur Earth''
//Noisebringers
Canvas, earth, time, date unknown//
Found map of Hur Earth, possibly created before the peaceful handover of power. Authors unknown but most usually attributed to the 21st century Noisberingers. Somehow also picked up by an obscure digital arts collection called ‘the mass’.</div>
<div class="centred"><img height="90%" width="90%" src="image/hurearth.jpg"/>
</div>
Are you taking new citizens, how do I exit this earth and get to [[Hur's? ->wwanth]].
I am interested in knowing more about Hur and Hur Earth, where can I [[go?->novel]]
Actually there have been too many words in this album so far, can I just have it read to [[me?->giolive]]
What else has Hur been [[up to?->herportraits]]
I hear Hur is good friends with [[Tente->tente]]
Bring me the voice of [[HUR!!->directional]]</div><</if>><<if $prosecco is "5">>This is what we know...
"Way back before the time when people made soup because they had too much time on their hands, there was a collision of two inconsequential events. The first event is so inconsequential we will not even bother putting it down here, but the other formed the great accident of the mushrooms who bubbled up in the broth of the 46th galaxy, just north of the noiseless universe. At this exact moment - the timely arrival of the mushrooms, who were not quite sure why they had been summoned - two eyes blinked and the great Hur was born annoyed, and humming a song. Although many mycologists have long studied the mycelial lineage of the mushroom empire (Sheldrake, 2020), nothing more is known about Hur besides the fact that shE really was very annoyed, and shE had this song stuck in Hur head, which Oliver Sacks would later write about (2007).
What we do know of Hur is this. Hur was annoyed because shE, who was on the 9th of Hur life cycles, and due to enter the great sleep after this life, so shE had really hoped for a quiet universe where shE could continue to ponder Hur bagel recipes. But shE knew the moment shE opened Hur eyes that this was not going to be the place for such work. Sin embargo, shE knew that if shE were to accomplish anything in this life at all, shE would have to generate some yeast. And so the story goes, at the first blinking of Hur eyes, in annoyance and exhaustion, shE would summon her oldest friends. Blinking and thrashing about (as shE was never a great swimmer) shE called out across the galaxies to that place deep in the only corner that exists in space (space being the shape of an almost a perfect infinite circle, but not an apeirogon with only one abnormal edge). This abnormal pocket, ignored by all else, was where the blooms of silence grew, these great and poly-ancient conversationalists who until this very moment had been very content indeed. But as Hur opened Hur eyes, and thrashed around in impotent broth, those two meeting points on the almost perfect infinite circle blanched. And that corner thought, ‘oh fuck how did I not see it…’ but before it could finish its thought, it was catapulted out of silence and came crashing into noise, which happened to be in the exact location of Hur vagina. The most peculiar part of this event is that Fred Hoyle (an inconsequential man otherwise, with shit english humour) correctly surmised that this great moment of noise, was in fact noiseless (1949). But what nobody knew until many many noisebringer years later, was that this song which was stuck in Hur head, was to birth all that would thereafter be made. And these great silent and poly-ancient dialogue makers would begin to build cities in the vagina of Hur. And it is just these very first yeast colonies where we begin our tale."
To view a found remnant of what we believe to be Hur Earth, welcome:
<div class="placard">''Hur Earth''
//Noisebringers
Canvas, earth, time, date unknown//
Found map of Hur Earth, possibly created before the peaceful handover of power. Authors unknown but most usually attributed to the 21st century Noisberingers. Somehow also picked up by an obscure digital arts collection called ‘the mass’.</div>
<div class="centred"><img height="90%" width="90%" src="image/hurearth.jpg"/>
</div>
Are you taking new citizens, how do I exit this earth and get to [[Hur's? ->wwanth]].
I am interested in knowing more about Hur and Hur Earth, where can I [[go?->novel]]
Actually there have been too many words in this album so far, can I just have it read to [[me?->giolive]]
What else has Hur been [[up to?->herportraits]]
I hear Hur is good friends with [[Tente->tente]]
Bring me the voice of [[HUR!!->directional]]<</if>>
<<if $prosecco is "0">><div class="bigtext">Fragment#51</div>
<p>You are Dejana Sekulič. Wow! You are blond! You can play the violin! You have never been a blond violinist before! Or have you? You are not sure, but you have never been Dejana Sekulič specifically. You are ridiculously talented, you’re also an academic, you can code, you are absurdly busy and yet you always find time for your friends. You reach the only possible conclusion: you are not real. Next to you, there is another Dejana Sekulič who is presently finishing her art installation [[Candle]]. ‘Are you real?’, you ask each other at the exact same time. Slightly surprised, but not overwhelmingly puzzled, you both ask a third Dejana Sekulič, the famous and historical performer of [[Watching Paint Dry->wpd]], ‘are you real?’, which she also asks at the exact same time with you two. There are many other Dejana Sekulič’s in the room, including a Dejana Sekulič who drinks a glass of [[Prosecco]] and a Dejana Sekulič from the future, who is one hundred and seventy two year wise and was part of the ceremony of the peaceful handover of power from the machines back to the humans as told in [[Hur Earth]] a long time ago in the decades to come. But no matter how wise the latter Dejana Sekulič is, she asks together with you all, creating a gigantic choir of Dejana Sekulič’s, ‘are you real’? All of a sudden, a young, blond, talented violinist enters. Her name is Dejana Sekulič. She sits. No, she kneels, before a laptop and a strange machine from the ancient times. She asks not the question. She speaks not. She performs ''Fragment#51''.</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/1S8U6lkUuLrVaHDHMQrv7VaA11uCsFLvu/preview" width="1080" height="720" allow="autoplay"></iframe></div><</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Fragment#51</div>
<p>You are Dejana Sekulič. Wow! You are blond! You can play the violin! You have never been a blond violinist before! Or have you? You are not sure, but you have never been Dejana Sekulič specifically. You are ridiculously talented, you’re also an academic, you can code, you are absurdly busy and yet you always find time for your friends. You reach the only possible conclusion: you are not real. Next to you, there is another Dejana Sekulič who is presently finishing her art installation [[Candle]]. ‘Are you real?’, you ask each other at the exact same time. Slightly surprised, but not overwhelmingly puzzled, you both ask a third Dejana Sekulič, the famous and historical performer of [[Watching Paint Dry->wpd]], ‘are you real?’, which she also asks at the exact same time with you two. There are many other Dejana Sekulič’s in the room, including a Dejana Sekulič who drinks a glass of [[Prosecco]] and a Dejana Sekulič from the future, who is one hundred and seventy two year wise and was part of the ceremony of the peaceful handover of power from the machines back to the humans as told in [[Hur Earth]] a long time ago in the decades to come. But no matter how wise the latter Dejana Sekulič is, she asks together with you all, creating a gigantic choir of Dejana Sekulič’s, ‘are you real’? All of a sudden, a young, blond, talented violinist enters. Her name is Dejana Sekulič. She sits. No, she kneels, before a laptop and a strange machine from the ancient times. She asks not the question. She speaks not. She performs ''Fragment#51''.</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/1S8U6lkUuLrVaHDHMQrv7VaA11uCsFLvu/preview" width="1080" height="720" allow="autoplay"></iframe></div></div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Fragment#51</div>
<p>You are Dejana Sekulič. Wow! You are blond! You can play the violin! You have never been a blond violinist before! Or have you? You are not sure, but you have never been Dejana Sekulič specifically. You are ridiculously talented, you’re also an academic, you can code, you are absurdly busy and yet you always find time for your friends. You reach the only possible conclusion: you are not real. Next to you, there is another Dejana Sekulič who is presently finishing her art installation [[Candle]]. ‘Are you real?’, you ask each other at the exact same time. Slightly surprised, but not overwhelmingly puzzled, you both ask a third Dejana Sekulič, the famous and historical performer of [[Watching Paint Dry->wpd]], ‘are you real?’, which she also asks at the exact same time with you two. There are many other Dejana Sekulič’s in the room, including a Dejana Sekulič who drinks a glass of [[Prosecco]] and a Dejana Sekulič from the future, who is one hundred and seventy two year wise and was part of the ceremony of the peaceful handover of power from the machines back to the humans as told in [[Hur Earth]] a long time ago in the decades to come. But no matter how wise the latter Dejana Sekulič is, she asks together with you all, creating a gigantic choir of Dejana Sekulič’s, ‘are you real’? All of a sudden, a young, blond, talented violinist enters. Her name is Dejana Sekulič. She sits. No, she kneels, before a laptop and a strange machine from the ancient times. She asks not the question. She speaks not. She performs ''Fragment#51''.</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/1S8U6lkUuLrVaHDHMQrv7VaA11uCsFLvu/preview" width="1080" height="720" allow="autoplay"></iframe></div></div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Fragment#51</div>
<p>You are Dejana Sekulič. Wow! You are blond! You can play the violin! You have never been a blond violinist before! Or have you? You are not sure, but you have never been Dejana Sekulič specifically. You are ridiculously talented, you’re also an academic, you can code, you are absurdly busy and yet you always find time for your friends. You reach the only possible conclusion: you are not real. Next to you, there is another Dejana Sekulič who is presently finishing her art installation [[Candle]]. ‘Are you real?’, you ask each other at the exact same time. Slightly surprised, but not overwhelmingly puzzled, you both ask a third Dejana Sekulič, the famous and historical performer of [[Watching Paint Dry->wpd]], ‘are you real?’, which she also asks at the exact same time with you two. There are many other Dejana Sekulič’s in the room, including a Dejana Sekulič who drinks a glass of [[Prosecco]] and a Dejana Sekulič from the future, who is one hundred and seventy two year wise and was part of the ceremony of the peaceful handover of power from the machines back to the humans as told in [[Hur Earth]] a long time ago in the decades to come. But no matter how wise the latter Dejana Sekulič is, she asks together with you all, creating a gigantic choir of Dejana Sekulič’s, ‘are you real’? All of a sudden, a young, blond, talented violinist enters. Her name is Dejana Sekulič. She sits. No, she kneels, before a laptop and a strange machine from the ancient times. She asks not the question. She speaks not. She performs ''Fragment#51''.</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/1S8U6lkUuLrVaHDHMQrv7VaA11uCsFLvu/preview" width="1080" height="720" allow="autoplay"></iframe></div><div class="bigtext">Fragment#51</div>
<p>You are Dejana Sekulič. Wow! You are blond! You can play the violin! You have never been a blond violinist before! Or have you? You are not sure, but you have never been Dejana Sekulič specifically. You are ridiculously talented, you’re also an academic, you can code, you are absurdly busy and yet you always find time for your friends. You reach the only possible conclusion: you are not real. Next to you, there is another Dejana Sekulič who is presently finishing her art installation [[Candle]]. ‘Are you real?’, you ask each other at the exact same time. Slightly surprised, but not overwhelmingly puzzled, you both ask a third Dejana Sekulič, the famous and historical performer of [[Watching Paint Dry->wpd]], ‘are you real?’, which she also asks at the exact same time with you two. There are many other Dejana Sekulič’s in the room, including a Dejana Sekulič who drinks a glass of [[Prosecco]] and a Dejana Sekulič from the future, who is one hundred and seventy two year wise and was part of the ceremony of the peaceful handover of power from the machines back to the humans as told in [[Hur Earth]] a long time ago in the decades to come. But no matter how wise the latter Dejana Sekulič is, she asks together with you all, creating a gigantic choir of Dejana Sekulič’s, ‘are you real’? All of a sudden, a young, blond, talented violinist enters. Her name is Dejana Sekulič. She sits. No, she kneels, before a laptop and a strange machine from the ancient times. She asks not the question. She speaks not. She performs ''Fragment#51''.</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/1S8U6lkUuLrVaHDHMQrv7VaA11uCsFLvu/preview" width="1080" height="720" allow="autoplay"></iframe></div></div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Fragment#51</div>
<p>You are Dejana Sekulič. Wow! You are blond! You can play the violin! You have never been a blond violinist before! Or have you? You are not sure, but you have never been Dejana Sekulič specifically. You are ridiculously talented, you’re also an academic, you can code, you are absurdly busy and yet you always find time for your friends. You reach the only possible conclusion: you are not real. Next to you, there is another Dejana Sekulič who is presently finishing her art installation [[Candle]]. ‘Are you real?’, you ask each other at the exact same time. Slightly surprised, but not overwhelmingly puzzled, you both ask a third Dejana Sekulič, the famous and historical performer of [[Watching Paint Dry->wpd]], ‘are you real?’, which she also asks at the exact same time with you two. There are many other Dejana Sekulič’s in the room, including a Dejana Sekulič who drinks a glass of [[Prosecco]] and a Dejana Sekulič from the future, who is one hundred and seventy two year wise and was part of the ceremony of the peaceful handover of power from the machines back to the humans as told in [[Hur Earth]] a long time ago in the decades to come. But no matter how wise the latter Dejana Sekulič is, she asks together with you all, creating a gigantic choir of Dejana Sekulič’s, ‘are you real’? All of a sudden, a young, blond, talented violinist enters. Her name is Dejana Sekulič. She sits. No, she kneels, before a laptop and a strange machine from the ancient times. She asks not the question. She speaks not. She performs ''Fragment#51''.</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/1S8U6lkUuLrVaHDHMQrv7VaA11uCsFLvu/preview" width="1080" height="720" allow="autoplay"></iframe></div></div><</if>><<if $prosecco is "5">><div class="bigtext">Fragment#51</div>
<p>You are Dejana Sekulič. Wow! You are blond! You can play the violin! You have never been a blond violinist before! Or have you? You are not sure, but you have never been Dejana Sekulič specifically. You are ridiculously talented, you’re also an academic, you can code, you are absurdly busy and yet you always find time for your friends. You reach the only possible conclusion: you are not real. Next to you, there is another Dejana Sekulič who is presently finishing her art installation [[Candle]]. ‘Are you real?’, you ask each other at the exact same time. Slightly surprised, but not overwhelmingly puzzled, you both ask a third Dejana Sekulič, the famous and historical performer of [[Watching Paint Dry->wpd]], ‘are you real?’, which she also asks at the exact same time with you two. There are many other Dejana Sekulič’s in the room, including a Dejana Sekulič who drinks a glass of [[Prosecco]] and a Dejana Sekulič from the future, who is one hundred and seventy two year wise and was part of the ceremony of the peaceful handover of power from the machines back to the humans as told in [[Hur Earth]] a long time ago in the decades to come. But no matter how wise the latter Dejana Sekulič is, she asks together with you all, creating a gigantic choir of Dejana Sekulič’s, ‘are you real’? All of a sudden, a young, blond, talented violinist enters. Her name is Dejana Sekulič. She sits. No, she kneels, before a laptop and a strange machine from the ancient times. She asks not the question. She speaks not. She performs ''Fragment#51''.</p>
<div class="centred"><iframe src="https://drive.google.com/file/d/1S8U6lkUuLrVaHDHMQrv7VaA11uCsFLvu/preview" width="1080" height="720" allow="autoplay"></iframe></div><</if>>
<<if $prosecco is "0">><div class="bigtext">Glasgow Improvisers Orchestra@ Flattening the Curve
Live at Analix Forever Gallery with the Noisebringers.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Ny6VK8RdIqa9uHucoKMOGz0zfcg4AJhL/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''The Glasgow Improvisers Orchestra'' (GIO) //perform live at the gallery, including a guided tour and story time for improvisers. //
Participating players, in no particular order (or rather the order zoom chose)
Raymond MacDonald
Rachel Joy Weiss
Peter Nicholson
Maria Sappho
Laura Kavanaugh
Jame Bryce
Steve Beresford
Usui Yasuhiro
Henry McPherson
Maggie Nicols
Ken Slaven
Marion Treby
Guillermo Torres
Brice Catherin
Saadet Türköz
Tia De Nora
Ian Birse
Jessica Argo
Nicola Leonard
David Robertson
Faradena Affifi
Robert Henderson
Yasuko Kaneko
Lori Freedman
Alípio Carvalho Neto
Mike Cooper
//And behind the scenes, wizard of the wires extraordinaire……//
Colin Frank</div>
WHO ARE THESE LUNATICS? AND HOW CAN I HEAR MORE OF THEM?
Saadet Türköz, she is my inspiration, more! Take me to [[Saadet’s performance->saadet]]
Oh wow Tia De Nora, is she like the inventer of all thought and [[knowledge->archive]]?
The Rachel Joy Weiss? NO WAY. There's more?! Take me to [[Between Becoming->between-becoming]]
WOW you know even more GIO players? They are like the total ELITE! Take me to [[Play-doh Power->pdp]]
And in this gallery we had a Raymond, Raymond Mac….[[singing in the hotel dilettante->raymond]]
What is a Maria Sappho? Take me to [[Patched->patched]]
Who is this wire wizard, and what else does he magic? Take me to [[Rotting Fruit->rotting]] or [[Anyways]]
Maria Sappho and Brice Catherin, they come apart? WOW. But that makes me uncomfortable, take me back to Mariabrice [[Watching Paint Dry->wpd]] or [[Mariabrice’s Pianocello Sonata->mbpiano]] or [[Mariabrice's Sticker Album For->stickeralbum]]
What is Henry reading? Take me to [[The Noisebringers Samples->novel]]
Is Henry a real being? Take me to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]]
More games, more games!! [[Remembrance of the First Water-Ritual (Board-Game)->water]]<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Glasgow Improvisers Orchestra@ Flattening the Curve
Live at Analix Forever Gallery with the Noisebringers.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Ny6VK8RdIqa9uHucoKMOGz0zfcg4AJhL/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''The Glasgow Improvisers Orchestra'' (GIO) //perform live at the gallery, including a guided tour and story time for improvisers. //
Participating players, in no particular order (or rather the order zoom chose)
Raymond MacDonald
Rachel Joy Weiss
Peter Nicholson
Maria Sappho
Laura Kavanaugh
Jame Bryce
Steve Beresford
Usui Yasuhiro
Henry McPherson
Maggie Nicols
Ken Slaven
Marion Treby
Guillermo Torres
Brice Catherin
Saadet Türköz
Tia De Nora
Ian Birse
Jessica Argo
Nicola Leonard
David Robertson
Faradena Affifi
Robert Henderson
Yasuko Kaneko
Lori Freedman
Alípio Carvalho Neto
Mike Cooper
//And behind the scenes, wizard of the wires extraordinaire……//
Colin Frank</div>
WHO ARE THESE LUNATICS? AND HOW CAN I HEAR MORE OF THEM?
Saadet Türköz, she is my inspiration, more! Take me to [[Saadet’s performance->saadet]]
Oh wow Tia De Nora, is she like the inventer of all thought and [[knowledge->archive]]?
The Rachel Joy Weiss? NO WAY. There's more?! Take me to [[Between Becoming->between-becoming]]
WOW you know even more GIO players? They are like the total ELITE! Take me to [[Play-doh Power->pdp]]
And in this gallery we had a Raymond, Raymond Mac….[[singing in the hotel dilettante->raymond]]
What is a Maria Sappho? Take me to [[Patched->patched]]
Who is this wire wizard, and what else does he magic? Take me to [[Rotting Fruit->rotting]] or [[Anyways]]
Maria Sappho and Brice Catherin, they come apart? WOW. But that makes me uncomfortable, take me back to Mariabrice [[Watching Paint Dry->wpd]] or [[Mariabrice’s Pianocello Sonata->mbpiano]] or [[Mariabrice's Sticker Album For->stickeralbum]]
What is Henry reading? Take me to [[The Noisebringers Samples->novel]]
Is Henry a real being? Take me to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]]
More games, more games!! [[Remembrance of the First Water-Ritual (Board-Game)->water]]</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Glasgow Improvisers Orchestra@ Flattening the Curve
Live at Analix Forever Gallery with the Noisebringers.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Ny6VK8RdIqa9uHucoKMOGz0zfcg4AJhL/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''The Glasgow Improvisers Orchestra'' (GIO) //perform live at the gallery, including a guided tour and story time for improvisers. //
Participating players, in no particular order (or rather the order zoom chose)
Raymond MacDonald
Rachel Joy Weiss
Peter Nicholson
Maria Sappho
Laura Kavanaugh
Jame Bryce
Steve Beresford
Usui Yasuhiro
Henry McPherson
Maggie Nicols
Ken Slaven
Marion Treby
Guillermo Torres
Brice Catherin
Saadet Türköz
Tia De Nora
Ian Birse
Jessica Argo
Nicola Leonard
David Robertson
Faradena Affifi
Robert Henderson
Yasuko Kaneko
Lori Freedman
Alípio Carvalho Neto
Mike Cooper
//And behind the scenes, wizard of the wires extraordinaire……//
Colin Frank</div>
WHO ARE THESE LUNATICS? AND HOW CAN I HEAR MORE OF THEM?
Saadet Türköz, she is my inspiration, more! Take me to [[Saadet’s performance->saadet]]
Oh wow Tia De Nora, is she like the inventer of all thought and [[knowledge->archive]]?
The Rachel Joy Weiss? NO WAY. There's more?! Take me to [[Between Becoming->between-becoming]]
WOW you know even more GIO players? They are like the total ELITE! Take me to [[Play-doh Power->pdp]]
And in this gallery we had a Raymond, Raymond Mac….[[singing in the hotel dilettante->raymond]]
What is a Maria Sappho? Take me to [[Patched->patched]]
Who is this wire wizard, and what else does he magic? Take me to [[Rotting Fruit->rotting]] or [[Anyways]]
Maria Sappho and Brice Catherin, they come apart? WOW. But that makes me uncomfortable, take me back to Mariabrice [[Watching Paint Dry->wpd]] or [[Mariabrice’s Pianocello Sonata->mbpiano]] or [[Mariabrice's Sticker Album For->stickeralbum]]
What is Henry reading? Take me to [[The Noisebringers Samples->novel]]
Is Henry a real being? Take me to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]]
More games, more games!! [[Remembrance of the First Water-Ritual (Board-Game)->water]]</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Glasgow Improvisers Orchestra@ Flattening the Curve
Live at Analix Forever Gallery with the Noisebringers.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Ny6VK8RdIqa9uHucoKMOGz0zfcg4AJhL/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''The Glasgow Improvisers Orchestra'' (GIO) //perform live at the gallery, including a guided tour and story time for improvisers. //
Participating players, in no particular order (or rather the order zoom chose)
Raymond MacDonald
Rachel Joy Weiss
Peter Nicholson
Maria Sappho
Laura Kavanaugh
Jame Bryce
Steve Beresford
Usui Yasuhiro
Henry McPherson
Maggie Nicols
Ken Slaven
Marion Treby
Guillermo Torres
Brice Catherin
Saadet Türköz
Tia De Nora
Ian Birse
Jessica Argo
Nicola Leonard
David Robertson
Faradena Affifi
Robert Henderson
Yasuko Kaneko
Lori Freedman
Alípio Carvalho Neto
Mike Cooper
//And behind the scenes, wizard of the wires extraordinaire……//
Colin Frank</div>
WHO ARE THESE LUNATICS? AND HOW CAN I HEAR MORE OF THEM?
Saadet Türköz, she is my inspiration, more! Take me to [[Saadet’s performance->saadet]]
Oh wow Tia De Nora, is she like the inventer of all thought and [[knowledge->archive]]?
The Rachel Joy Weiss? NO WAY. There's more?! Take me to [[Between Becoming->between-becoming]]
WOW you know even more GIO players? They are like the total ELITE! Take me to [[Play-doh Power->pdp]]
And in this gallery we had a Raymond, Raymond Mac….[[singing in the hotel dilettante->raymond]]
What is a Maria Sappho? Take me to [[Patched->patched]]
Who is this wire wizard, and what else does he magic? Take me to [[Rotting Fruit->rotting]] or [[Anyways]]
Maria Sappho and Brice Catherin, they come apart? WOW. But that makes me uncomfortable, take me back to Mariabrice [[Watching Paint Dry->wpd]] or [[Mariabrice’s Pianocello Sonata->mbpiano]] or [[Mariabrice's Sticker Album For->stickeralbum]]
What is Henry reading? Take me to [[The Noisebringers Samples->novel]]
Is Henry a real being? Take me to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]]
More games, more games!! [[Remembrance of the First Water-Ritual (Board-Game)->water]]</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Glasgow Improvisers Orchestra@ Flattening the Curve
Live at Analix Forever Gallery with the Noisebringers.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Ny6VK8RdIqa9uHucoKMOGz0zfcg4AJhL/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''The Glasgow Improvisers Orchestra'' (GIO) //perform live at the gallery, including a guided tour and story time for improvisers. //
Participating players, in no particular order (or rather the order zoom chose)
Raymond MacDonald
Rachel Joy Weiss
Peter Nicholson
Maria Sappho
Laura Kavanaugh
Jame Bryce
Steve Beresford
Usui Yasuhiro
Henry McPherson
Maggie Nicols
Ken Slaven
Marion Treby
Guillermo Torres
Brice Catherin
Saadet Türköz
Tia De Nora
Ian Birse
Jessica Argo
Nicola Leonard
David Robertson
Faradena Affifi
Robert Henderson
Yasuko Kaneko
Lori Freedman
Alípio Carvalho Neto
Mike Cooper
//And behind the scenes, wizard of the wires extraordinaire……//
Colin Frank</div>
WHO ARE THESE LUNATICS? AND HOW CAN I HEAR MORE OF THEM?
Saadet Türköz, she is my inspiration, more! Take me to [[Saadet’s performance->saadet]]
Oh wow Tia De Nora, is she like the inventer of all thought and [[knowledge->archive]]?
The Rachel Joy Weiss? NO WAY. There's more?! Take me to [[Between Becoming->between-becoming]]
WOW you know even more GIO players? They are like the total ELITE! Take me to [[Play-doh Power->pdp]]
And in this gallery we had a Raymond, Raymond Mac….[[singing in the hotel dilettante->raymond]]
What is a Maria Sappho? Take me to [[Patched->patched]]
Who is this wire wizard, and what else does he magic? Take me to [[Rotting Fruit->rotting]] or [[Anyways]]
Maria Sappho and Brice Catherin, they come apart? WOW. But that makes me uncomfortable, take me back to Mariabrice [[Watching Paint Dry->wpd]] or [[Mariabrice’s Pianocello Sonata->mbpiano]] or [[Mariabrice's Sticker Album For->stickeralbum]]
What is Henry reading? Take me to [[The Noisebringers Samples->novel]]
Is Henry a real being? Take me to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]]
More games, more games!! [[Remembrance of the First Water-Ritual (Board-Game)->water]]</div><</if>><<if $prosecco is "5">><div class="bigtext">Glasgow Improvisers Orchestra@ Flattening the Curve
Live at Analix Forever Gallery with the Noisebringers.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Ny6VK8RdIqa9uHucoKMOGz0zfcg4AJhL/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="placard">''The Glasgow Improvisers Orchestra'' (GIO) //perform live at the gallery, including a guided tour and story time for improvisers. //
Participating players, in no particular order (or rather the order zoom chose)
Raymond MacDonald
Rachel Joy Weiss
Peter Nicholson
Maria Sappho
Laura Kavanaugh
Jame Bryce
Steve Beresford
Usui Yasuhiro
Henry McPherson
Maggie Nicols
Ken Slaven
Marion Treby
Guillermo Torres
Brice Catherin
Saadet Türköz
Tia De Nora
Ian Birse
Jessica Argo
Nicola Leonard
David Robertson
Faradena Affifi
Robert Henderson
Yasuko Kaneko
Lori Freedman
Alípio Carvalho Neto
Mike Cooper
//And behind the scenes, wizard of the wires extraordinaire……//
Colin Frank</div>
WHO ARE THESE LUNATICS? AND HOW CAN I HEAR MORE OF THEM?
Saadet Türköz, she is my inspiration, more! Take me to [[Saadet’s performance->saadet]]
Oh wow Tia De Nora, is she like the inventer of all thought and [[knowledge->archive]]?
The Rachel Joy Weiss? NO WAY. There's more?! Take me to [[Between Becoming->between-becoming]]
WOW you know even more GIO players? They are like the total ELITE! Take me to [[Play-doh Power->pdp]]
And in this gallery we had a Raymond, Raymond Mac….[[singing in the hotel dilettante->raymond]]
What is a Maria Sappho? Take me to [[Patched->patched]]
Who is this wire wizard, and what else does he magic? Take me to [[Rotting Fruit->rotting]] or [[Anyways]]
Maria Sappho and Brice Catherin, they come apart? WOW. But that makes me uncomfortable, take me back to Mariabrice [[Watching Paint Dry->wpd]] or [[Mariabrice’s Pianocello Sonata->mbpiano]] or [[Mariabrice's Sticker Album For->stickeralbum]]
What is Henry reading? Take me to [[The Noisebringers Samples->novel]]
Is Henry a real being? Take me to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]]
More games, more games!! [[Remembrance of the First Water-Ritual (Board-Game)->water]]<</if>>
<<if $prosecco is "0">><div class="bigtext">Play-doh Power</div>
<div class="placard">
//Adriana Minu
video, stereo audio, 2021
Duration: 35 minutes
Entanglement of Play-doh with four improvisers. Always in relation.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Dz96YXgl7CMU4MYtjA47aSkBI0vBBrHx/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>Oh what [[glory->Glory]] this [[eternal flower->eternal flowers]] of playful squishiness. I am [[burnt to the core->burnt1]], deeply moved and in awe. This play-doh was [[between becoming->between-becoming]] something both of the here and now and the [[theatre of home->home]]. I know now that my life is complete and that [[there will be wine->wine]]. How about a [[glass of prosecco->Prosecco]]?</p><</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Play-doh Power</div>
<div class="placard">
//Adriana Minu
video, stereo audio, 2021
Duration: 35 minutes
Entanglement of Play-doh with four improvisers. Always in relation.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Dz96YXgl7CMU4MYtjA47aSkBI0vBBrHx/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>Oh what [[glory->Glory]] this [[eternal flower->eternal flowers]] of playful squishiness. I am [[burnt to the core->burnt1]], deeply moved and in awe. This play-doh was [[between becoming->between-becoming]] something both of the here and now and the [[theatre of home->home]]. I know now that my life is complete and that [[there will be wine->wine]]. How about a [[glass of prosecco->Prosecco]]?</p></div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Play-doh Power</div>
<div class="placard">
//Adriana Minu
video, stereo audio, 2021
Duration: 35 minutes
Entanglement of Play-doh with four improvisers. Always in relation.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Dz96YXgl7CMU4MYtjA47aSkBI0vBBrHx/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>Oh what [[glory->Glory]] this [[eternal flower->eternal flowers]] of playful squishiness. I am [[burnt to the core->burnt1]], deeply moved and in awe. This play-doh was [[between becoming->between-becoming]] something both of the here and now and the [[theatre of home->home]]. I know now that my life is complete and that [[there will be wine->wine]]. How about a [[glass of prosecco->Prosecco]]?</p></div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Play-doh Power</div>
<div class="placard">
//Adriana Minu
video, stereo audio, 2021
Duration: 35 minutes
Entanglement of Play-doh with four improvisers. Always in relation.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Dz96YXgl7CMU4MYtjA47aSkBI0vBBrHx/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>Oh what [[glory->Glory]] this [[eternal flower->eternal flowers]] of playful squishiness. I am [[burnt to the core->burnt1]], deeply moved and in awe. This play-doh was [[between becoming->between-becoming]] something both of the here and now and the [[theatre of home->home]]. I know now that my life is complete and that [[there will be wine->wine]]. How about a [[glass of prosecco->Prosecco]]?</p></div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Play-doh Power</div>
<div class="placard">
//Adriana Minu
video, stereo audio, 2021
Duration: 35 minutes
Entanglement of Play-doh with four improvisers. Always in relation.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Dz96YXgl7CMU4MYtjA47aSkBI0vBBrHx/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>Oh what [[glory->Glory]] this [[eternal flower->eternal flowers]] of playful squishiness. I am [[burnt to the core->burnt1]], deeply moved and in awe. This play-doh was [[between becoming->between-becoming]] something both of the here and now and the [[theatre of home->home]]. I know now that my life is complete and that [[there will be wine->wine]]. How about a [[glass of prosecco->Prosecco]]?</p></div><</if>><<if $prosecco is "5">><div class="bigtext">Play-doh Power</div>
<div class="placard">
//Adriana Minu
video, stereo audio, 2021
Duration: 35 minutes
Entanglement of Play-doh with four improvisers. Always in relation.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Dz96YXgl7CMU4MYtjA47aSkBI0vBBrHx/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<p>Oh what [[glory->Glory]] this [[eternal flower->eternal flowers]] of playful squishiness. I am [[burnt to the core->burnt1]], deeply moved and in awe. This play-doh was [[between becoming->between-becoming]] something both of the here and now and the [[theatre of home->home]]. I know now that my life is complete and that [[there will be wine->wine]]. How about a [[glass of prosecco->Prosecco]]?</p><</if>>
<<if $prosecco is "0">><div class="bigtext">Singing in The Hotel Dilettante</div>
<div class="placard">//Raymond MacDonald
Card and acrylic, A4 X 10, 2021
10 Graphic Scores for Small ensemble
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9081.jpg"/>
<img height="75%" width="75%" src="image/raymond/IMG_9082.jpg"/></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ANbHlGBaiW_BkhJX_Ro-2uZavHPs_rNa/preview" width="1080" height="720" allow="autoplay"></iframe></div>
A piece of your best advice: If you can’t leave in a taxi leave in a huff and if a huff is too soon leave in a minute and a huff.
Do you have detached or attached earlobes? They are detachable
Salty or sweet? Swalty
Your biggest fear: I actually have an intense all-consuming phobia of German sausages. But I always fear the wurst.
Your smallest fear: These answers all looks ridiculous//</div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9083.jpg"/>
<<linkreplace "Click for a pleasant and supportive message from Raymond">>You are incredible and brimming with ideas!<</linkreplace>>
<<linkreplace "Click for an individual experience with Raymond">>Can you roll me a [[cigarette?->mariaspace]]<</linkreplace>></div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9228.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9229.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9230.JPG"/></div>
[[Go drinking with Raymond?->go drinking with Raymond MacDonald]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9231.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9232.JPG"/></div>
Raymond MacDonald is my favourite artist, I must see him play that Sax! Take me to [[Saadet’s performance->saadet]] or [[Watching Paint Dry->wpd]] or [[Theatre of Home->home]]
Graphic scores. [[MORE MORE MORE!!! ->Animations]]
Painting scores [[MORE MORE MORE!!! ->wpd]]
More Raymond MacDonald, PLEASE!!! Take me to [[Between Becoming->between-becoming]]
Wow Raymond MacDonald is so amazing, is there anything he can’t do? I hear he runs the Glasgow Improvisers Orchestra, take me to [[GIO live at Analix->giolive]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9233.JPG"/></div>
<<linkreplace "Thank you Raymond for making an honest doctor out of Brice Catherin.">><div class="centred"><img height="75%" width="75%" src="image/raymond/graduation brice.png"/></div><</linkreplace>><</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Singing in The Hotel Dilettante</div>
<div class="placard">//Raymond MacDonald
Card and acrylic, A4 X 10, 2021
10 Graphic Scores for Small ensemble
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9081.jpg"/>
<img height="75%" width="75%" src="image/raymond/IMG_9082.jpg"/></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ANbHlGBaiW_BkhJX_Ro-2uZavHPs_rNa/preview" width="1080" height="720" allow="autoplay"></iframe></div>
A piece of your best advice: If you can’t leave in a taxi leave in a huff and if a huff is too soon leave in a minute and a huff.
Do you have detached or attached earlobes? They are detachable
Salty or sweet? Swalty
Your biggest fear: I actually have an intense all-consuming phobia of German sausages. But I always fear the wurst.
Your smallest fear: These answers all looks ridiculous//</div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9083.jpg"/>
<<linkreplace "Click for a pleasant and supportive message from Raymond">>You are incredible and brimming with ideas!<</linkreplace>>
<<linkreplace "Click for an individual experience with Raymond">>Can you roll me a [[cigarette?->mariaspace]]<</linkreplace>></div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9228.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9229.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9230.JPG"/></div>
[[Go drinking with Raymond?->go drinking with Raymond MacDonald]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9231.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9232.JPG"/></div>
Raymond MacDonald is my favourite artist, I must see him play that Sax! Take me to [[Saadet’s performance->saadet]] or [[Watching Paint Dry->wpd]] or [[Theatre of Home->home]]
Graphic scores. [[MORE MORE MORE!!! ->Animations]]
Painting scores [[MORE MORE MORE!!! ->wpd]]
More Raymond MacDonald, PLEASE!!! Take me to [[Between Becoming->between-becoming]]
Wow Raymond MacDonald is so amazing, is there anything he can’t do? I hear he runs the Glasgow Improvisers Orchestra, take me to [[GIO live at Analix->giolive]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9233.JPG"/></div>
<<linkreplace "Thank you Raymond for making an honest doctor out of Brice Catherin.">><div class="centred"><img height="75%" width="75%" src="image/raymond/graduation brice.png"/></div><</linkreplace>></div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Singing in The Hotel Dilettante</div>
<div class="placard">//Raymond MacDonald
Card and acrylic, A4 X 10, 2021
10 Graphic Scores for Small ensemble
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9081.jpg"/>
<img height="75%" width="75%" src="image/raymond/IMG_9082.jpg"/></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ANbHlGBaiW_BkhJX_Ro-2uZavHPs_rNa/preview" width="1080" height="720" allow="autoplay"></iframe></div>
A piece of your best advice: If you can’t leave in a taxi leave in a huff and if a huff is too soon leave in a minute and a huff.
Do you have detached or attached earlobes? They are detachable
Salty or sweet? Swalty
Your biggest fear: I actually have an intense all-consuming phobia of German sausages. But I always fear the wurst.
Your smallest fear: These answers all looks ridiculous//</div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9083.jpg"/>
<<linkreplace "Click for a pleasant and supportive message from Raymond">>You are incredible and brimming with ideas!<</linkreplace>>
<<linkreplace "Click for an individual experience with Raymond">>Can you roll me a [[cigarette?->mariaspace]]<</linkreplace>></div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9228.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9229.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9230.JPG"/></div>
[[Go drinking with Raymond?->go drinking with Raymond MacDonald]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9231.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9232.JPG"/></div>
Raymond MacDonald is my favourite artist, I must see him play that Sax! Take me to [[Saadet’s performance->saadet]] or [[Watching Paint Dry->wpd]] or [[Theatre of Home->home]]
Graphic scores. [[MORE MORE MORE!!! ->Animations]]
Painting scores [[MORE MORE MORE!!! ->wpd]]
More Raymond MacDonald, PLEASE!!! Take me to [[Between Becoming->between-becoming]]
Wow Raymond MacDonald is so amazing, is there anything he can’t do? I hear he runs the Glasgow Improvisers Orchestra, take me to [[GIO live at Analix->giolive]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9233.JPG"/></div>
<<linkreplace "Thank you Raymond for making an honest doctor out of Brice Catherin.">><div class="centred"><img height="75%" width="75%" src="image/raymond/graduation brice.png"/></div><</linkreplace>></div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Singing in The Hotel Dilettante</div>
<div class="placard">//Raymond MacDonald
Card and acrylic, A4 X 10, 2021
10 Graphic Scores for Small ensemble
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9081.jpg"/>
<img height="75%" width="75%" src="image/raymond/IMG_9082.jpg"/></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ANbHlGBaiW_BkhJX_Ro-2uZavHPs_rNa/preview" width="1080" height="720" allow="autoplay"></iframe></div>
A piece of your best advice: If you can’t leave in a taxi leave in a huff and if a huff is too soon leave in a minute and a huff.
Do you have detached or attached earlobes? They are detachable
Salty or sweet? Swalty
Your biggest fear: I actually have an intense all-consuming phobia of German sausages. But I always fear the wurst.
Your smallest fear: These answers all looks ridiculous//</div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9083.jpg"/>
<<linkreplace "Click for a pleasant and supportive message from Raymond">>You are incredible and brimming with ideas!<</linkreplace>>
<<linkreplace "Click for an individual experience with Raymond">>Can you roll me a [[cigarette?->mariaspace]]<</linkreplace>></div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9228.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9229.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9230.JPG"/></div>
[[Go drinking with Raymond?->go drinking with Raymond MacDonald]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9231.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9232.JPG"/></div>
Raymond MacDonald is my favourite artist, I must see him play that Sax! Take me to [[Saadet’s performance->saadet]] or [[Watching Paint Dry->wpd]] or [[Theatre of Home->home]]
Graphic scores. [[MORE MORE MORE!!! ->Animations]]
Painting scores [[MORE MORE MORE!!! ->wpd]]
More Raymond MacDonald, PLEASE!!! Take me to [[Between Becoming->between-becoming]]
Wow Raymond MacDonald is so amazing, is there anything he can’t do? I hear he runs the Glasgow Improvisers Orchestra, take me to [[GIO live at Analix->giolive]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9233.JPG"/></div>
<<linkreplace "Thank you Raymond for making an honest doctor out of Brice Catherin.">><div class="centred"><img height="75%" width="75%" src="image/raymond/graduation brice.png"/></div><</linkreplace>></div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Singing in The Hotel Dilettante</div>
<div class="placard">//Raymond MacDonald
Card and acrylic, A4 X 10, 2021
10 Graphic Scores for Small ensemble
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9081.jpg"/>
<img height="75%" width="75%" src="image/raymond/IMG_9082.jpg"/></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ANbHlGBaiW_BkhJX_Ro-2uZavHPs_rNa/preview" width="1080" height="720" allow="autoplay"></iframe></div>
A piece of your best advice: If you can’t leave in a taxi leave in a huff and if a huff is too soon leave in a minute and a huff.
Do you have detached or attached earlobes? They are detachable
Salty or sweet? Swalty
Your biggest fear: I actually have an intense all-consuming phobia of German sausages. But I always fear the wurst.
Your smallest fear: These answers all looks ridiculous//</div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9083.jpg"/>
<<linkreplace "Click for a pleasant and supportive message from Raymond">>You are incredible and brimming with ideas!<</linkreplace>>
<<linkreplace "Click for an individual experience with Raymond">>Can you roll me a [[cigarette?->mariaspace]]<</linkreplace>></div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9228.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9229.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9230.JPG"/></div>
[[Go drinking with Raymond?->go drinking with Raymond MacDonald]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9231.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9232.JPG"/></div>
Raymond MacDonald is my favourite artist, I must see him play that Sax! Take me to [[Saadet’s performance->saadet]] or [[Watching Paint Dry->wpd]] or [[Theatre of Home->home]]
Graphic scores. [[MORE MORE MORE!!! ->Animations]]
Painting scores [[MORE MORE MORE!!! ->wpd]]
More Raymond MacDonald, PLEASE!!! Take me to [[Between Becoming->between-becoming]]
Wow Raymond MacDonald is so amazing, is there anything he can’t do? I hear he runs the Glasgow Improvisers Orchestra, take me to [[GIO live at Analix->giolive]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9233.JPG"/></div>
<<linkreplace "Thank you Raymond for making an honest doctor out of Brice Catherin.">><div class="centred"><img height="75%" width="75%" src="image/raymond/graduation brice.png"/></div><</linkreplace>></div><</if>><<if $prosecco is "5">><div class="bigtext">Singing in The Hotel Dilettante</div>
<div class="placard">//Raymond MacDonald
Card and acrylic, A4 X 10, 2021
10 Graphic Scores for Small ensemble
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9081.jpg"/>
<img height="75%" width="75%" src="image/raymond/IMG_9082.jpg"/></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1ANbHlGBaiW_BkhJX_Ro-2uZavHPs_rNa/preview" width="1080" height="720" allow="autoplay"></iframe></div>
A piece of your best advice: If you can’t leave in a taxi leave in a huff and if a huff is too soon leave in a minute and a huff.
Do you have detached or attached earlobes? They are detachable
Salty or sweet? Swalty
Your biggest fear: I actually have an intense all-consuming phobia of German sausages. But I always fear the wurst.
Your smallest fear: These answers all looks ridiculous//</div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9083.jpg"/>
<<linkreplace "Click for a pleasant and supportive message from Raymond">>You are incredible and brimming with ideas!<</linkreplace>>
<<linkreplace "Click for an individual experience with Raymond">>Can you roll me a [[cigarette?->mariaspace]]<</linkreplace>></div>
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9228.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9229.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9230.JPG"/></div>
[[Go drinking with Raymond?->go drinking with Raymond MacDonald]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9231.JPG"/>
<img height="75%" width="75%" src="image/raymond/IMG_9232.JPG"/></div>
Raymond MacDonald is my favourite artist, I must see him play that Sax! Take me to [[Saadet’s performance->saadet]] or [[Watching Paint Dry->wpd]] or [[Theatre of Home->home]]
Graphic scores. [[MORE MORE MORE!!! ->Animations]]
Painting scores [[MORE MORE MORE!!! ->wpd]]
More Raymond MacDonald, PLEASE!!! Take me to [[Between Becoming->between-becoming]]
Wow Raymond MacDonald is so amazing, is there anything he can’t do? I hear he runs the Glasgow Improvisers Orchestra, take me to [[GIO live at Analix->giolive]]
<div class="centred"><img height="75%" width="75%" src="image/raymond/IMG_9233.JPG"/></div>
<<linkreplace "Thank you Raymond for making an honest doctor out of Brice Catherin.">><div class="centred"><img height="75%" width="75%" src="image/raymond/graduation brice.png"/></div><</linkreplace>><</if>><<if $prosecco is "0">><div class="bigtext">Patched</div>
<div class="placard">
//Maria Sappho
embroidery thread, Aida, 2021//
Set of 4 embroidered images are thread copies of artworks influential and important to the venerable Noisebringers.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9004.jpg"></div>
The abundant house of Sappho: copy of Sappho (1877) by Charles Mengin, notably present in the seminal Noisebringer digital pandemic work Will I enjoy COVID 19 if I haven’t watched the first eighteen? (2020). Brice Catherin first brought Maria this painting of Sappho in the form of a postcard he picked up in the Manchester museum where the original painting is exhibited. Maria has since also turned the image into an illusion knit (similar to The Illusion of Noise (2021) also exhibited in this gallery. As the Sappho illusion is 5 foot tall (the height of Maria herself) it was too big to bring to Switzerland.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9001.jpg"></div>
Venus in thread: copy of The Veiled Venus (1900) by Kühne Beveridge and Ella von Wrede, notably present on the Noiserbingers Huddersfield tour poster for Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning. A concert presented at the Capitalist Realism 10 years on Conference (2020), of which Maria was the only attending physical female speaker. She enjoyed her token role on the all-male panel which self-importantly discussed the collapse of humanity and late stage capitalism. Kühne Beveridge is also critical to the Things I read on Wikipedia (2020), by Brice Catherin, as seen performed in The Abusers of Power United Will Never be Defeated (2020), by the Noisebrigners, Colin Frank and Weston Olencki.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9006.jpg"></div>
Noise in thread: A copy of the painting Arion riding on a Dolphin by Francesco Bianchi Ferrari (1509-1510) and further augmented by the eminent artist Brice Catherin (2020). Notably present on the cover of the Noisebringers first intermedia album Will you Marry Us? (2020). You are currently standing in the second intermedia album Is the New Punk (2021). It is also (if you have not noticed) the subject of The Illusion of Noise, also exhibited here.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9002.jpg"></div>
Tinnitus: Copy of Jael and Sisera by Artemisia Gentileschi (1620) notably present on the debutant concert poster of the Noisebringers first concert in 2019. The image is famous for its role in the now infamous Poster Gate (see Noisebringers book for further reading on this historic moment). Brice Catherin also owns a t-shirt with this image, except it’s actually Judith slaying Holofernes by the same Artemisia Gentileschi.//
a piece of your best advice: //If you accidentally spill nuclear waste, or drop your tank of radiation... plant mushrooms. //
Do you have detached or attached earlobes? //Detached //
Salty or sweet? //Buttered //
Your biggest fear: //dots //
Your smallest fear:// Poster Gate
</div>
<<linkreplace "Why Gentileschi?">>
<div class="centred"><img height="90%" width="90%" src="image/beacuse.jpg"/></div><</linkreplace>>
<<linkreplace "What happened at Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning?">><div class="centred"><img height="90%" width="90%" src="image/practicalimprovisatio.jpg"/></div><</linkreplace>>
Is there more abundance in the abundant house of Sappho? Take me to the [[Abundant House of Sappho->sappho]]!!!
I love Francesco Bianchi Ferrari, do you have more? Take me to [[The Illusion of Noise->noise]]
I want more Sappho, more more more!!!!! Take me to [[Fragment#51 from Reading Poetry series->fragment51]]
What is Postergate? Take me to the [[Noisebringers Samples->novel]]
More aida!!!! Take me to [[Rotting Fruits->rotting]]
<<if $name is "Maria">>
Help me, I need [[a drink->mariaspace]]
I’m tired of making decisions, take me [[anywhere->random page]]<</if>><</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Patched</div>
<div class="placard">
//Maria Sappho
embroidery thread, Aida, 2021//
Set of 4 embroidered images are thread copies of artworks influential and important to the venerable Noisebringers.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9004.jpg"></div>
The abundant house of Sappho: copy of Sappho (1877) by Charles Mengin, notably present in the seminal Noisebringer digital pandemic work Will I enjoy COVID 19 if I haven’t watched the first eighteen? (2020). Brice Catherin first brought Maria this painting of Sappho in the form of a postcard he picked up in the Manchester museum where the original painting is exhibited. Maria has since also turned the image into an illusion knit (similar to The Illusion of Noise (2021) also exhibited in this gallery. As the Sappho illusion is 5 foot tall (the height of Maria herself) it was too big to bring to Switzerland.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9001.jpg"></div>
Venus in thread: copy of The Veiled Venus (1900) by Kühne Beveridge and Ella von Wrede, notably present on the Noiserbingers Huddersfield tour poster for Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning. A concert presented at the Capitalist Realism 10 years on Conference (2020), of which Maria was the only attending physical female speaker. She enjoyed her token role on the all-male panel which self-importantly discussed the collapse of humanity and late stage capitalism. Kühne Beveridge is also critical to the Things I read on Wikipedia (2020), by Brice Catherin, as seen performed in The Abusers of Power United Will Never be Defeated (2020), by the Noisebrigners, Colin Frank and Weston Olencki.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9006.jpg"></div>
Noise in thread: A copy of the painting Arion riding on a Dolphin by Francesco Bianchi Ferrari (1509-1510) and further augmented by the eminent artist Brice Catherin (2020). Notably present on the cover of the Noisebringers first intermedia album Will you Marry Us? (2020). You are currently standing in the second intermedia album Is the New Punk (2021). It is also (if you have not noticed) the subject of The Illusion of Noise, also exhibited here.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9002.jpg"></div>
Tinnitus: Copy of Jael and Sisera by Artemisia Gentileschi (1620) notably present on the debutant concert poster of the Noisebringers first concert in 2019. The image is famous for its role in the now infamous Poster Gate (see Noisebringers book for further reading on this historic moment). Brice Catherin also owns a t-shirt with this image, except it’s actually Judith slaying Holofernes by the same Artemisia Gentileschi.//
a piece of your best advice: //If you accidentally spill nuclear waste, or drop your tank of radiation... plant mushrooms. //
Do you have detached or attached earlobes? //Detached //
Salty or sweet? //Buttered //
Your biggest fear: //dots //
Your smallest fear:// Poster Gate
</div>
<<linkreplace "Why Gentileschi?">>
<div class="centred"><img height="90%" width="90%" src="image/beacuse.jpg"/></div><</linkreplace>>
<<linkreplace "What happened at Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning?">><div class="centred"><img height="90%" width="90%" src="image/practicalimprovisatio.jpg"/></div><</linkreplace>>
Is there more abundance in the abundant house of Sappho? Take me to the [[Abundant House of Sappho->sappho]]!!!
I love Francesco Bianchi Ferrari, do you have more? Take me to [[The Illusion of Noise->noise]]
I want more Sappho, more more more!!!!! Take me to [[Fragment#51 from Reading Poetry series->fragment51]]
What is Postergate? Take me to the [[Noisebringers Samples->novel]]
More aida!!!! Take me to [[Rotting Fruits->rotting]]
<<if $name is "Maria">>
Help me, I need [[a drink->mariaspace]]
I’m tired of making decisions, take me [[anywhere->random page]]<</if>></div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Patched</div>
<div class="placard">
//Maria Sappho
embroidery thread, Aida, 2021//
Set of 4 embroidered images are thread copies of artworks influential and important to the venerable Noisebringers.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9004.jpg"></div>
The abundant house of Sappho: copy of Sappho (1877) by Charles Mengin, notably present in the seminal Noisebringer digital pandemic work Will I enjoy COVID 19 if I haven’t watched the first eighteen? (2020). Brice Catherin first brought Maria this painting of Sappho in the form of a postcard he picked up in the Manchester museum where the original painting is exhibited. Maria has since also turned the image into an illusion knit (similar to The Illusion of Noise (2021) also exhibited in this gallery. As the Sappho illusion is 5 foot tall (the height of Maria herself) it was too big to bring to Switzerland.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9001.jpg"></div>
Venus in thread: copy of The Veiled Venus (1900) by Kühne Beveridge and Ella von Wrede, notably present on the Noiserbingers Huddersfield tour poster for Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning. A concert presented at the Capitalist Realism 10 years on Conference (2020), of which Maria was the only attending physical female speaker. She enjoyed her token role on the all-male panel which self-importantly discussed the collapse of humanity and late stage capitalism. Kühne Beveridge is also critical to the Things I read on Wikipedia (2020), by Brice Catherin, as seen performed in The Abusers of Power United Will Never be Defeated (2020), by the Noisebrigners, Colin Frank and Weston Olencki.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9006.jpg"></div>
Noise in thread: A copy of the painting Arion riding on a Dolphin by Francesco Bianchi Ferrari (1509-1510) and further augmented by the eminent artist Brice Catherin (2020). Notably present on the cover of the Noisebringers first intermedia album Will you Marry Us? (2020). You are currently standing in the second intermedia album Is the New Punk (2021). It is also (if you have not noticed) the subject of The Illusion of Noise, also exhibited here.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9002.jpg"></div>
Tinnitus: Copy of Jael and Sisera by Artemisia Gentileschi (1620) notably present on the debutant concert poster of the Noisebringers first concert in 2019. The image is famous for its role in the now infamous Poster Gate (see Noisebringers book for further reading on this historic moment). Brice Catherin also owns a t-shirt with this image, except it’s actually Judith slaying Holofernes by the same Artemisia Gentileschi.//
a piece of your best advice: //If you accidentally spill nuclear waste, or drop your tank of radiation... plant mushrooms. //
Do you have detached or attached earlobes? //Detached //
Salty or sweet? //Buttered //
Your biggest fear: //dots //
Your smallest fear:// Poster Gate
</div>
<<linkreplace "Why Gentileschi?">>
<div class="centred"><img height="90%" width="90%" src="image/beacuse.jpg"/></div><</linkreplace>>
<<linkreplace "What happened at Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning?">><div class="centred"><img height="90%" width="90%" src="image/practicalimprovisatio.jpg"/></div><</linkreplace>>
Is there more abundance in the abundant house of Sappho? Take me to the [[Abundant House of Sappho->sappho]]!!!
I love Francesco Bianchi Ferrari, do you have more? Take me to [[The Illusion of Noise->noise]]
I want more Sappho, more more more!!!!! Take me to [[Fragment#51 from Reading Poetry series->fragment51]]
What is Postergate? Take me to the [[Noisebringers Samples->novel]]
More aida!!!! Take me to [[Rotting Fruits->rotting]]
<<if $name is "Maria">>
Help me, I need [[a drink->mariaspace]]
I’m tired of making decisions, take me [[anywhere->random page]]<</if>></div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Patched</div>
<div class="placard">
//Maria Sappho
embroidery thread, Aida, 2021//
Set of 4 embroidered images are thread copies of artworks influential and important to the venerable Noisebringers.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9004.jpg"></div>
The abundant house of Sappho: copy of Sappho (1877) by Charles Mengin, notably present in the seminal Noisebringer digital pandemic work Will I enjoy COVID 19 if I haven’t watched the first eighteen? (2020). Brice Catherin first brought Maria this painting of Sappho in the form of a postcard he picked up in the Manchester museum where the original painting is exhibited. Maria has since also turned the image into an illusion knit (similar to The Illusion of Noise (2021) also exhibited in this gallery. As the Sappho illusion is 5 foot tall (the height of Maria herself) it was too big to bring to Switzerland.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9001.jpg"></div>
Venus in thread: copy of The Veiled Venus (1900) by Kühne Beveridge and Ella von Wrede, notably present on the Noiserbingers Huddersfield tour poster for Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning. A concert presented at the Capitalist Realism 10 years on Conference (2020), of which Maria was the only attending physical female speaker. She enjoyed her token role on the all-male panel which self-importantly discussed the collapse of humanity and late stage capitalism. Kühne Beveridge is also critical to the Things I read on Wikipedia (2020), by Brice Catherin, as seen performed in The Abusers of Power United Will Never be Defeated (2020), by the Noisebrigners, Colin Frank and Weston Olencki.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9006.jpg"></div>
Noise in thread: A copy of the painting Arion riding on a Dolphin by Francesco Bianchi Ferrari (1509-1510) and further augmented by the eminent artist Brice Catherin (2020). Notably present on the cover of the Noisebringers first intermedia album Will you Marry Us? (2020). You are currently standing in the second intermedia album Is the New Punk (2021). It is also (if you have not noticed) the subject of The Illusion of Noise, also exhibited here.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9002.jpg"></div>
Tinnitus: Copy of Jael and Sisera by Artemisia Gentileschi (1620) notably present on the debutant concert poster of the Noisebringers first concert in 2019. The image is famous for its role in the now infamous Poster Gate (see Noisebringers book for further reading on this historic moment). Brice Catherin also owns a t-shirt with this image, except it’s actually Judith slaying Holofernes by the same Artemisia Gentileschi.//
a piece of your best advice: //If you accidentally spill nuclear waste, or drop your tank of radiation... plant mushrooms. //
Do you have detached or attached earlobes? //Detached //
Salty or sweet? //Buttered //
Your biggest fear: //dots //
Your smallest fear:// Poster Gate
</div>
<<linkreplace "Why Gentileschi?">>
<div class="centred"><img height="90%" width="90%" src="image/beacuse.jpg"/></div><</linkreplace>>
<<linkreplace "What happened at Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning?">><div class="centred"><img height="90%" width="90%" src="image/practicalimprovisatio.jpg"/></div><</linkreplace>>
Is there more abundance in the abundant house of Sappho? Take me to the [[Abundant House of Sappho->sappho]]!!!
I love Francesco Bianchi Ferrari, do you have more? Take me to [[The Illusion of Noise->noise]]
I want more Sappho, more more more!!!!! Take me to [[Fragment#51 from Reading Poetry series->fragment51]]
What is Postergate? Take me to the [[Noisebringers Samples->novel]]
More aida!!!! Take me to [[Rotting Fruits->rotting]]
<<if $name is "Maria">>
Help me, I need [[a drink->mariaspace]]
I’m tired of making decisions, take me [[anywhere->random page]]<</if>></div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Patched</div>
<div class="placard">
//Maria Sappho
embroidery thread, Aida, 2021//
Set of 4 embroidered images are thread copies of artworks influential and important to the venerable Noisebringers.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9004.jpg"></div>
The abundant house of Sappho: copy of Sappho (1877) by Charles Mengin, notably present in the seminal Noisebringer digital pandemic work Will I enjoy COVID 19 if I haven’t watched the first eighteen? (2020). Brice Catherin first brought Maria this painting of Sappho in the form of a postcard he picked up in the Manchester museum where the original painting is exhibited. Maria has since also turned the image into an illusion knit (similar to The Illusion of Noise (2021) also exhibited in this gallery. As the Sappho illusion is 5 foot tall (the height of Maria herself) it was too big to bring to Switzerland.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9001.jpg"></div>
Venus in thread: copy of The Veiled Venus (1900) by Kühne Beveridge and Ella von Wrede, notably present on the Noiserbingers Huddersfield tour poster for Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning. A concert presented at the Capitalist Realism 10 years on Conference (2020), of which Maria was the only attending physical female speaker. She enjoyed her token role on the all-male panel which self-importantly discussed the collapse of humanity and late stage capitalism. Kühne Beveridge is also critical to the Things I read on Wikipedia (2020), by Brice Catherin, as seen performed in The Abusers of Power United Will Never be Defeated (2020), by the Noisebrigners, Colin Frank and Weston Olencki.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9006.jpg"></div>
Noise in thread: A copy of the painting Arion riding on a Dolphin by Francesco Bianchi Ferrari (1509-1510) and further augmented by the eminent artist Brice Catherin (2020). Notably present on the cover of the Noisebringers first intermedia album Will you Marry Us? (2020). You are currently standing in the second intermedia album Is the New Punk (2021). It is also (if you have not noticed) the subject of The Illusion of Noise, also exhibited here.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9002.jpg"></div>
Tinnitus: Copy of Jael and Sisera by Artemisia Gentileschi (1620) notably present on the debutant concert poster of the Noisebringers first concert in 2019. The image is famous for its role in the now infamous Poster Gate (see Noisebringers book for further reading on this historic moment). Brice Catherin also owns a t-shirt with this image, except it’s actually Judith slaying Holofernes by the same Artemisia Gentileschi.//
a piece of your best advice: //If you accidentally spill nuclear waste, or drop your tank of radiation... plant mushrooms. //
Do you have detached or attached earlobes? //Detached //
Salty or sweet? //Buttered //
Your biggest fear: //dots //
Your smallest fear:// Poster Gate
</div>
<<linkreplace "Why Gentileschi?">>
<div class="centred"><img height="90%" width="90%" src="image/beacuse.jpg"/></div><</linkreplace>>
<<linkreplace "What happened at Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning?">><div class="centred"><img height="90%" width="90%" src="image/practicalimprovisatio.jpg"/></div><</linkreplace>>
Is there more abundance in the abundant house of Sappho? Take me to the [[Abundant House of Sappho->sappho]]!!!
I love Francesco Bianchi Ferrari, do you have more? Take me to [[The Illusion of Noise->noise]]
I want more Sappho, more more more!!!!! Take me to [[Fragment#51 from Reading Poetry series->fragment51]]
What is Postergate? Take me to the [[Noisebringers Samples->novel]]
More aida!!!! Take me to [[Rotting Fruits->rotting]]
<<if $name is "Maria">>
Help me, I need [[a drink->mariaspace]]
I’m tired of making decisions, take me [[anywhere->random page]]<</if>></div><</if>><<if $prosecco is "5">><div class="bigtext">Patched</div>
<div class="placard">
//Maria Sappho
embroidery thread, Aida, 2021//
Set of 4 embroidered images are thread copies of artworks influential and important to the venerable Noisebringers.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9004.jpg"></div>
The abundant house of Sappho: copy of Sappho (1877) by Charles Mengin, notably present in the seminal Noisebringer digital pandemic work Will I enjoy COVID 19 if I haven’t watched the first eighteen? (2020). Brice Catherin first brought Maria this painting of Sappho in the form of a postcard he picked up in the Manchester museum where the original painting is exhibited. Maria has since also turned the image into an illusion knit (similar to The Illusion of Noise (2021) also exhibited in this gallery. As the Sappho illusion is 5 foot tall (the height of Maria herself) it was too big to bring to Switzerland.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9001.jpg"></div>
Venus in thread: copy of The Veiled Venus (1900) by Kühne Beveridge and Ella von Wrede, notably present on the Noiserbingers Huddersfield tour poster for Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning. A concert presented at the Capitalist Realism 10 years on Conference (2020), of which Maria was the only attending physical female speaker. She enjoyed her token role on the all-male panel which self-importantly discussed the collapse of humanity and late stage capitalism. Kühne Beveridge is also critical to the Things I read on Wikipedia (2020), by Brice Catherin, as seen performed in The Abusers of Power United Will Never be Defeated (2020), by the Noisebrigners, Colin Frank and Weston Olencki.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9006.jpg"></div>
Noise in thread: A copy of the painting Arion riding on a Dolphin by Francesco Bianchi Ferrari (1509-1510) and further augmented by the eminent artist Brice Catherin (2020). Notably present on the cover of the Noisebringers first intermedia album Will you Marry Us? (2020). You are currently standing in the second intermedia album Is the New Punk (2021). It is also (if you have not noticed) the subject of The Illusion of Noise, also exhibited here.
<div class="centred"><img height="75%" width="75%" src="image/patched/IMG_9002.jpg"></div>
Tinnitus: Copy of Jael and Sisera by Artemisia Gentileschi (1620) notably present on the debutant concert poster of the Noisebringers first concert in 2019. The image is famous for its role in the now infamous Poster Gate (see Noisebringers book for further reading on this historic moment). Brice Catherin also owns a t-shirt with this image, except it’s actually Judith slaying Holofernes by the same Artemisia Gentileschi.//
a piece of your best advice: //If you accidentally spill nuclear waste, or drop your tank of radiation... plant mushrooms. //
Do you have detached or attached earlobes? //Detached //
Salty or sweet? //Buttered //
Your biggest fear: //dots //
Your smallest fear:// Poster Gate
</div>
<<linkreplace "Why Gentileschi?">>
<div class="centred"><img height="90%" width="90%" src="image/beacuse.jpg"/></div><</linkreplace>>
<<linkreplace "What happened at Practical improvisational theatre techniques for trainers and managers to enhance creativity, teamwork, leadership and learning?">><div class="centred"><img height="90%" width="90%" src="image/practicalimprovisatio.jpg"/></div><</linkreplace>>
Is there more abundance in the abundant house of Sappho? Take me to the [[Abundant House of Sappho->sappho]]!!!
I love Francesco Bianchi Ferrari, do you have more? Take me to [[The Illusion of Noise->noise]]
I want more Sappho, more more more!!!!! Take me to [[Fragment#51 from Reading Poetry series->fragment51]]
What is Postergate? Take me to the [[Noisebringers Samples->novel]]
More aida!!!! Take me to [[Rotting Fruits->rotting]]
<<if $name is "Maria">>
Help me, I need [[a drink->mariaspace]]
I’m tired of making decisions, take me [[anywhere->random page]]<</if>><</if>>
<<if $prosecco is "0">><div class="bigtext">Rotting Fruit Still Life (Apples, Bananas, Oranges)</div>
<div class="placard">//Colin Frank
14 Count Aida fabric, cotton and polyester embroidery thread, 11cm x 44.5cm; 20cm x 25cm; 12.5cm x 23cm, 2021//
This series of cross-stitched fruits simultaneously subverts an age old craft while articulating memento mori for the non-human world. The still life genre, considered lowly during the 17th century because of its lack of human subjects, is elevated here to emphasise the material world’s agency and vibrancy. This is explicitly evident in the rich and often garish colour combinations. By way of converting such iconic foods of home communal areas into mutated pointillistic tapestry, ultimately human-centric actions of negligence are foregrounded.
a piece of your best advice: Avoid sitting on lawn chairs after severe rain, unless you’ve properly whipped them down.
Do you have detached or attached earlobes? Detached.
Salty or sweet? Both simultaneously.
Your biggest fear: Getting trapped on a never-ending jumbo jet plane ride.
Your smallest fear: Being elected as Canada’s prime minister.</div>
<div class="centred"><img height="75%" width="75%" src="image/fruit/apples.JPG">
<img height="75%" width="75%" src="image/fruit/bannanas.JPG">
<img height="75%" width="75%" src="image/fruit/oranges.jpg"></div>
Without a tapestry of rotting fruit, where would our world be? But [[anyways->Anyways]] take me to more of prime minister Frank’s work, or some more tapestries, preferably this time about the [[noisebringers->patched]].
Or no, maybe now I am in a placated mood, lets read some [[poetry ->rn]] or some [[classic literature ->novel]] and dream of [[eternal flowers]].<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Rotting Fruit Still Life (Apples, Bananas, Oranges)</div>
<div class="placard">//Colin Frank
14 Count Aida fabric, cotton and polyester embroidery thread, 11cm x 44.5cm; 20cm x 25cm; 12.5cm x 23cm, 2021//
This series of cross-stitched fruits simultaneously subverts an age old craft while articulating memento mori for the non-human world. The still life genre, considered lowly during the 17th century because of its lack of human subjects, is elevated here to emphasise the material world’s agency and vibrancy. This is explicitly evident in the rich and often garish colour combinations. By way of converting such iconic foods of home communal areas into mutated pointillistic tapestry, ultimately human-centric actions of negligence are foregrounded.
a piece of your best advice: Avoid sitting on lawn chairs after severe rain, unless you’ve properly whipped them down.
Do you have detached or attached earlobes? Detached.
Salty or sweet? Both simultaneously.
Your biggest fear: Getting trapped on a never-ending jumbo jet plane ride.
Your smallest fear: Being elected as Canada’s prime minister.</div>
<div class="centred"><img height="75%" width="75%" src="image/fruit/apples.JPG">
<img height="75%" width="75%" src="image/fruit/bannanas.JPG">
<img height="75%" width="75%" src="image/fruit/oranges.jpg"></div>
Without a tapestry of rotting fruit, where would our world be? But [[anyways->Anyways]] take me to more of prime minister Frank’s work, or some more tapestries, preferably this time about the [[noisebringers->patched]].
Or no, maybe now I am in a placated mood, lets read some [[poetry ->rn]] or some [[classic literature ->novel]] and dream of [[eternal flowers]].
</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Rotting Fruit Still Life (Apples, Bananas, Oranges)</div>
<div class="placard">//Colin Frank
14 Count Aida fabric, cotton and polyester embroidery thread, 11cm x 44.5cm; 20cm x 25cm; 12.5cm x 23cm, 2021//
This series of cross-stitched fruits simultaneously subverts an age old craft while articulating memento mori for the non-human world. The still life genre, considered lowly during the 17th century because of its lack of human subjects, is elevated here to emphasise the material world’s agency and vibrancy. This is explicitly evident in the rich and often garish colour combinations. By way of converting such iconic foods of home communal areas into mutated pointillistic tapestry, ultimately human-centric actions of negligence are foregrounded.
a piece of your best advice: Avoid sitting on lawn chairs after severe rain, unless you’ve properly whipped them down.
Do you have detached or attached earlobes? Detached.
Salty or sweet? Both simultaneously.
Your biggest fear: Getting trapped on a never-ending jumbo jet plane ride.
Your smallest fear: Being elected as Canada’s prime minister.</div>
<div class="centred"><img height="75%" width="75%" src="image/fruit/apples.JPG">
<img height="75%" width="75%" src="image/fruit/bannanas.JPG">
<img height="75%" width="75%" src="image/fruit/oranges.jpg"></div>
Without a tapestry of rotting fruit, where would our world be? But [[anyways->Anyways]] take me to more of prime minister Frank’s work, or some more tapestries, preferably this time about the [[noisebringers->patched]].
Or no, maybe now I am in a placated mood, lets read some [[poetry ->rn]] or some [[classic literature ->novel]] and dream of [[eternal flowers]].
</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Rotting Fruit Still Life (Apples, Bananas, Oranges)</div>
<div class="placard">//Colin Frank
14 Count Aida fabric, cotton and polyester embroidery thread, 11cm x 44.5cm; 20cm x 25cm; 12.5cm x 23cm, 2021//
This series of cross-stitched fruits simultaneously subverts an age old craft while articulating memento mori for the non-human world. The still life genre, considered lowly during the 17th century because of its lack of human subjects, is elevated here to emphasise the material world’s agency and vibrancy. This is explicitly evident in the rich and often garish colour combinations. By way of converting such iconic foods of home communal areas into mutated pointillistic tapestry, ultimately human-centric actions of negligence are foregrounded.
a piece of your best advice: Avoid sitting on lawn chairs after severe rain, unless you’ve properly whipped them down.
Do you have detached or attached earlobes? Detached.
Salty or sweet? Both simultaneously.
Your biggest fear: Getting trapped on a never-ending jumbo jet plane ride.
Your smallest fear: Being elected as Canada’s prime minister.</div>
<div class="centred"><img height="75%" width="75%" src="image/fruit/apples.JPG">
<img height="75%" width="75%" src="image/fruit/bannanas.JPG">
<img height="75%" width="75%" src="image/fruit/oranges.jpg"></div>
Without a tapestry of rotting fruit, where would our world be? But [[anyways->Anyways]] take me to more of prime minister Frank’s work, or some more tapestries, preferably this time about the [[noisebringers->patched]].
Or no, maybe now I am in a placated mood, lets read some [[poetry ->rn]] or some [[classic literature ->novel]] and dream of [[eternal flowers]].
</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Rotting Fruit Still Life (Apples, Bananas, Oranges)</div>
<div class="placard">//Colin Frank
14 Count Aida fabric, cotton and polyester embroidery thread, 11cm x 44.5cm; 20cm x 25cm; 12.5cm x 23cm, 2021//
This series of cross-stitched fruits simultaneously subverts an age old craft while articulating memento mori for the non-human world. The still life genre, considered lowly during the 17th century because of its lack of human subjects, is elevated here to emphasise the material world’s agency and vibrancy. This is explicitly evident in the rich and often garish colour combinations. By way of converting such iconic foods of home communal areas into mutated pointillistic tapestry, ultimately human-centric actions of negligence are foregrounded.
a piece of your best advice: Avoid sitting on lawn chairs after severe rain, unless you’ve properly whipped them down.
Do you have detached or attached earlobes? Detached.
Salty or sweet? Both simultaneously.
Your biggest fear: Getting trapped on a never-ending jumbo jet plane ride.
Your smallest fear: Being elected as Canada’s prime minister.</div>
<div class="centred"><img height="75%" width="75%" src="image/fruit/apples.JPG">
<img height="75%" width="75%" src="image/fruit/bannanas.JPG">
<img height="75%" width="75%" src="image/fruit/oranges.jpg"></div>
Without a tapestry of rotting fruit, where would our world be? But [[anyways->Anyways]] take me to more of prime minister Frank’s work, or some more tapestries, preferably this time about the [[noisebringers->patched]].
Or no, maybe now I am in a placated mood, lets read some [[poetry ->rn]] or some [[classic literature ->novel]] and dream of [[eternal flowers]].
</div><</if>><<if $prosecco is "5">><div class="bigtext">Rotting Fruit Still Life (Apples, Bananas, Oranges)</div>
<div class="placard">//Colin Frank
14 Count Aida fabric, cotton and polyester embroidery thread, 11cm x 44.5cm; 20cm x 25cm; 12.5cm x 23cm, 2021//
This series of cross-stitched fruits simultaneously subverts an age old craft while articulating memento mori for the non-human world. The still life genre, considered lowly during the 17th century because of its lack of human subjects, is elevated here to emphasise the material world’s agency and vibrancy. This is explicitly evident in the rich and often garish colour combinations. By way of converting such iconic foods of home communal areas into mutated pointillistic tapestry, ultimately human-centric actions of negligence are foregrounded.
a piece of your best advice: Avoid sitting on lawn chairs after severe rain, unless you’ve properly whipped them down.
Do you have detached or attached earlobes? Detached.
Salty or sweet? Both simultaneously.
Your biggest fear: Getting trapped on a never-ending jumbo jet plane ride.
Your smallest fear: Being elected as Canada’s prime minister.</div>
<div class="centred"><img height="75%" width="75%" src="image/fruit/apples.JPG">
<img height="75%" width="75%" src="image/fruit/bannanas.JPG">
<img height="75%" width="75%" src="image/fruit/oranges.jpg"></div>
Without a tapestry of rotting fruit, where would our world be? But [[anyways->Anyways]] take me to more of prime minister Frank’s work, or some more tapestries, preferably this time about the [[noisebringers->patched]].
Or no, maybe now I am in a placated mood, lets read some [[poetry ->rn]] or some [[classic literature ->novel]] and dream of [[eternal flowers]].
<</if>>
<<if $prosecco is "0">>[[The ornithologists->orni]] catch birds with nests. [[The sound dealer->dealer]] catches sounds with small jars. The [[Directional Speakers->directional]] catch your attention with their uncanniness. But how does one catch exquisite artists the size of teenage pandas (with whom they also share their indecent cuteness) in order to study them, capture their essence and share it with both the scientific community and us the commoners? Mariabrice Sapphocatherin, after years of research, tryouts and a (modest) number of guinea pig artists who accidentally perished in the process, has figured it out. Through a collection of tasks, questions and challenges thrown at the untamed, finest (and, let’s face it, unpredictably dangerous) artists of its time, Mariabrice is now able to bring to you everything you need to know on the hidden life of our beloved world wild faiseurs d’art using
<div class="bigtext">the Mariabrice sticker album for</div>
<div class="placard">//The sticker albums available below are made by Alma Toaspern (Almus Toaspernuum) and Tori Lassman (Toria Lassmanārum).
<div class="centred"><img height="75%" width="75%" src="image/sticker/IMG_4695.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4696.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4697.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4698.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4699.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4700.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4701.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4702.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4703.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4704.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4705.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4706.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4707.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4708.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4709.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4710.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4711.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4712.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4881.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4882.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4883.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4884.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4885.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4886.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4887.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4888.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4889.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4890.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4891.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4892.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4893.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4894.jpg"></div>
And now for an interview of Mariabrice Sapphocatherin:
The Noisebringers: A piece of your best advice?
Mariabrice: Assume makes an ass out of you and me.
The Noisebringers: Do you have detached or attached earlobes?
Mariabrice: It does not have ears.
The Noisebringers: Salty or sweet?
Mariabrice: Depends on the cycle of the moon.
The Noisebringers: Your biggest fear?
Mariabrice: Gender.
The Noisebringers: Your smallest fear?
Mariabrice: Reality.
The Noisebringers: Exemplify “hilarious”.
Mariabrice: [[The Noisebringers are Conferenced about->conference]].//</div>
<</if>>
<<if $prosecco is "1">><div class="blur">[[The ornithologists->orni]] catch birds with nests. [[The sound dealer->dealer]] catches sounds with small jars. The [[Directional Speakers->directional]] catch your attention with their uncanniness. But how does one catch exquisite artists the size of teenage pandas (with whom they also share their indecent cuteness) in order to study them, capture their essence and share it with both the scientific community and us the commoners? Mariabrice Sapphocatherin, after years of research, tryouts and a (modest) number of guinea pig artists who accidentally perished in the process, has figured it out. Through a collection of tasks, questions and challenges thrown at the untamed, finest (and, let’s face it, unpredictably dangerous) artists of its time, Mariabrice is now able to bring to you everything you need to know on the hidden life of our beloved world wild faiseurs d’art using
<div class="bigtext">the Mariabrice sticker album for</div>
<div class="placard">//The sticker albums available below are made by Alma Toaspern (Almus Toaspernuum) and Tori Lassman (Toria Lassmanārum).
<div class="centred"><img height="75%" width="75%" src="image/sticker/IMG_4695.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4696.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4697.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4698.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4699.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4700.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4701.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4702.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4703.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4704.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4705.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4706.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4707.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4708.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4709.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4710.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4711.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4712.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4881.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4882.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4883.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4884.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4885.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4886.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4887.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4888.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4889.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4890.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4891.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4892.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4893.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4894.jpg"></div>
And now for an interview of Mariabrice Sapphocatherin:
The Noisebringers: A piece of your best advice?
Mariabrice: Assume makes an ass out of you and me.
The Noisebringers: Do you have detached or attached earlobes?
Mariabrice: It does not have ears.
The Noisebringers: Salty or sweet?
Mariabrice: Depends on the cycle of the moon.
The Noisebringers: Your biggest fear?
Mariabrice: Gender.
The Noisebringers: Your smallest fear?
Mariabrice: Reality.
The Noisebringers: Exemplify “hilarious”.
Mariabrice: [[The Noisebringers are Conferenced about->conference]].//</div>
</div><</if>>
<<if $prosecco is "2">><div class="blurrier">[[The ornithologists->orni]] catch birds with nests. [[The sound dealer->dealer]] catches sounds with small jars. The [[Directional Speakers->directional]] catch your attention with their uncanniness. But how does one catch exquisite artists the size of teenage pandas (with whom they also share their indecent cuteness) in order to study them, capture their essence and share it with both the scientific community and us the commoners? Mariabrice Sapphocatherin, after years of research, tryouts and a (modest) number of guinea pig artists who accidentally perished in the process, has figured it out. Through a collection of tasks, questions and challenges thrown at the untamed, finest (and, let’s face it, unpredictably dangerous) artists of its time, Mariabrice is now able to bring to you everything you need to know on the hidden life of our beloved world wild faiseurs d’art using
<div class="bigtext">the Mariabrice sticker album for</div>
<div class="placard">//The sticker albums available below are made by Alma Toaspern (Almus Toaspernuum) and Tori Lassman (Toria Lassmanārum).
<div class="centred"><img height="75%" width="75%" src="image/sticker/IMG_4695.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4696.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4697.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4698.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4699.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4700.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4701.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4702.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4703.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4704.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4705.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4706.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4707.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4708.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4709.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4710.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4711.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4712.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4881.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4882.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4883.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4884.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4885.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4886.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4887.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4888.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4889.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4890.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4891.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4892.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4893.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4894.jpg"></div>
And now for an interview of Mariabrice Sapphocatherin:
The Noisebringers: A piece of your best advice?
Mariabrice: Assume makes an ass out of you and me.
The Noisebringers: Do you have detached or attached earlobes?
Mariabrice: It does not have ears.
The Noisebringers: Salty or sweet?
Mariabrice: Depends on the cycle of the moon.
The Noisebringers: Your biggest fear?
Mariabrice: Gender.
The Noisebringers: Your smallest fear?
Mariabrice: Reality.
The Noisebringers: Exemplify “hilarious”.
Mariabrice: [[The Noisebringers are Conferenced about->conference]].//</div>
</div><</if>>
<<if $prosecco is "3">><div class="blurrier2">[[The ornithologists->orni]] catch birds with nests. [[The sound dealer->dealer]] catches sounds with small jars. The [[Directional Speakers->directional]] catch your attention with their uncanniness. But how does one catch exquisite artists the size of teenage pandas (with whom they also share their indecent cuteness) in order to study them, capture their essence and share it with both the scientific community and us the commoners? Mariabrice Sapphocatherin, after years of research, tryouts and a (modest) number of guinea pig artists who accidentally perished in the process, has figured it out. Through a collection of tasks, questions and challenges thrown at the untamed, finest (and, let’s face it, unpredictably dangerous) artists of its time, Mariabrice is now able to bring to you everything you need to know on the hidden life of our beloved world wild faiseurs d’art using
<div class="bigtext">the Mariabrice sticker album for</div>
<div class="placard">//The sticker albums available below are made by Alma Toaspern (Almus Toaspernuum) and Tori Lassman (Toria Lassmanārum).
<div class="centred"><img height="75%" width="75%" src="image/sticker/IMG_4695.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4696.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4697.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4698.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4699.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4700.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4701.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4702.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4703.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4704.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4705.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4706.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4707.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4708.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4709.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4710.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4711.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4712.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4881.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4882.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4883.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4884.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4885.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4886.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4887.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4888.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4889.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4890.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4891.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4892.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4893.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4894.jpg"></div>
And now for an interview of Mariabrice Sapphocatherin:
The Noisebringers: A piece of your best advice?
Mariabrice: Assume makes an ass out of you and me.
The Noisebringers: Do you have detached or attached earlobes?
Mariabrice: It does not have ears.
The Noisebringers: Salty or sweet?
Mariabrice: Depends on the cycle of the moon.
The Noisebringers: Your biggest fear?
Mariabrice: Gender.
The Noisebringers: Your smallest fear?
Mariabrice: Reality.
The Noisebringers: Exemplify “hilarious”.
Mariabrice: [[The Noisebringers are Conferenced about->conference]].//</div>
</div><</if>>
<<if $prosecco is "4">><div class="upside-down">[[The ornithologists->orni]] catch birds with nests. [[The sound dealer->dealer]] catches sounds with small jars. The [[Directional Speakers->directional]] catch your attention with their uncanniness. But how does one catch exquisite artists the size of teenage pandas (with whom they also share their indecent cuteness) in order to study them, capture their essence and share it with both the scientific community and us the commoners? Mariabrice Sapphocatherin, after years of research, tryouts and a (modest) number of guinea pig artists who accidentally perished in the process, has figured it out. Through a collection of tasks, questions and challenges thrown at the untamed, finest (and, let’s face it, unpredictably dangerous) artists of its time, Mariabrice is now able to bring to you everything you need to know on the hidden life of our beloved world wild faiseurs d’art using
<div class="bigtext">the Mariabrice sticker album for</div>
<div class="placard">//The sticker albums available below are made by Alma Toaspern (Almus Toaspernuum) and Tori Lassman (Toria Lassmanārum).
<div class="centred"><img height="75%" width="75%" src="image/sticker/IMG_4695.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4696.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4697.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4698.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4699.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4700.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4701.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4702.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4703.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4704.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4705.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4706.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4707.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4708.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4709.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4710.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4711.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4712.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4881.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4882.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4883.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4884.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4885.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4886.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4887.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4888.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4889.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4890.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4891.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4892.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4893.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4894.jpg"></div>
And now for an interview of Mariabrice Sapphocatherin:
The Noisebringers: A piece of your best advice?
Mariabrice: Assume makes an ass out of you and me.
The Noisebringers: Do you have detached or attached earlobes?
Mariabrice: It does not have ears.
The Noisebringers: Salty or sweet?
Mariabrice: Depends on the cycle of the moon.
The Noisebringers: Your biggest fear?
Mariabrice: Gender.
The Noisebringers: Your smallest fear?
Mariabrice: Reality.
The Noisebringers: Exemplify “hilarious”.
Mariabrice: [[The Noisebringers are Conferenced about->conference]].//</div>
</div><</if>>
<<if $prosecco is "5">>[[The ornithologists->orni]] catch birds with nests. [[The sound dealer->dealer]] catches sounds with small jars. The [[Directional Speakers->directional]] catch your attention with their uncanniness. But how does one catch exquisite artists the size of teenage pandas (with whom they also share their indecent cuteness) in order to study them, capture their essence and share it with both the scientific community and us the commoners? Mariabrice Sapphocatherin, after years of research, tryouts and a (modest) number of guinea pig artists who accidentally perished in the process, has figured it out. Through a collection of tasks, questions and challenges thrown at the untamed, finest (and, let’s face it, unpredictably dangerous) artists of its time, Mariabrice is now able to bring to you everything you need to know on the hidden life of our beloved world wild faiseurs d’art using
<div class="bigtext">the Mariabrice sticker album for</div>
<div class="placard">//The sticker albums available below are made by Alma Toaspern (Almus Toaspernuum) and Tori Lassman (Toria Lassmanārum).
<div class="centred"><img height="75%" width="75%" src="image/sticker/IMG_4695.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4696.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4697.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4698.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4699.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4700.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4701.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4702.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4703.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4704.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4705.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4706.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4707.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4708.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4709.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4710.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4711.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4712.jpeg">
<img height="75%" width="75%" src="image/sticker/IMG_4881.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4882.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4883.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4884.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4885.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4886.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4887.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4888.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4889.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4890.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4891.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4892.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4893.jpg">
<img height="75%" width="75%" src="image/sticker/IMG_4894.jpg"></div>
And now for an interview of Mariabrice Sapphocatherin:
The Noisebringers: A piece of your best advice?
Mariabrice: Assume makes an ass out of you and me.
The Noisebringers: Do you have detached or attached earlobes?
Mariabrice: It does not have ears.
The Noisebringers: Salty or sweet?
Mariabrice: Depends on the cycle of the moon.
The Noisebringers: Your biggest fear?
Mariabrice: Gender.
The Noisebringers: Your smallest fear?
Mariabrice: Reality.
The Noisebringers: Exemplify “hilarious”.
Mariabrice: [[The Noisebringers are Conferenced about->conference]].//</div>
<</if>><<if $prosecco is "0">><div class="bigtext">Practice Makes Authentic</div>
<div class="placard">//Practice makes authentic has been the origin of the biggest art world scandal of the twenty-first century. Jonathan O’Hear was accused of mumblism. O’Hear did not show up to court because he was late writing a grant application for his next project. Looking back at these events a few hundred years later, the situation is even more blurry as it was at the time. It’s your turn to investigate. But don’t draw your conclusions on evidence. Evidence is a thing from the past. Make it all about your personal feelings and sensitivity.
Jonathan O’Hear’s testimony:
Practice makes authentic
Jonathan O'Hear
Mobile Phone, video, Oisín O'Hear
Mobile phone size 2021
Duration: loop
Pain capitalism and self harming teenagers without any friends can still make you rich and famous if your heart is in the right place.
a piece of your best advice: It's a trap!
Do you have detached or attached earlobes? Semi-detached with noisy neighbours
Salty or sweet? Food? Salty mostly. Sweet sometimes. People? Neither. But Salty if I have to choose.
Your biggest fear: groups of like-minded people
Your smallest fear: abandoning
Now is your turn to unveil your truth, which is the only valid truth.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1reHXs2pNcv_g0vTpAsSz5qmqkugeiyDi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Jonathan O’Hear is a punk, you understood it clearly from his work [[Burnt to the core but framed->burnt1]].
Jonathan O’Hear is an electrician, you understood it clearly from the hand he gave on Christophe Schweizer’s [[S:C:O:R:E->score]].
Jonathan O’Hear is late, you understood it clearly when you were sipping your third glass of [[Prosecco]] while waiting for him.
Jonathan O’Hear is a complex person, just like all human beings are complex, which makes you our enemy because no one is complex, people are either with or against us. Go to [[Glory]].<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Practice Makes Authentic</div>
<div class="placard">//Practice makes authentic has been the origin of the biggest art world scandal of the twenty-first century. Jonathan O’Hear was accused of mumblism. O’Hear did not show up to court because he was late writing a grant application for his next project. Looking back at these events a few hundred years later, the situation is even more blurry as it was at the time. It’s your turn to investigate. But don’t draw your conclusions on evidence. Evidence is a thing from the past. Make it all about your personal feelings and sensitivity.
Jonathan O’Hear’s testimony:
Practice makes authentic
Jonathan O'Hear
Mobile Phone, video, Oisín O'Hear
Mobile phone size 2021
Duration: loop
Pain capitalism and self harming teenagers without any friends can still make you rich and famous if your heart is in the right place.
a piece of your best advice: It's a trap!
Do you have detached or attached earlobes? Semi-detached with noisy neighbours
Salty or sweet? Food? Salty mostly. Sweet sometimes. People? Neither. But Salty if I have to choose.
Your biggest fear: groups of like-minded people
Your smallest fear: abandoning
Now is your turn to unveil your truth, which is the only valid truth.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1reHXs2pNcv_g0vTpAsSz5qmqkugeiyDi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Jonathan O’Hear is a punk, you understood it clearly from his work [[Burnt to the core but framed->burnt1]].
Jonathan O’Hear is an electrician, you understood it clearly from the hand he gave on Christophe Schweizer’s [[S:C:O:R:E->score]].
Jonathan O’Hear is late, you understood it clearly when you were sipping your third glass of [[Prosecco]] while waiting for him.
Jonathan O’Hear is a complex person, just like all human beings are complex, which makes you our enemy because no one is complex, people are either with or against us. Go to [[Glory]].
</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Practice Makes Authentic</div>
<div class="placard">//Practice makes authentic has been the origin of the biggest art world scandal of the twenty-first century. Jonathan O’Hear was accused of mumblism. O’Hear did not show up to court because he was late writing a grant application for his next project. Looking back at these events a few hundred years later, the situation is even more blurry as it was at the time. It’s your turn to investigate. But don’t draw your conclusions on evidence. Evidence is a thing from the past. Make it all about your personal feelings and sensitivity.
Jonathan O’Hear’s testimony:
Practice makes authentic
Jonathan O'Hear
Mobile Phone, video, Oisín O'Hear
Mobile phone size 2021
Duration: loop
Pain capitalism and self harming teenagers without any friends can still make you rich and famous if your heart is in the right place.
a piece of your best advice: It's a trap!
Do you have detached or attached earlobes? Semi-detached with noisy neighbours
Salty or sweet? Food? Salty mostly. Sweet sometimes. People? Neither. But Salty if I have to choose.
Your biggest fear: groups of like-minded people
Your smallest fear: abandoning
Now is your turn to unveil your truth, which is the only valid truth.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1reHXs2pNcv_g0vTpAsSz5qmqkugeiyDi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Jonathan O’Hear is a punk, you understood it clearly from his work [[Burnt to the core but framed->burnt1]].
Jonathan O’Hear is an electrician, you understood it clearly from the hand he gave on Christophe Schweizer’s [[S:C:O:R:E->score]].
Jonathan O’Hear is late, you understood it clearly when you were sipping your third glass of [[Prosecco]] while waiting for him.
Jonathan O’Hear is a complex person, just like all human beings are complex, which makes you our enemy because no one is complex, people are either with or against us. Go to [[Glory]].
</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Practice Makes Authentic</div>
<div class="placard">//Practice makes authentic has been the origin of the biggest art world scandal of the twenty-first century. Jonathan O’Hear was accused of mumblism. O’Hear did not show up to court because he was late writing a grant application for his next project. Looking back at these events a few hundred years later, the situation is even more blurry as it was at the time. It’s your turn to investigate. But don’t draw your conclusions on evidence. Evidence is a thing from the past. Make it all about your personal feelings and sensitivity.
Jonathan O’Hear’s testimony:
Practice makes authentic
Jonathan O'Hear
Mobile Phone, video, Oisín O'Hear
Mobile phone size 2021
Duration: loop
Pain capitalism and self harming teenagers without any friends can still make you rich and famous if your heart is in the right place.
a piece of your best advice: It's a trap!
Do you have detached or attached earlobes? Semi-detached with noisy neighbours
Salty or sweet? Food? Salty mostly. Sweet sometimes. People? Neither. But Salty if I have to choose.
Your biggest fear: groups of like-minded people
Your smallest fear: abandoning
Now is your turn to unveil your truth, which is the only valid truth.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1reHXs2pNcv_g0vTpAsSz5qmqkugeiyDi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Jonathan O’Hear is a punk, you understood it clearly from his work [[Burnt to the core but framed->burnt1]].
Jonathan O’Hear is an electrician, you understood it clearly from the hand he gave on Christophe Schweizer’s [[S:C:O:R:E->score]].
Jonathan O’Hear is late, you understood it clearly when you were sipping your third glass of [[Prosecco]] while waiting for him.
Jonathan O’Hear is a complex person, just like all human beings are complex, which makes you our enemy because no one is complex, people are either with or against us. Go to [[Glory]].
</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Practice Makes Authentic</div>
<div class="placard">//Practice makes authentic has been the origin of the biggest art world scandal of the twenty-first century. Jonathan O’Hear was accused of mumblism. O’Hear did not show up to court because he was late writing a grant application for his next project. Looking back at these events a few hundred years later, the situation is even more blurry as it was at the time. It’s your turn to investigate. But don’t draw your conclusions on evidence. Evidence is a thing from the past. Make it all about your personal feelings and sensitivity.
Jonathan O’Hear’s testimony:
Practice makes authentic
Jonathan O'Hear
Mobile Phone, video, Oisín O'Hear
Mobile phone size 2021
Duration: loop
Pain capitalism and self harming teenagers without any friends can still make you rich and famous if your heart is in the right place.
a piece of your best advice: It's a trap!
Do you have detached or attached earlobes? Semi-detached with noisy neighbours
Salty or sweet? Food? Salty mostly. Sweet sometimes. People? Neither. But Salty if I have to choose.
Your biggest fear: groups of like-minded people
Your smallest fear: abandoning
Now is your turn to unveil your truth, which is the only valid truth.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1reHXs2pNcv_g0vTpAsSz5qmqkugeiyDi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Jonathan O’Hear is a punk, you understood it clearly from his work [[Burnt to the core but framed->burnt1]].
Jonathan O’Hear is an electrician, you understood it clearly from the hand he gave on Christophe Schweizer’s [[S:C:O:R:E->score]].
Jonathan O’Hear is late, you understood it clearly when you were sipping your third glass of [[Prosecco]] while waiting for him.
Jonathan O’Hear is a complex person, just like all human beings are complex, which makes you our enemy because no one is complex, people are either with or against us. Go to [[Glory]].
</div><</if>><<if $prosecco is "5">><div class="bigtext">Practice Makes Authentic</div>
<div class="placard">//Practice makes authentic has been the origin of the biggest art world scandal of the twenty-first century. Jonathan O’Hear was accused of mumblism. O’Hear did not show up to court because he was late writing a grant application for his next project. Looking back at these events a few hundred years later, the situation is even more blurry as it was at the time. It’s your turn to investigate. But don’t draw your conclusions on evidence. Evidence is a thing from the past. Make it all about your personal feelings and sensitivity.
Jonathan O’Hear’s testimony:
Practice makes authentic
Jonathan O'Hear
Mobile Phone, video, Oisín O'Hear
Mobile phone size 2021
Duration: loop
Pain capitalism and self harming teenagers without any friends can still make you rich and famous if your heart is in the right place.
a piece of your best advice: It's a trap!
Do you have detached or attached earlobes? Semi-detached with noisy neighbours
Salty or sweet? Food? Salty mostly. Sweet sometimes. People? Neither. But Salty if I have to choose.
Your biggest fear: groups of like-minded people
Your smallest fear: abandoning
Now is your turn to unveil your truth, which is the only valid truth.//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1reHXs2pNcv_g0vTpAsSz5qmqkugeiyDi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Jonathan O’Hear is a punk, you understood it clearly from his work [[Burnt to the core but framed->burnt1]].
Jonathan O’Hear is an electrician, you understood it clearly from the hand he gave on Christophe Schweizer’s [[S:C:O:R:E->score]].
Jonathan O’Hear is late, you understood it clearly when you were sipping your third glass of [[Prosecco]] while waiting for him.
Jonathan O’Hear is a complex person, just like all human beings are complex, which makes you our enemy because no one is complex, people are either with or against us. Go to [[Glory]].
<</if>>
<<set $prosecco to "0">><<set $name to "Someone">><div class="centred"><<type 40ms>>This is the beginning (or it might be a re-beginning).
Please enter your <<linkreplace "name">>name <<textbox "$name" "" "start2">><</linkreplace>>
Or you can
<<linkreplace "choose one of ours...">>
<<link "Maria">><<set $name to "Maria">><<goto "start2">><</link>>
<<link "Brice">><<set $name to "Brice">><<goto "start2">><</link>>
<<link "Henry">><<set $name to "Henry">><<goto "start2">><</link>><</linkreplace>><</type>></div>
<<if $prosecco is "0">><div class="bigtext">Self Portraits on a Theme of Her</div>
<div class="placard">//Hur
Yarn, Monks Cloth, 2020-2021//
Self Portraits on a Theme of Her are yarn vulvas, they are very tactile but please do not touch without asking their consent. To read more about the history and influence of Hur (ancient goddess, most often associated with the dawn of earthly time) please read the Noisebrigners book, and see the Noisebringers map of Hur Earth (2021).
a piece of your best advice: Use plain Greek yogurt for a particularly frustrating yeast infection. But always go to the hospital if your lower back begins to burn.
Do you have detached or attached earlobes? Labia
Salty or sweet? Tangy
Your biggest fear: The never ending march of the patriarchy
Your smallest fear: running out of yarn</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1i1vZnt4rDNU74vklz8Kbxs5CKKChqtKg/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/her/IMG_8887.jpg">
<img height="75%" width="75%" src="image/her/IMG_8990.jpg">
<img height="75%" width="75%" src="image/her/IMG_8992.jpg">
<img height="75%" width="75%" src="image/her/IMG_8993.jpg">
<img height="75%" width="75%" src="image/her/IMG_8994.jpg">
<img height="75%" width="75%" src="image/her/IMG_9008.jpg">
<img height="75%" width="75%" src="image/her/IMG_9010.jpg">
<img height="75%" width="75%" src="image/her/IMG_9011.jpg">
<img height="75%" width="75%" src="image/her/IMG_9014.jpg">
<img height="75%" width="75%" src="image/her/IMG_9016.jpg"></div>
Wow I love these vulvas, but who is Hur? Take me to the [[Noisebringers Samples->novel]]
What is the map of [[Hur Earth]]?
Can Hur take me on a tour? Take me to the [[Sentient Archive of Hur->archive]]
Monks cloth is my favourite cloth, I need to see more. Take me to [[Patched->patched]]
<<linkreplace "Can Hur make me my own vulva?">>
Yes just take a picture of your vulva and send it to mariasappho@outlook.com (Hur’s agent)<</linkreplace>>
I am afraid of all these vulvas please take me [[somewhere else->mbpiano]]
More tapestries!!!! Take me to [[Rotting Fruit->rotting]] or [[The Illusion of Noise->noise]]
Take me to a [[warm room->mariaspace]], I want to smoke cigarettes and knit. <</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Self Portraits on a Theme of Her</div>
<div class="placard">//Hur
Yarn, Monks Cloth, 2020-2021//
Self Portraits on a Theme of Her are yarn vulvas, they are very tactile but please do not touch without asking their consent. To read more about the history and influence of Hur (ancient goddess, most often associated with the dawn of earthly time) please read the Noisebrigners book, and see the Noisebringers map of Hur Earth (2021).
a piece of your best advice: Use plain Greek yogurt for a particularly frustrating yeast infection. But always go to the hospital if your lower back begins to burn.
Do you have detached or attached earlobes? Labia
Salty or sweet? Tangy
Your biggest fear: The never ending march of the patriarchy
Your smallest fear: running out of yarn</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1i1vZnt4rDNU74vklz8Kbxs5CKKChqtKg/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/her/IMG_8887.jpg">
<img height="75%" width="75%" src="image/her/IMG_8990.jpg">
<img height="75%" width="75%" src="image/her/IMG_8992.jpg">
<img height="75%" width="75%" src="image/her/IMG_8993.jpg">
<img height="75%" width="75%" src="image/her/IMG_8994.jpg">
<img height="75%" width="75%" src="image/her/IMG_9008.jpg">
<img height="75%" width="75%" src="image/her/IMG_9010.jpg">
<img height="75%" width="75%" src="image/her/IMG_9011.jpg">
<img height="75%" width="75%" src="image/her/IMG_9014.jpg">
<img height="75%" width="75%" src="image/her/IMG_9016.jpg"></div>
Wow I love these vulvas, but who is Hur? Take me to the [[Noisebringers Samples->novel]]
What is the map of [[Hur Earth]]?
Can Hur take me on a tour? Take me to the [[Sentient Archive of Hur->archive]]
Monks cloth is my favourite cloth, I need to see more. Take me to [[Patched->patched]]
<<linkreplace "Can Hur make me my own vulva?">>
Yes just take a picture of your vulva and send it to mariasappho@outlook.com (Hur’s agent)<</linkreplace>>
I am afraid of all these vulvas please take me [[somewhere else->mbpiano]]
More tapestries!!!! Take me to [[Rotting Fruit->rotting]] or [[The Illusion of Noise->noise]]
Take me to a [[warm room->mariaspace]], I want to smoke cigarettes and knit. </div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Self Portraits on a Theme of Her</div>
<div class="placard">//Hur
Yarn, Monks Cloth, 2020-2021//
Self Portraits on a Theme of Her are yarn vulvas, they are very tactile but please do not touch without asking their consent. To read more about the history and influence of Hur (ancient goddess, most often associated with the dawn of earthly time) please read the Noisebrigners book, and see the Noisebringers map of Hur Earth (2021).
a piece of your best advice: Use plain Greek yogurt for a particularly frustrating yeast infection. But always go to the hospital if your lower back begins to burn.
Do you have detached or attached earlobes? Labia
Salty or sweet? Tangy
Your biggest fear: The never ending march of the patriarchy
Your smallest fear: running out of yarn</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1i1vZnt4rDNU74vklz8Kbxs5CKKChqtKg/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/her/IMG_8887.jpg">
<img height="75%" width="75%" src="image/her/IMG_8990.jpg">
<img height="75%" width="75%" src="image/her/IMG_8992.jpg">
<img height="75%" width="75%" src="image/her/IMG_8993.jpg">
<img height="75%" width="75%" src="image/her/IMG_8994.jpg">
<img height="75%" width="75%" src="image/her/IMG_9008.jpg">
<img height="75%" width="75%" src="image/her/IMG_9010.jpg">
<img height="75%" width="75%" src="image/her/IMG_9011.jpg">
<img height="75%" width="75%" src="image/her/IMG_9014.jpg">
<img height="75%" width="75%" src="image/her/IMG_9016.jpg"></div>
Wow I love these vulvas, but who is Hur? Take me to the [[Noisebringers Samples->novel]]
What is the map of [[Hur Earth]]?
Can Hur take me on a tour? Take me to the [[Sentient Archive of Hur->archive]]
Monks cloth is my favourite cloth, I need to see more. Take me to [[Patched->patched]]
<<linkreplace "Can Hur make me my own vulva?">>
Yes just take a picture of your vulva and send it to mariasappho@outlook.com (Hur’s agent)<</linkreplace>>
I am afraid of all these vulvas please take me [[somewhere else->mbpiano]]
More tapestries!!!! Take me to [[Rotting Fruit->rotting]] or [[The Illusion of Noise->noise]]
Take me to a [[warm room->mariaspace]], I want to smoke cigarettes and knit. </div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Self Portraits on a Theme of Her</div>
<div class="placard">//Hur
Yarn, Monks Cloth, 2020-2021//
Self Portraits on a Theme of Her are yarn vulvas, they are very tactile but please do not touch without asking their consent. To read more about the history and influence of Hur (ancient goddess, most often associated with the dawn of earthly time) please read the Noisebrigners book, and see the Noisebringers map of Hur Earth (2021).
a piece of your best advice: Use plain Greek yogurt for a particularly frustrating yeast infection. But always go to the hospital if your lower back begins to burn.
Do you have detached or attached earlobes? Labia
Salty or sweet? Tangy
Your biggest fear: The never ending march of the patriarchy
Your smallest fear: running out of yarn</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1i1vZnt4rDNU74vklz8Kbxs5CKKChqtKg/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/her/IMG_8887.jpg">
<img height="75%" width="75%" src="image/her/IMG_8990.jpg">
<img height="75%" width="75%" src="image/her/IMG_8992.jpg">
<img height="75%" width="75%" src="image/her/IMG_8993.jpg">
<img height="75%" width="75%" src="image/her/IMG_8994.jpg">
<img height="75%" width="75%" src="image/her/IMG_9008.jpg">
<img height="75%" width="75%" src="image/her/IMG_9010.jpg">
<img height="75%" width="75%" src="image/her/IMG_9011.jpg">
<img height="75%" width="75%" src="image/her/IMG_9014.jpg">
<img height="75%" width="75%" src="image/her/IMG_9016.jpg"></div>
Wow I love these vulvas, but who is Hur? Take me to the [[Noisebringers Samples->novel]]
What is the map of [[Hur Earth]]?
Can Hur take me on a tour? Take me to the [[Sentient Archive of Hur->archive]]
Monks cloth is my favourite cloth, I need to see more. Take me to [[Patched->patched]]
<<linkreplace "Can Hur make me my own vulva?">>
Yes just take a picture of your vulva and send it to mariasappho@outlook.com (Hur’s agent)<</linkreplace>>
I am afraid of all these vulvas please take me [[somewhere else->mbpiano]]
More tapestries!!!! Take me to [[Rotting Fruit->rotting]] or [[The Illusion of Noise->noise]]
Take me to a [[warm room->mariaspace]], I want to smoke cigarettes and knit. </div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Self Portraits on a Theme of Her</div>
<div class="placard">//Hur
Yarn, Monks Cloth, 2020-2021//
Self Portraits on a Theme of Her are yarn vulvas, they are very tactile but please do not touch without asking their consent. To read more about the history and influence of Hur (ancient goddess, most often associated with the dawn of earthly time) please read the Noisebrigners book, and see the Noisebringers map of Hur Earth (2021).
a piece of your best advice: Use plain Greek yogurt for a particularly frustrating yeast infection. But always go to the hospital if your lower back begins to burn.
Do you have detached or attached earlobes? Labia
Salty or sweet? Tangy
Your biggest fear: The never ending march of the patriarchy
Your smallest fear: running out of yarn</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1i1vZnt4rDNU74vklz8Kbxs5CKKChqtKg/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/her/IMG_8887.jpg">
<img height="75%" width="75%" src="image/her/IMG_8990.jpg">
<img height="75%" width="75%" src="image/her/IMG_8992.jpg">
<img height="75%" width="75%" src="image/her/IMG_8993.jpg">
<img height="75%" width="75%" src="image/her/IMG_8994.jpg">
<img height="75%" width="75%" src="image/her/IMG_9008.jpg">
<img height="75%" width="75%" src="image/her/IMG_9010.jpg">
<img height="75%" width="75%" src="image/her/IMG_9011.jpg">
<img height="75%" width="75%" src="image/her/IMG_9014.jpg">
<img height="75%" width="75%" src="image/her/IMG_9016.jpg"></div>
Wow I love these vulvas, but who is Hur? Take me to the [[Noisebringers Samples->novel]]
What is the map of [[Hur Earth]]?
Can Hur take me on a tour? Take me to the [[Sentient Archive of Hur->archive]]
Monks cloth is my favourite cloth, I need to see more. Take me to [[Patched->patched]]
<<linkreplace "Can Hur make me my own vulva?">>
Yes just take a picture of your vulva and send it to mariasappho@outlook.com (Hur’s agent)<</linkreplace>>
I am afraid of all these vulvas please take me [[somewhere else->mbpiano]]
More tapestries!!!! Take me to [[Rotting Fruit->rotting]] or [[The Illusion of Noise->noise]]
Take me to a [[warm room->mariaspace]], I want to smoke cigarettes and knit. </div><</if>><<if $prosecco is "5">><div class="bigtext">Self Portraits on a Theme of Her</div>
<div class="placard">//Hur
Yarn, Monks Cloth, 2020-2021//
Self Portraits on a Theme of Her are yarn vulvas, they are very tactile but please do not touch without asking their consent. To read more about the history and influence of Hur (ancient goddess, most often associated with the dawn of earthly time) please read the Noisebrigners book, and see the Noisebringers map of Hur Earth (2021).
a piece of your best advice: Use plain Greek yogurt for a particularly frustrating yeast infection. But always go to the hospital if your lower back begins to burn.
Do you have detached or attached earlobes? Labia
Salty or sweet? Tangy
Your biggest fear: The never ending march of the patriarchy
Your smallest fear: running out of yarn</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1i1vZnt4rDNU74vklz8Kbxs5CKKChqtKg/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><img height="75%" width="75%" src="image/her/IMG_8887.jpg">
<img height="75%" width="75%" src="image/her/IMG_8990.jpg">
<img height="75%" width="75%" src="image/her/IMG_8992.jpg">
<img height="75%" width="75%" src="image/her/IMG_8993.jpg">
<img height="75%" width="75%" src="image/her/IMG_8994.jpg">
<img height="75%" width="75%" src="image/her/IMG_9008.jpg">
<img height="75%" width="75%" src="image/her/IMG_9010.jpg">
<img height="75%" width="75%" src="image/her/IMG_9011.jpg">
<img height="75%" width="75%" src="image/her/IMG_9014.jpg">
<img height="75%" width="75%" src="image/her/IMG_9016.jpg"></div>
Wow I love these vulvas, but who is Hur? Take me to the [[Noisebringers Samples->novel]]
What is the map of [[Hur Earth]]?
Can Hur take me on a tour? Take me to the [[Sentient Archive of Hur->archive]]
Monks cloth is my favourite cloth, I need to see more. Take me to [[Patched->patched]]
<<linkreplace "Can Hur make me my own vulva?">>
Yes just take a picture of your vulva and send it to mariasappho@outlook.com (Hur’s agent)<</linkreplace>>
I am afraid of all these vulvas please take me [[somewhere else->mbpiano]]
More tapestries!!!! Take me to [[Rotting Fruit->rotting]] or [[The Illusion of Noise->noise]]
Take me to a [[warm room->mariaspace]], I want to smoke cigarettes and knit. <</if>><<cacheaudio "goodnight-noise" "sound/Goodnight Noise.mp3">>
<<cacheaudio "erhu" "sound/erhu.m4a">>
<<cacheaudio "warpeace" "sound/warandpeace.mp3">>
<<cacheaudio "wpd" "sound/WPD_orchestre_isthenewpunk.mp3">>
<<cacheaudio "beethoven" "sound/Beethoven_Nikias.wav">>
<<cacheaudio "sappho" "sound/mesedesemise.wav">>
<<cacheaudio "bath" "sound/Songs for Bathtime.mp3">>
<<cacheaudio "farm" "sound/A Noisebringers Day at the Farm.mp3">>
<<cacheaudio "feb" "sound/February 30th 1862.mp3">>
<<cacheaudio "women" "sound/women of the world - Copy.mp3">>
<<cacheaudio "board" "sound/boardgame2.mp3">><<if $prosecco is "0">><div class="bigtext">Eternal Flowers</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1VrQcDXzIct2XSSi1C7Lop3AuF96UV6Uv/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1v8RM96l7djd8i4eF-G1yhAnWZCt_auLz/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1OSITyg4OBke-jJmgVh75fZ6eXH4mN-1Q/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Me3X99p_OSTT5KElKx6S3ijgd1W9ISvI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1B8owNA2q_vPl_-ldo8xkO4Iud2-V8wVi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay that's enough, I'm off...->ef2]]<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Eternal Flowers</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1VrQcDXzIct2XSSi1C7Lop3AuF96UV6Uv/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1v8RM96l7djd8i4eF-G1yhAnWZCt_auLz/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1OSITyg4OBke-jJmgVh75fZ6eXH4mN-1Q/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Me3X99p_OSTT5KElKx6S3ijgd1W9ISvI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1B8owNA2q_vPl_-ldo8xkO4Iud2-V8wVi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay that's enough, I'm off...->ef2]]</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Eternal Flowers</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1VrQcDXzIct2XSSi1C7Lop3AuF96UV6Uv/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1v8RM96l7djd8i4eF-G1yhAnWZCt_auLz/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1OSITyg4OBke-jJmgVh75fZ6eXH4mN-1Q/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Me3X99p_OSTT5KElKx6S3ijgd1W9ISvI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1B8owNA2q_vPl_-ldo8xkO4Iud2-V8wVi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay that's enough, I'm off...->ef2]]</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Eternal Flowers</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1VrQcDXzIct2XSSi1C7Lop3AuF96UV6Uv/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1v8RM96l7djd8i4eF-G1yhAnWZCt_auLz/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1OSITyg4OBke-jJmgVh75fZ6eXH4mN-1Q/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Me3X99p_OSTT5KElKx6S3ijgd1W9ISvI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1B8owNA2q_vPl_-ldo8xkO4Iud2-V8wVi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay that's enough, I'm off...->ef2]]</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Eternal Flowers</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1VrQcDXzIct2XSSi1C7Lop3AuF96UV6Uv/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1v8RM96l7djd8i4eF-G1yhAnWZCt_auLz/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1OSITyg4OBke-jJmgVh75fZ6eXH4mN-1Q/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Me3X99p_OSTT5KElKx6S3ijgd1W9ISvI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1B8owNA2q_vPl_-ldo8xkO4Iud2-V8wVi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay that's enough, I'm off...->ef2]]</div><</if>><<if $prosecco is "5">><div class="bigtext">Eternal Flowers</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1VrQcDXzIct2XSSi1C7Lop3AuF96UV6Uv/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1v8RM96l7djd8i4eF-G1yhAnWZCt_auLz/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1OSITyg4OBke-jJmgVh75fZ6eXH4mN-1Q/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Me3X99p_OSTT5KElKx6S3ijgd1W9ISvI/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1B8owNA2q_vPl_-ldo8xkO4Iud2-V8wVi/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay that's enough, I'm off...->ef2]]<</if>><<if $prosecco is "0">><div class="bigtext">Fleurs Intemporelles</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Np4CnX4SnApP1Nrrqyr-Wr7NwBMspbWY/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1o4JOJ3yVnFdj9ucgvWYe-3fv0HzDFj1v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1JdqQazXM-rsbIZpdydxkI50gvC6VZnA4/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1IGXlRZIj8zIaxpPHVaF469G2nd2-stG_/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1tr7ZjAMctkK6J9kuY9BQGI0rDia0s4d3/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay merci, je m'en vais...->ef2]]<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Fleurs Intemporelles</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Np4CnX4SnApP1Nrrqyr-Wr7NwBMspbWY/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1o4JOJ3yVnFdj9ucgvWYe-3fv0HzDFj1v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1JdqQazXM-rsbIZpdydxkI50gvC6VZnA4/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1IGXlRZIj8zIaxpPHVaF469G2nd2-stG_/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1tr7ZjAMctkK6J9kuY9BQGI0rDia0s4d3/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay merci, je m'en vais...->ef2]]</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Fleurs Intemporelles</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Np4CnX4SnApP1Nrrqyr-Wr7NwBMspbWY/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1o4JOJ3yVnFdj9ucgvWYe-3fv0HzDFj1v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1JdqQazXM-rsbIZpdydxkI50gvC6VZnA4/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1IGXlRZIj8zIaxpPHVaF469G2nd2-stG_/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1tr7ZjAMctkK6J9kuY9BQGI0rDia0s4d3/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay merci, je m'en vais...->ef2]]</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Fleurs Intemporelles</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Np4CnX4SnApP1Nrrqyr-Wr7NwBMspbWY/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1o4JOJ3yVnFdj9ucgvWYe-3fv0HzDFj1v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1JdqQazXM-rsbIZpdydxkI50gvC6VZnA4/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1IGXlRZIj8zIaxpPHVaF469G2nd2-stG_/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1tr7ZjAMctkK6J9kuY9BQGI0rDia0s4d3/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay merci, je m'en vais...->ef2]]</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Fleurs Intemporelles</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Np4CnX4SnApP1Nrrqyr-Wr7NwBMspbWY/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1o4JOJ3yVnFdj9ucgvWYe-3fv0HzDFj1v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1JdqQazXM-rsbIZpdydxkI50gvC6VZnA4/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1IGXlRZIj8zIaxpPHVaF469G2nd2-stG_/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1tr7ZjAMctkK6J9kuY9BQGI0rDia0s4d3/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay merci, je m'en vais...->ef2]]</div><</if>><<if $prosecco is "5">><div class="bigtext">Fleurs Intemporelles</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Np4CnX4SnApP1Nrrqyr-Wr7NwBMspbWY/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1o4JOJ3yVnFdj9ucgvWYe-3fv0HzDFj1v/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1JdqQazXM-rsbIZpdydxkI50gvC6VZnA4/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1IGXlRZIj8zIaxpPHVaF469G2nd2-stG_/preview" width="1080" height="720" allow="autoplay"></iframe></div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1tr7ZjAMctkK6J9kuY9BQGI0rDia0s4d3/preview" width="1080" height="720" allow="autoplay"></iframe></div>
[[Okay merci, je m'en vais...->ef2]]<</if>>
<<if $prosecco is "0">>//Where will you go?//
<p>You liked Tristan Chopard’s work so much you want to find him. He is presently in the Dakotas. Find him on [[Hur Earth]].
You liked Cléa Chopard’s work so much you want to meet her. She’s in the garden as we speak! [[Go to see her->clea1]].
You liked Brice Catherin’s work so much, you are Brice Catherin. Drink two glasses of [[Prosecco]] to celebrate.
You liked Cynthia’s work so much, you want to meet her. She is somewhere in the mountains of French-Speaking Switzerland™. Find her on [[Hur Earth]].
</p><</if>><<if $prosecco is "1">><div class="blur">//Where will you go?//
<p>You liked Tristan Chopard’s work so much you want to find him. He is presently in the Dakotas. Find him on [[Hur Earth]].
You liked Cléa Chopard’s work so much you want to meet her. She’s in the garden as we speak! [[Go to see her->clea1]].
You liked Brice Catherin’s work so much, you are Brice Catherin. Drink two glasses of [[Prosecco]] to celebrate.
You liked Cynthia’s work so much, you want to meet her. She is somewhere in the mountains of French-Speaking Switzerland™. Find her on [[Hur Earth]].
</p></div><</if>><<if $prosecco is "2">><div class="blurrier">//Where will you go?//
<p>You liked Tristan Chopard’s work so much you want to find him. He is presently in the Dakotas. Find him on [[Hur Earth]].
You liked Cléa Chopard’s work so much you want to meet her. She’s in the garden as we speak! [[Go to see her->clea1]].
You liked Brice Catherin’s work so much, you are Brice Catherin. Drink two glasses of [[Prosecco]] to celebrate.
You liked Cynthia’s work so much, you want to meet her. She is somewhere in the mountains of French-Speaking Switzerland™. Find her on [[Hur Earth]].
</p></div><</if>><<if $prosecco is "3">><div class="blurrier2">//Where will you go?//
<p>You liked Tristan Chopard’s work so much you want to find him. He is presently in the Dakotas. Find him on [[Hur Earth]].
You liked Cléa Chopard’s work so much you want to meet her. She’s in the garden as we speak! [[Go to see her->clea1]].
You liked Brice Catherin’s work so much, you are Brice Catherin. Drink two glasses of [[Prosecco]] to celebrate.
You liked Cynthia’s work so much, you want to meet her. She is somewhere in the mountains of French-Speaking Switzerland™. Find her on [[Hur Earth]].
</p></div><</if>><<if $prosecco is "4">><div class="upside-down">//Where will you go?//
<p>You liked Tristan Chopard’s work so much you want to find him. He is presently in the Dakotas. Find him on [[Hur Earth]].
You liked Cléa Chopard’s work so much you want to meet her. She’s in the garden as we speak! [[Go to see her->clea1]].
You liked Brice Catherin’s work so much, you are Brice Catherin. Drink two glasses of [[Prosecco]] to celebrate.
You liked Cynthia’s work so much, you want to meet her. She is somewhere in the mountains of French-Speaking Switzerland™. Find her on [[Hur Earth]].
</p></div><</if>><<if $prosecco is "5">>//Where will you go?//
<p>You liked Tristan Chopard’s work so much you want to find him. He is presently in the Dakotas. Find him on [[Hur Earth]].
You liked Cléa Chopard’s work so much you want to meet her. She’s in the garden as we speak! [[Go to see her->clea1]].
You liked Brice Catherin’s work so much, you are Brice Catherin. Drink two glasses of [[Prosecco]] to celebrate.
You liked Cynthia’s work so much, you want to meet her. She is somewhere in the mountains of French-Speaking Switzerland™. Find her on [[Hur Earth]].
</p><</if>><<if $prosecco is "0">>Are you lost? <<link "Here, let's help you get back." >><<goto `either("Anyways", "pma", "pma", "pma", "pdp", "pdp", "pdp", "between-becoming", "burnt1", "directional", "eternal flowers", "giolive", "Glory", "rotting", "babies", "snow suite", "dealer", "wine", "wwanth", "home", "phone", "tente", "noise", "orni", "rn", "rotting", "score", "raymond")`>><</link>><</if>><<if $prosecco is "1">><div class="blur">Are you lost? <<link "Here, let's help you get back." >><<goto `either("Anyways", "pma", "pma", "pma", "pdp", "pdp", "pdp", "between-becoming", "burnt1", "directional", "eternal flowers", "giolive", "Glory", "rotting", "babies", "snow suite", "dealer", "wine", "wwanth", "home", "phone", "tente", "noise", "orni", "rn", "rotting", "score", "raymond")`>><</link>></div><</if>><<if $prosecco is "2">><div class="blurrier">Are you lost? <<link "Here, let's help you get back." >><<goto `either("Anyways", "pma", "pma", "pma", "pdp", "pdp", "pdp", "between-becoming", "burnt1", "directional", "eternal flowers", "giolive", "Glory", "rotting", "babies", "snow suite", "dealer", "wine", "wwanth", "home", "phone", "tente", "noise", "orni", "rn", "rotting", "score", "raymond")`>><</link>></div><</if>><<if $prosecco is "3">><div class="blurrier2">Are you lost? <<link "Here, let's help you get back." >><<goto `either("Anyways", "between-becoming", "burnt1", "directional", "eternal flowers", "giolive", "Glory", "rotting", "babies", "snow suite", "dealer", "wine", "wwanth", "home", "phone", "tente", "noise", "orni", "rn", "rotting", "score", "raymond")`>><</link>></div><</if>><<if $prosecco is "4">><div class="upside-down">Are you lost? <<link "Here, let's help you get back." >><<goto `either("Anyways", "between-becoming", "burnt1", "directional", "eternal flowers", "giolive", "Glory", "rotting", "babies", "snow suite", "dealer", "wine", "wwanth", "home", "phone", "tente", "noise", "orni", "rn", "rotting", "score", "raymond")`>><</link>></div><</if>><<if $prosecco is "5">>Are you lost? <<link "Here, let's help you get back." >><<goto `either("Anyways", "between-becoming", "burnt1", "directional", "eternal flowers", "giolive", "Glory", "rotting", "babies", "snow suite", "dealer", "wine", "wwanth", "home", "phone", "tente", "noise", "orni", "rn", "rotting", "score", "raymond")`>><</link>><</if>><<if $prosecco is "0">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go bubala!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "1">><div class="blur"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go bubala!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "2">><div class="blurrier"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go bubala!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "3">><div class="blurrier2"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go bubala!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "4">><div class="upside-down"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go bubala!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "5">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go bubala!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "0">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like beer? Should I getyou a G&T?
[[Yes->m3yes]]
[[No->m3no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "1">><div class="blur"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like beer? Should I getyou a G&T?
[[Yes->m3yes]]
[[No->m3no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "2">><div class="blurrier"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like beer? Should I getyou a G&T?
[[Yes->m3yes]]
[[No->m3no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "3">><div class="blurrier2"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like beer? Should I getyou a G&T?
[[Yes->m3yes]]
[[No->m3no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "4">><div class="upside-down"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like beer? Should I getyou a G&T?
[[Yes->m3yes]]
[[No->m3no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "5">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like beer? Should I getyou a G&T?
[[Yes->m3yes]]
[[No->m3no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "0">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Yes: there you go muchacha
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "1">><div class="blur"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Yes: there you go muchacha
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><div><</if>><<if $prosecco is "2">><div class="blurrier"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Yes: there you go muchacha
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "3">><div class="blurrier2"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Yes: there you go muchacha
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "4">><div class="upside-down"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Yes: there you go muchacha
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>><<if $prosecco is "5">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
Yes: there you go muchacha
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "0">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don’t like G&T? Should I get you a white wine?
[[Yes->m4yes]]
[[No->m4no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>>
<<if $prosecco is "1">><div class="blur"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don’t like G&T? Should I get you a white wine?
[[Yes->m4yes]]
[[No->m4no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "2">><div class="blurrier"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don’t like G&T? Should I get you a white wine?
[[Yes->m4yes]]
[[No->m4no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don’t like G&T? Should I get you a white wine?
[[Yes->m4yes]]
[[No->m4no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "4">><div class="upside-down"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don’t like G&T? Should I get you a white wine?
[[Yes->m4yes]]
[[No->m4no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "5">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don’t like G&T? Should I get you a white wine?
[[Yes->m4yes]]
[[No->m4no]]
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "0">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go buddy boy!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>>
<<if $prosecco is "1">><div class="blur"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go buddy boy!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "2">><div class="blurrier"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go buddy boy!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go buddy boy!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "4">><div class="upside-down"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go buddy boy!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "5">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
There you go buddy boy!
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "0">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like white wine? What's a matter for you? You don't drink? Go back and <<link "take a tour with Brice or Henry." >><<goto "random page">><</link>>
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>>
<<if $prosecco is "1">><div class="blur"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like white wine? What's a matter for you? You don't drink? Go back and <<link "take a tour with Brice or Henry." >><<goto "random page">><</link>>
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "2">><div class="blurrier"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like white wine? What's a matter for you? You don't drink? Go back and <<link "take a tour with Brice or Henry." >><<goto "random page">><</link>>
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like white wine? What's a matter for you? You don't drink? Go back and <<link "take a tour with Brice or Henry." >><<goto "random page">><</link>>
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "4">><div class="upside-down"><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like white wine? What's a matter for you? You don't drink? Go back and <<link "take a tour with Brice or Henry." >><<goto "random page">><</link>>
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>></div><</if>>
<<if $prosecco is "5">><<audio warpeace play>>
<div class="bigtext">Maria's space to be left the fuck alone</div>
<p>
Thank fuck you made it. Take a break, we’ve got yarn, cats, some nice drinks. Take a dip in the pool and roast your bones in the sun. Smoking is allowed, there are some rolliles on the porch. Help yourself. If you are Raymond, and you need help rolling a cigarette, just press the button.
</p>
<<linkreplace "Raymond needs help rolling a cigarette">>No problem, here you go!<</linkreplace>>
What? You don't like white wine? What's a matter for you? You don't drink? Go back and <<link "take a tour with Brice or Henry." >><<goto "random page">><</link>>
Fuck it, take me back, im ready to <<link "randomly re-enter society">><<goto "random page">><</link>><</if>><<if $prosecco is "0">><div class="bigtext">Mariabrice’s pianocello sonata</div> is a good example of
Recorded on the 5 May 2021, it was the first time that Mariabrice
Had wished we had put new batteries in the recor
<div class="centred"><iframe src="https://drive.google.com/file/d/1oRpttRPbqz7mrrSn2do0f6F6Yey8ObTu/preview" width="1080" height="720" allow="autoplay"></iframe></div>
You badly want to hear the cello being played, now. Go to [[Saadet’s performance->saadet]].
You want to hear the cello being played badly, now. Go to [[Hotel Dilettante->raymond]].
You badly want to hear Maria now, but you hate the piano. Go to [[Glasgow Improvisers Orchestra Live->giolive]].
You badly want to hear piano now, but you hate Maria. Go to [[Nikias plays Beethoven->beethoven]].
You badly want to hear Mariabrice now, but you like big ensembles, not entities. Go to [[Watching Paint Dry->wpd]].
You only like Henry. He’s the only Noisebringer you value. He is young, he is beautiful, he is funny, and he’s a great listener. Go speak to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]].<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Mariabrice’s pianocello sonata</div> is a good example of
Recorded on the 5 May 2021, it was the first time that Mariabrice
Had wished we had put new batteries in the recor
<div class="centred"><iframe src="https://drive.google.com/file/d/1oRpttRPbqz7mrrSn2do0f6F6Yey8ObTu/preview" width="1080" height="720" allow="autoplay"></iframe></div>
You badly want to hear the cello being played, now. Go to [[Saadet’s performance->saadet]].
You want to hear the cello being played badly, now. Go to [[Hotel Dilettante->raymond]].
You badly want to hear Maria now, but you hate the piano. Go to [[Glasgow Improvisers Orchestra Live->giolive]].
You badly want to hear piano now, but you hate Maria. Go to [[Nikias plays Beethoven->beethoven]].
You badly want to hear Mariabrice now, but you like big ensembles, not entities. Go to [[Watching Paint Dry->wpd]].
You only like Henry. He’s the only Noisebringer you value. He is young, he is beautiful, he is funny, and he’s a great listener. Go speak to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]].</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Mariabrice’s pianocello sonata</div> is a good example of
Recorded on the 5 May 2021, it was the first time that Mariabrice
Had wished we had put new batteries in the recor
<div class="centred"><iframe src="https://drive.google.com/file/d/1oRpttRPbqz7mrrSn2do0f6F6Yey8ObTu/preview" width="1080" height="720" allow="autoplay"></iframe></div>
You badly want to hear the cello being played, now. Go to [[Saadet’s performance->saadet]].
You want to hear the cello being played badly, now. Go to [[Hotel Dilettante->raymond]].
You badly want to hear Maria now, but you hate the piano. Go to [[Glasgow Improvisers Orchestra Live->giolive]].
You badly want to hear piano now, but you hate Maria. Go to [[Nikias plays Beethoven->beethoven]].
You badly want to hear Mariabrice now, but you like big ensembles, not entities. Go to [[Watching Paint Dry->wpd]].
You only like Henry. He’s the only Noisebringer you value. He is young, he is beautiful, he is funny, and he’s a great listener. Go speak to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]].</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Mariabrice’s pianocello sonata</div> is a good example of
Recorded on the 5 May 2021, it was the first time that Mariabrice
Had wished we had put new batteries in the recor
<div class="centred"><iframe src="https://drive.google.com/file/d/1oRpttRPbqz7mrrSn2do0f6F6Yey8ObTu/preview" width="1080" height="720" allow="autoplay"></iframe></div>
You badly want to hear the cello being played, now. Go to [[Saadet’s performance->saadet]].
You want to hear the cello being played badly, now. Go to [[Hotel Dilettante->raymond]].
You badly want to hear Maria now, but you hate the piano. Go to [[Glasgow Improvisers Orchestra Live->giolive]].
You badly want to hear piano now, but you hate Maria. Go to [[Nikias plays Beethoven->beethoven]].
You badly want to hear Mariabrice now, but you like big ensembles, not entities. Go to [[Watching Paint Dry->wpd]].
You only like Henry. He’s the only Noisebringer you value. He is young, he is beautiful, he is funny, and he’s a great listener. Go speak to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]].</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Mariabrice’s pianocello sonata</div> is a good example of
Recorded on the 5 May 2021, it was the first time that Mariabrice
Had wished we had put new batteries in the recor
<div class="centred"><iframe src="https://drive.google.com/file/d/1oRpttRPbqz7mrrSn2do0f6F6Yey8ObTu/preview" width="1080" height="720" allow="autoplay"></iframe></div>
You badly want to hear the cello being played, now. Go to [[Saadet’s performance->saadet]].
You want to hear the cello being played badly, now. Go to [[Hotel Dilettante->raymond]].
You badly want to hear Maria now, but you hate the piano. Go to [[Glasgow Improvisers Orchestra Live->giolive]].
You badly want to hear piano now, but you hate Maria. Go to [[Nikias plays Beethoven->beethoven]].
You badly want to hear Mariabrice now, but you like big ensembles, not entities. Go to [[Watching Paint Dry->wpd]].
You only like Henry. He’s the only Noisebringer you value. He is young, he is beautiful, he is funny, and he’s a great listener. Go speak to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]].</div><</if>><<if $prosecco is "5">><div class="bigtext">Mariabrice’s pianocello sonata</div> is a good example of
Recorded on the 5 May 2021, it was the first time that Mariabrice
Had wished we had put new batteries in the recor
<div class="centred"><iframe src="https://drive.google.com/file/d/1oRpttRPbqz7mrrSn2do0f6F6Yey8ObTu/preview" width="1080" height="720" allow="autoplay"></iframe></div>
You badly want to hear the cello being played, now. Go to [[Saadet’s performance->saadet]].
You want to hear the cello being played badly, now. Go to [[Hotel Dilettante->raymond]].
You badly want to hear Maria now, but you hate the piano. Go to [[Glasgow Improvisers Orchestra Live->giolive]].
You badly want to hear piano now, but you hate Maria. Go to [[Nikias plays Beethoven->beethoven]].
You badly want to hear Mariabrice now, but you like big ensembles, not entities. Go to [[Watching Paint Dry->wpd]].
You only like Henry. He’s the only Noisebringer you value. He is young, he is beautiful, he is funny, and he’s a great listener. Go speak to [[The Archive comes Alive by Dr. D Henry McPherson->archive2]].<</if>>
<<if $prosecco is "0">>She crossed forests, she climbed up and down mountains, she circumvented lakes, she traversed cities, towns and villages, all in one go, all at furious speed, mostly using the IC5 train from Zurich. Enjoy
<div class="bigtext">Saadet’s performance with us</div>
<div class="placard">//Featuring
Saadet Türköz
Brice Catherin
Laurent Estoppey
Raymond MacDonald
Maria Sappho
Dejana Sekulič//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Jddoxt1J0DJEZgFd0bbbTfVKFAdWms7I/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Take the IC5 back to Zurich, all the way to the airport, then take the plane back to 1844 Japan in the [[Noisebringers’ samples->novel]].
Take the IC5 back to Zurich, and as you cross the first forest, pull the emergency brakes, escape the train, hide in the aforementioned forest and try [[Inventing the Language of Mush->mush]].
Take the IC5 back to Zurich, realise you took the wrong train, end up in Scotland with Adriana Minu’s [[Play-doh Power->pdp]].
Take the IC5 back to Zurich, have a glass of [[Prosecco]]. Then take the IC5 back to Zurich again. And again.<</if>><<if $prosecco is "1">><div class="blur">She crossed forests, she climbed up and down mountains, she circumvented lakes, she traversed cities, towns and villages, all in one go, all at furious speed, mostly using the IC5 train from Zurich. Enjoy
<div class="bigtext">Saadet’s performance with us</div>
<div class="placard">//Featuring
Saadet Türköz
Brice Catherin
Laurent Estoppey
Raymond MacDonald
Maria Sappho
Dejana Sekulič//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Jddoxt1J0DJEZgFd0bbbTfVKFAdWms7I/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Take the IC5 back to Zurich, all the way to the airport, then take the plane back to 1844 Japan in the [[Noisebringers’ samples->novel]].
Take the IC5 back to Zurich, and as you cross the first forest, pull the emergency brakes, escape the train, hide in the aforementioned forest and try [[Inventing the Language of Mush->mush]].
Take the IC5 back to Zurich, realise you took the wrong train, end up in Scotland with Adriana Minu’s [[Play-doh Power->pdp]].
Take the IC5 back to Zurich, have a glass of [[Prosecco]]. Then take the IC5 back to Zurich again. And again.</div><</if>><<if $prosecco is "2">><div class="blurrier">She crossed forests, she climbed up and down mountains, she circumvented lakes, she traversed cities, towns and villages, all in one go, all at furious speed, mostly using the IC5 train from Zurich. Enjoy
<div class="bigtext">Saadet’s performance with us</div>
<div class="placard">//Featuring
Saadet Türköz
Brice Catherin
Laurent Estoppey
Raymond MacDonald
Maria Sappho
Dejana Sekulič//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Jddoxt1J0DJEZgFd0bbbTfVKFAdWms7I/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Take the IC5 back to Zurich, all the way to the airport, then take the plane back to 1844 Japan in the [[Noisebringers’ samples->novel]].
Take the IC5 back to Zurich, and as you cross the first forest, pull the emergency brakes, escape the train, hide in the aforementioned forest and try [[Inventing the Language of Mush->mush]].
Take the IC5 back to Zurich, realise you took the wrong train, end up in Scotland with Adriana Minu’s [[Play-doh Power->pdp]].
Take the IC5 back to Zurich, have a glass of [[Prosecco]]. Then take the IC5 back to Zurich again. And again.</div><</if>><<if $prosecco is "3">><div class="blurrier2">She crossed forests, she climbed up and down mountains, she circumvented lakes, she traversed cities, towns and villages, all in one go, all at furious speed, mostly using the IC5 train from Zurich. Enjoy
<div class="bigtext">Saadet’s performance with us</div>
<div class="placard">//Featuring
Saadet Türköz
Brice Catherin
Laurent Estoppey
Raymond MacDonald
Maria Sappho
Dejana Sekulič//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Jddoxt1J0DJEZgFd0bbbTfVKFAdWms7I/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Take the IC5 back to Zurich, all the way to the airport, then take the plane back to 1844 Japan in the [[Noisebringers’ samples->novel]].
Take the IC5 back to Zurich, and as you cross the first forest, pull the emergency brakes, escape the train, hide in the aforementioned forest and try [[Inventing the Language of Mush->mush]].
Take the IC5 back to Zurich, realise you took the wrong train, end up in Scotland with Adriana Minu’s [[Play-doh Power->pdp]].
Take the IC5 back to Zurich, have a glass of [[Prosecco]]. Then take the IC5 back to Zurich again. And again.</div><</if>><<if $prosecco is "4">><div class="upside-down">She crossed forests, she climbed up and down mountains, she circumvented lakes, she traversed cities, towns and villages, all in one go, all at furious speed, mostly using the IC5 train from Zurich. Enjoy
<div class="bigtext">Saadet’s performance with us</div>
<div class="placard">//Featuring
Saadet Türköz
Brice Catherin
Laurent Estoppey
Raymond MacDonald
Maria Sappho
Dejana Sekulič//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Jddoxt1J0DJEZgFd0bbbTfVKFAdWms7I/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Take the IC5 back to Zurich, all the way to the airport, then take the plane back to 1844 Japan in the [[Noisebringers’ samples->novel]].
Take the IC5 back to Zurich, and as you cross the first forest, pull the emergency brakes, escape the train, hide in the aforementioned forest and try [[Inventing the Language of Mush->mush]].
Take the IC5 back to Zurich, realise you took the wrong train, end up in Scotland with Adriana Minu’s [[Play-doh Power->pdp]].
Take the IC5 back to Zurich, have a glass of [[Prosecco]]. Then take the IC5 back to Zurich again. And again.</div><</if>><<if $prosecco is "5">>She crossed forests, she climbed up and down mountains, she circumvented lakes, she traversed cities, towns and villages, all in one go, all at furious speed, mostly using the IC5 train from Zurich. Enjoy
<div class="bigtext">Saadet’s performance with us</div>
<div class="placard">//Featuring
Saadet Türköz
Brice Catherin
Laurent Estoppey
Raymond MacDonald
Maria Sappho
Dejana Sekulič//</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1Jddoxt1J0DJEZgFd0bbbTfVKFAdWms7I/preview" width="1080" height="720" allow="autoplay"></iframe></div>
Take the IC5 back to Zurich, all the way to the airport, then take the plane back to 1844 Japan in the [[Noisebringers’ samples->novel]].
Take the IC5 back to Zurich, and as you cross the first forest, pull the emergency brakes, escape the train, hide in the aforementioned forest and try [[Inventing the Language of Mush->mush]].
Take the IC5 back to Zurich, realise you took the wrong train, end up in Scotland with Adriana Minu’s [[Play-doh Power->pdp]].
Take the IC5 back to Zurich, have a glass of [[Prosecco]]. Then take the IC5 back to Zurich again. And again.<</if>><<if $prosecco is "0">><div class="bigtext">Nikias plays Beethoven</div>
<p>A blond tornado throws you inside a dark chamber with narrow windows on one side. Opposite these windows, a slender figure stands in the dark staring at cryptic signs on an ancient collection of pieces of paper once referred to as ‘music score’. You blink. The figure has disappeared. You blink again: it is sitting in front of a quasi parallelepipedal piece of wooden furniture holding the aforementioned ‘music score’. The figure acts like it can read this forgotten language. Before you get a chance to inquire about the function of this piece of furniture, as if reading your thoughts, the figure says in a quiet and somehow benevolent voice ‘it is a piano’. A piano? Yet you see no power chord, no speaker, no app to control it. ‘It is mechanical’ says the figure, anticipating your question again. ‘It is acoustic too.’ You have heard of such sorcery from ancient times, yet you had never thought it possible. Producing a sound, a pitched sound for that matter, without electricity? You remember these stories about forgotten civilisations that used to make notes with their own voices. Myths! You only believe what is scientifically documented. Who is gullible enough to believe that these ‘keys’ can produce ‘acoustic’ sounds when pressed? The figure says almost indistinguishably ‘my name is Nikias Imhoof and I will play a sonata by my late friend Ludwig van Beethoven’.</p>
<<linkreplace "Would you like to hear the magic?">><<audio beethoven play>><</linkreplace>>
Your whole belief system has been shattered. Somehow you feel relieved. Everything is possible now.
Encounter more strangeness with [[Tente->tente]].
Encounter more ‘acoustic’ sounds with [[Saadet’s performance with us->saadet]].
No! This cannot be! There is no such thing as electricity-free technology! Quick! Run back to reality! Listen to the [[Directional speakers->directional]]!
Switch on and off the mp3 players of [[Noisebringers for Babies->babies]]!
Click on the iPad of the [[Worldwide Anthology->wwanth]]!
Have a glass of [[Prosecco]].<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Nikias plays Beethoven</div>
<p>A blond tornado throws you inside a dark chamber with narrow windows on one side. Opposite these windows, a slender figure stands in the dark staring at cryptic signs on an ancient collection of pieces of paper once referred to as ‘music score’. You blink. The figure has disappeared. You blink again: it is sitting in front of a quasi parallelepipedal piece of wooden furniture holding the aforementioned ‘music score’. The figure acts like it can read this forgotten language. Before you get a chance to inquire about the function of this piece of furniture, as if reading your thoughts, the figure says in a quiet and somehow benevolent voice ‘it is a piano’. A piano? Yet you see no power chord, no speaker, no app to control it. ‘It is mechanical’ says the figure, anticipating your question again. ‘It is acoustic too.’ You have heard of such sorcery from ancient times, yet you had never thought it possible. Producing a sound, a pitched sound for that matter, without electricity? You remember these stories about forgotten civilisations that used to make notes with their own voices. Myths! You only believe what is scientifically documented. Who is gullible enough to believe that these ‘keys’ can produce ‘acoustic’ sounds when pressed? The figure says almost indistinguishably ‘my name is Nikias Imhoof and I will play a sonata by my late friend Ludwig van Beethoven’.</p>
<<linkreplace "Would you like to hear the magic?">><<audio beethoven play>><</linkreplace>>
Your whole belief system has been shattered. Somehow you feel relieved. Everything is possible now.
Encounter more strangeness with [[Tente->tente]].
Encounter more ‘acoustic’ sounds with [[Saadet’s performance with us->saadet]].
No! This cannot be! There is no such thing as electricity-free technology! Quick! Run back to reality! Listen to the [[Directional speakers->directional]]!
Switch on and off the mp3 players of [[Noisebringers for Babies->babies]]!
Click on the iPad of the [[Worldwide Anthology->wwanth]]!
Have a glass of [[Prosecco]].</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Nikias plays Beethoven</div>
<p>A blond tornado throws you inside a dark chamber with narrow windows on one side. Opposite these windows, a slender figure stands in the dark staring at cryptic signs on an ancient collection of pieces of paper once referred to as ‘music score’. You blink. The figure has disappeared. You blink again: it is sitting in front of a quasi parallelepipedal piece of wooden furniture holding the aforementioned ‘music score’. The figure acts like it can read this forgotten language. Before you get a chance to inquire about the function of this piece of furniture, as if reading your thoughts, the figure says in a quiet and somehow benevolent voice ‘it is a piano’. A piano? Yet you see no power chord, no speaker, no app to control it. ‘It is mechanical’ says the figure, anticipating your question again. ‘It is acoustic too.’ You have heard of such sorcery from ancient times, yet you had never thought it possible. Producing a sound, a pitched sound for that matter, without electricity? You remember these stories about forgotten civilisations that used to make notes with their own voices. Myths! You only believe what is scientifically documented. Who is gullible enough to believe that these ‘keys’ can produce ‘acoustic’ sounds when pressed? The figure says almost indistinguishably ‘my name is Nikias Imhoof and I will play a sonata by my late friend Ludwig van Beethoven’.</p>
<<linkreplace "Would you like to hear the magic?">><<audio beethoven play>><</linkreplace>>
Your whole belief system has been shattered. Somehow you feel relieved. Everything is possible now.
Encounter more strangeness with [[Tente->tente]].
Encounter more ‘acoustic’ sounds with [[Saadet’s performance with us->saadet]].
No! This cannot be! There is no such thing as electricity-free technology! Quick! Run back to reality! Listen to the [[Directional speakers->directional]]!
Switch on and off the mp3 players of [[Noisebringers for Babies->babies]]!
Click on the iPad of the [[Worldwide Anthology->wwanth]]!
Have a glass of [[Prosecco]].</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Nikias plays Beethoven</div>
<p>A blond tornado throws you inside a dark chamber with narrow windows on one side. Opposite these windows, a slender figure stands in the dark staring at cryptic signs on an ancient collection of pieces of paper once referred to as ‘music score’. You blink. The figure has disappeared. You blink again: it is sitting in front of a quasi parallelepipedal piece of wooden furniture holding the aforementioned ‘music score’. The figure acts like it can read this forgotten language. Before you get a chance to inquire about the function of this piece of furniture, as if reading your thoughts, the figure says in a quiet and somehow benevolent voice ‘it is a piano’. A piano? Yet you see no power chord, no speaker, no app to control it. ‘It is mechanical’ says the figure, anticipating your question again. ‘It is acoustic too.’ You have heard of such sorcery from ancient times, yet you had never thought it possible. Producing a sound, a pitched sound for that matter, without electricity? You remember these stories about forgotten civilisations that used to make notes with their own voices. Myths! You only believe what is scientifically documented. Who is gullible enough to believe that these ‘keys’ can produce ‘acoustic’ sounds when pressed? The figure says almost indistinguishably ‘my name is Nikias Imhoof and I will play a sonata by my late friend Ludwig van Beethoven’.</p>
<<linkreplace "Would you like to hear the magic?">><<audio beethoven play>><</linkreplace>>
Your whole belief system has been shattered. Somehow you feel relieved. Everything is possible now.
Encounter more strangeness with [[Tente->tente]].
Encounter more ‘acoustic’ sounds with [[Saadet’s performance with us->saadet]].
No! This cannot be! There is no such thing as electricity-free technology! Quick! Run back to reality! Listen to the [[Directional speakers->directional]]!
Switch on and off the mp3 players of [[Noisebringers for Babies->babies]]!
Click on the iPad of the [[Worldwide Anthology->wwanth]]!
Have a glass of [[Prosecco]].</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Nikias plays Beethoven</div>
<p>A blond tornado throws you inside a dark chamber with narrow windows on one side. Opposite these windows, a slender figure stands in the dark staring at cryptic signs on an ancient collection of pieces of paper once referred to as ‘music score’. You blink. The figure has disappeared. You blink again: it is sitting in front of a quasi parallelepipedal piece of wooden furniture holding the aforementioned ‘music score’. The figure acts like it can read this forgotten language. Before you get a chance to inquire about the function of this piece of furniture, as if reading your thoughts, the figure says in a quiet and somehow benevolent voice ‘it is a piano’. A piano? Yet you see no power chord, no speaker, no app to control it. ‘It is mechanical’ says the figure, anticipating your question again. ‘It is acoustic too.’ You have heard of such sorcery from ancient times, yet you had never thought it possible. Producing a sound, a pitched sound for that matter, without electricity? You remember these stories about forgotten civilisations that used to make notes with their own voices. Myths! You only believe what is scientifically documented. Who is gullible enough to believe that these ‘keys’ can produce ‘acoustic’ sounds when pressed? The figure says almost indistinguishably ‘my name is Nikias Imhoof and I will play a sonata by my late friend Ludwig van Beethoven’.</p>
<<linkreplace "Would you like to hear the magic?">><<audio beethoven play>><</linkreplace>>
Your whole belief system has been shattered. Somehow you feel relieved. Everything is possible now.
Encounter more strangeness with [[Tente->tente]].
Encounter more ‘acoustic’ sounds with [[Saadet’s performance with us->saadet]].
No! This cannot be! There is no such thing as electricity-free technology! Quick! Run back to reality! Listen to the [[Directional speakers->directional]]!
Switch on and off the mp3 players of [[Noisebringers for Babies->babies]]!
Click on the iPad of the [[Worldwide Anthology->wwanth]]!
Have a glass of [[Prosecco]].</div><</if><<if $prosecco is "5">><div class="bigtext">Nikias plays Beethoven</div>
<p>A blond tornado throws you inside a dark chamber with narrow windows on one side. Opposite these windows, a slender figure stands in the dark staring at cryptic signs on an ancient collection of pieces of paper once referred to as ‘music score’. You blink. The figure has disappeared. You blink again: it is sitting in front of a quasi parallelepipedal piece of wooden furniture holding the aforementioned ‘music score’. The figure acts like it can read this forgotten language. Before you get a chance to inquire about the function of this piece of furniture, as if reading your thoughts, the figure says in a quiet and somehow benevolent voice ‘it is a piano’. A piano? Yet you see no power chord, no speaker, no app to control it. ‘It is mechanical’ says the figure, anticipating your question again. ‘It is acoustic too.’ You have heard of such sorcery from ancient times, yet you had never thought it possible. Producing a sound, a pitched sound for that matter, without electricity? You remember these stories about forgotten civilisations that used to make notes with their own voices. Myths! You only believe what is scientifically documented. Who is gullible enough to believe that these ‘keys’ can produce ‘acoustic’ sounds when pressed? The figure says almost indistinguishably ‘my name is Nikias Imhoof and I will play a sonata by my late friend Ludwig van Beethoven’.</p>
<<linkreplace "Would you like to hear the magic?">><<audio beethoven play>><</linkreplace>>
Your whole belief system has been shattered. Somehow you feel relieved. Everything is possible now.
Encounter more strangeness with [[Tente->tente]].
Encounter more ‘acoustic’ sounds with [[Saadet’s performance with us->saadet]].
No! This cannot be! There is no such thing as electricity-free technology! Quick! Run back to reality! Listen to the [[Directional speakers->directional]]!
Switch on and off the mp3 players of [[Noisebringers for Babies->babies]]!
Click on the iPad of the [[Worldwide Anthology->wwanth]]!
Have a glass of [[Prosecco]].<</if>>
<<if $prosecco is "0">><iframe src="image/archive 3.html" allowfullscreen="" width="1080px" height="720px" frameborder="0"><a href="image/archive 3.html">Play Noisebringers Archive on itch.io</a></iframe>
I'm a bit disturbed...maybe I should [[go somewhere else->giolive]].
I don't feel like I want to interact with anyone, maybe I'll go visit [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm tired, I need to listen to some [[Beethoven->beethoven]]
I'm lost, maybe I could find solace at Christophe's [[S:C:O:R:E:->score]]<</if>>
<<if $prosecco is "1">><div class="blur"><iframe src="image/archive 3.html" allowfullscreen="" width="1080px" height="720px" frameborder="0"><a href="image/archive 3.html">Play Noisebringers Archive on itch.io</a></iframe>
I'm a bit disturbed...maybe I should [[go somewhere else->giolive]].
I don't feel like I want to interact with anyone, maybe I'll go visit [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm tired, I need to listen to some [[Beethoven->beethoven]]
I'm lost, maybe I could find solace at Christophe's [[S:C:O:R:E:->score]]</div><</if>>
<<if $prosecco is "2">><div class="blurrier"><iframe src="image/archive 3.html" allowfullscreen="" width="1080px" height="720px" frameborder="0"><a href="image/archive 3.html">Play Noisebringers Archive on itch.io</a></iframe>
I'm a bit disturbed...maybe I should [[go somewhere else->giolive]].
I don't feel like I want to interact with anyone, maybe I'll go visit [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm tired, I need to listen to some [[Beethoven->beethoven]]
I'm lost, maybe I could find solace at Christophe's [[S:C:O:R:E:->score]]</div><</if>>
<<if $prosecco is "3">><div class="blurrier2"><iframe src="image/archive 3.html" allowfullscreen="" width="1080px" height="720px" frameborder="0"><a href="image/archive 3.html">Play Noisebringers Archive on itch.io</a></iframe>
I'm a bit disturbed...maybe I should [[go somewhere else->giolive]].
I don't feel like I want to interact with anyone, maybe I'll go visit [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm tired, I need to listen to some [[Beethoven->beethoven]]
I'm lost, maybe I could find solace at Christophe's [[S:C:O:R:E:->score]]</div><</if>>
<<if $prosecco is "4">><div class="upside-down"><iframe src="image/archive 3.html" allowfullscreen="" width="1080px" height="720px" frameborder="0"><a href="image/archive 3.html">Play Noisebringers Archive on itch.io</a></iframe>
I'm a bit disturbed...maybe I should [[go somewhere else->giolive]].
I don't feel like I want to interact with anyone, maybe I'll go visit [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm tired, I need to listen to some [[Beethoven->beethoven]]
I'm lost, maybe I could find solace at Christophe's [[S:C:O:R:E:->score]]</div><</if>>
<<if $prosecco is "5">><iframe src="image/archive 3.html" allowfullscreen="" width="1080px" height="720px" frameborder="0"><a href="image/archive 3.html">Play Noisebringers Archive on itch.io</a></iframe>
I'm a bit disturbed...maybe I should [[go somewhere else->giolive]].
I don't feel like I want to interact with anyone, maybe I'll go visit [[Maria's Space to be Left the Fuck Alone->mariaspace]]
I'm tired, I need to listen to some [[Beethoven->beethoven]]
I'm lost, maybe I could find solace at Christophe's [[S:C:O:R:E:->score]]<</if>><<if $prosecco is "0">><div class="bigtext">Tente, the mushroom that the crocodile ate</div>
<div class="placard">//Afulodidim Nikefolosi
film, 37 minutes, 2020//
Afulodidim Nikefolosi is a figure in answer to the challenge: show me a contemporary mixture of Amos Tutuola and Zora Neale Hurston. She was born in the 1990s in a remote and flourishing matriarchal subsaharan village. Against all advice, except that of her Chieftainess who had noticed her exceptional and spirited intelligence, she pursued her quest for alternative knowledge at a formal school, some one thousand kilometres away. This at a time she had already become familiar with the bleeding moon. She learnt to read and write in a few weeks and completed primary and secondary school within three years. Believing that field experience is the inevitable complement to academic knowledge, she wandered through three continents and a number of jobs ranging from sales to care. Rejecting the idea of single authorship, she wrote articles, fiction and poetry under a number of pen names. Her years-long observations of The Noisebringers formed the basis of her seminal trioethnogroahic piece, for which she received a university scholarship from The Council Culture of the Associated Chieftainesses of baLafuni. That made her the youngest PhD student in the UK, where she now conducts pioneering research in the field. Tente, the mushroom that the crocodile ate is her first film, signaling her move away from trioethnographic fieldwork, as well as a poignant reunion with her roots.
Best advice: Don’t mess around with Tente.
Teaser: Tente will return in Dreaming Restlessly.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1SDJpA9ul9kxWtR3rYBXOJE923P4HdbTe/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More Tente? Try [[Remembrance of the First Water-Ritual->water]].
More Tente? Try [[The Noisebringers’ samples->novel]].
More Tente? Try [[Rhododendron normal->rn]].
More Prosecco? Try [[Prosecco]].<</if>><<if $prosecco is "1">><div class="blur"><div class="bigtext">Tente, the mushroom that the crocodile ate</div>
<div class="placard">//Afulodidim Nikefolosi
film, 37 minutes, 2020//
Afulodidim Nikefolosi is a figure in answer to the challenge: show me a contemporary mixture of Amos Tutuola and Zora Neale Hurston. She was born in the 1990s in a remote and flourishing matriarchal subsaharan village. Against all advice, except that of her Chieftainess who had noticed her exceptional and spirited intelligence, she pursued her quest for alternative knowledge at a formal school, some one thousand kilometres away. This at a time she had already become familiar with the bleeding moon. She learnt to read and write in a few weeks and completed primary and secondary school within three years. Believing that field experience is the inevitable complement to academic knowledge, she wandered through three continents and a number of jobs ranging from sales to care. Rejecting the idea of single authorship, she wrote articles, fiction and poetry under a number of pen names. Her years-long observations of The Noisebringers formed the basis of her seminal trioethnogroahic piece, for which she received a university scholarship from The Council Culture of the Associated Chieftainesses of baLafuni. That made her the youngest PhD student in the UK, where she now conducts pioneering research in the field. Tente, the mushroom that the crocodile ate is her first film, signaling her move away from trioethnographic fieldwork, as well as a poignant reunion with her roots.
Best advice: Don’t mess around with Tente.
Teaser: Tente will return in Dreaming Restlessly.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1SDJpA9ul9kxWtR3rYBXOJE923P4HdbTe/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More Tente? Try [[Remembrance of the First Water-Ritual->water]].
More Tente? Try [[The Noisebringers’ samples->novel]].
More Tente? Try [[Rhododendron normal->rn]].
More Prosecco? Try [[Prosecco]].
</div><</if>><<if $prosecco is "2">><div class="blurrier"><div class="bigtext">Tente, the mushroom that the crocodile ate</div>
<div class="placard">//Afulodidim Nikefolosi
film, 37 minutes, 2020//
Afulodidim Nikefolosi is a figure in answer to the challenge: show me a contemporary mixture of Amos Tutuola and Zora Neale Hurston. She was born in the 1990s in a remote and flourishing matriarchal subsaharan village. Against all advice, except that of her Chieftainess who had noticed her exceptional and spirited intelligence, she pursued her quest for alternative knowledge at a formal school, some one thousand kilometres away. This at a time she had already become familiar with the bleeding moon. She learnt to read and write in a few weeks and completed primary and secondary school within three years. Believing that field experience is the inevitable complement to academic knowledge, she wandered through three continents and a number of jobs ranging from sales to care. Rejecting the idea of single authorship, she wrote articles, fiction and poetry under a number of pen names. Her years-long observations of The Noisebringers formed the basis of her seminal trioethnogroahic piece, for which she received a university scholarship from The Council Culture of the Associated Chieftainesses of baLafuni. That made her the youngest PhD student in the UK, where she now conducts pioneering research in the field. Tente, the mushroom that the crocodile ate is her first film, signaling her move away from trioethnographic fieldwork, as well as a poignant reunion with her roots.
Best advice: Don’t mess around with Tente.
Teaser: Tente will return in Dreaming Restlessly.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1SDJpA9ul9kxWtR3rYBXOJE923P4HdbTe/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More Tente? Try [[Remembrance of the First Water-Ritual->water]].
More Tente? Try [[The Noisebringers’ samples->novel]].
More Tente? Try [[Rhododendron normal->rn]].
More Prosecco? Try [[Prosecco]].
</div><</if>><<if $prosecco is "3">><div class="blurrier2"><div class="bigtext">Tente, the mushroom that the crocodile ate</div>
<div class="placard">//Afulodidim Nikefolosi
film, 37 minutes, 2020//
Afulodidim Nikefolosi is a figure in answer to the challenge: show me a contemporary mixture of Amos Tutuola and Zora Neale Hurston. She was born in the 1990s in a remote and flourishing matriarchal subsaharan village. Against all advice, except that of her Chieftainess who had noticed her exceptional and spirited intelligence, she pursued her quest for alternative knowledge at a formal school, some one thousand kilometres away. This at a time she had already become familiar with the bleeding moon. She learnt to read and write in a few weeks and completed primary and secondary school within three years. Believing that field experience is the inevitable complement to academic knowledge, she wandered through three continents and a number of jobs ranging from sales to care. Rejecting the idea of single authorship, she wrote articles, fiction and poetry under a number of pen names. Her years-long observations of The Noisebringers formed the basis of her seminal trioethnogroahic piece, for which she received a university scholarship from The Council Culture of the Associated Chieftainesses of baLafuni. That made her the youngest PhD student in the UK, where she now conducts pioneering research in the field. Tente, the mushroom that the crocodile ate is her first film, signaling her move away from trioethnographic fieldwork, as well as a poignant reunion with her roots.
Best advice: Don’t mess around with Tente.
Teaser: Tente will return in Dreaming Restlessly.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1SDJpA9ul9kxWtR3rYBXOJE923P4HdbTe/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More Tente? Try [[Remembrance of the First Water-Ritual->water]].
More Tente? Try [[The Noisebringers’ samples->novel]].
More Tente? Try [[Rhododendron normal->rn]].
More Prosecco? Try [[Prosecco]].
</div><</if>><<if $prosecco is "4">><div class="upside-down"><div class="bigtext">Tente, the mushroom that the crocodile ate</div>
<div class="placard">//Afulodidim Nikefolosi
film, 37 minutes, 2020//
Afulodidim Nikefolosi is a figure in answer to the challenge: show me a contemporary mixture of Amos Tutuola and Zora Neale Hurston. She was born in the 1990s in a remote and flourishing matriarchal subsaharan village. Against all advice, except that of her Chieftainess who had noticed her exceptional and spirited intelligence, she pursued her quest for alternative knowledge at a formal school, some one thousand kilometres away. This at a time she had already become familiar with the bleeding moon. She learnt to read and write in a few weeks and completed primary and secondary school within three years. Believing that field experience is the inevitable complement to academic knowledge, she wandered through three continents and a number of jobs ranging from sales to care. Rejecting the idea of single authorship, she wrote articles, fiction and poetry under a number of pen names. Her years-long observations of The Noisebringers formed the basis of her seminal trioethnogroahic piece, for which she received a university scholarship from The Council Culture of the Associated Chieftainesses of baLafuni. That made her the youngest PhD student in the UK, where she now conducts pioneering research in the field. Tente, the mushroom that the crocodile ate is her first film, signaling her move away from trioethnographic fieldwork, as well as a poignant reunion with her roots.
Best advice: Don’t mess around with Tente.
Teaser: Tente will return in Dreaming Restlessly.</div>
<div class="centred"><iframe src="https://drive.google.com/file/d/1SDJpA9ul9kxWtR3rYBXOJE923P4HdbTe/preview" width="1080" height="720" allow="autoplay"></iframe></div>
More Tente? Try [[Remembrance of the First Water-Ritual->water]].
More Tente? Try [[The Noisebringers’ samples->novel]].
More Tente? Try [[Rhododendron normal->rn]].
More Prosecco? Try [[Prosecco]].
</div><</if>><<if $prosecco is "5">><div class="bigtext">Tente, the mushroom that the crocodile ate</div>
<div class="placard">//Afulodidim Nikefolosi
film, 37 minutes, 2020//
Afulodidim Nikefolosi is a figure in answer to the challenge: show me a contemporary mixture of Amos Tutuola and Zora Neale Hurston. She was born in the 1990s in a remote and flourishing matria