Category: flyagaric23

  • Pull the Cosmic Trigger. Pull It. Pull It.

    Matt Black – Cosmic Trigger crowdcapering appeal by Complexity Productions

    Jim Broadbent – Cosmic Trigger crowdcapering appeal by Complexity Productions Douglas Rushkoff – Cosmic Trigger crowdcapering appeal by Complexity Productions The Cosmic Trigger Play – A taste of Alan Moore by Complexity Productions Cosmic Trigger Play Indigogo Crowdfund https://www.indiegogo.com/project/cosmic-trigger-play/embedded

  • Multi Model Agnostic Geometry: MMAG by Steve Fly Agaric 23

    His philosophy was one of multiple model agnosticism – not just simply about the existence of God but agnosticism about everything. With MMA, there is no point getting hung up on the models themselves because that’s all they are – models.—John Higgs, KLF. pg. 258.

     

    Multi Model Agnostic Geometry.

    by Steven James Pratt

    Flyting: Selected Writings

    by Steven James Pratt

    Link: http://a.co/f5pSkqP


    (more…)

  • Ninja Jamm is here!

    Ninja Jamm is here: Enter the mix http://ninjajamm.com/

     http://ninjajamm.com/

     “In marketing terminology, a killer application (commonly shortened to killer app) is any computer program that is so necessary or desirable that it proves the core value of some larger technology, such as computer hardware, gaming console, software, a programming language, software platform, or an operating system.—Wikipedia, killer app.

    Let Us Play—Coldcut

    “Ninja Jamm is a free music app that lets anyone instantly remix Ninja tunes using touch control, state of the art effects and killer music from Ninja artists.”—Ninjatune.

    Summer 2012 sees a new ear-ra in sound mixing, DJ performance and mashability’. IMHO the art and crafts of the disc jockey started with the hand-to-eye-to-ear skill set when the first vinyl manipulators started their experiments in the mid 1970’s, through to the new touch sensitive ‘tablets’ that respond to touching, tickles and scratch motions in a notable return to physical hand movements that trigger audio and visual media.

    Yet for a moment there I thought that the CD-DJ phenomena flourished, and reduced the touch of a vinyl record platter to buttons and sliders with awkward looking LCD displays. I had a personal love of vinyl, and traditional vinyl turntablism and up until (May 18th 2012) i held firm to my beliefs by only spinning vinyl records for nearly 20 years.

    The new interactive touch surfaces combined with real time, latency free, control bring some excitement in hands on DJ’ing back into a new sense of what DJ artistry consists of, technically. I feel its important to remember that  the equipment remains only a part of the art. The content, the music, the samples and the tasteful synthesis (mixing) help define comprehensive and information rich DJ’s from predictable ones.

    Enter Ninjatune as a case in point. The rare example of sampling and software innovation running simultaneously, and keeping a consistently underground and forward thinking philosophy, today probably best summed up as an Open Source and Mash-up sensibility. Personally, when I discovered Ninjatune and their music back in 1993, I gushed at the mixture of sample based instrumental Hip Hop and experimental electronica.

    The new Ninja Jamm APP makes sense in the age of mash up culture, remix-mania and digital culture gone feral. Ninja have a 22 year history that stands testament to their visionary and somewhat prophetic outlook on music culture, DJ’s, VJ’s and electronic music.  Now in the summer of 2012 I believe their shareable, mashable philosophy fits perfectly with  the new global APP village orgy.

    “Instant remixing functions in push-button form let any music lover dive right in, yet Ninja Jamm is deep enough to engage DJs, musicians and producers. This one is fun.”—Ninjatune.

     
    Ninja Jamm by Fly Agaric 23.(Amsterdam, September 2012.)

    “Killer Apps”–Juice Aleem. (New Flesh For Old)

    Ninja Jamm Ninja Jamm
    It’ll unhinge you man, unhinge you man

    Sneakin out the window and down the drain pipe
    on a Saturday night, tonight’s light is ripe, rip reeeep, rip, write ripe.

    Like a cat or a panther I creep near the curb
    My mind is kept calm as it swims in the herb

    Ahead I spy the Ninja Shop right next to the dock
    So I pull out my microphone from my hemp sock

    I said, “Yo, what’s up, I’m here to get me some APPS
    Shinobi at the counter looked at me and said “perhaps’

    Perhaps you have some killer apps to help set riddim traps
    Turn LP’s into maps, escape the beat through cat flaps?

    Take a look around, tap-tap, listen understand,
    Bring what you found and leave it here in a mound,
    I’ll mix it up in an APP and Zap Zap, a tech-cloud sound.
    I stand dumbfound.

    I walked around the store and picked up some stuff,
    Weapons, clothing, instruments and a gold Ninja tooth.

    Throwing stars and pentagons, knives and darts
    All made with the greatest skill and crafts of the arts

    Hemp rope and ladders and invisible dust
    Swords, chords and passwords to a remix by Krust

    Flags bags and stealth drone kite banners
    And Ninja shop staff with big heart and kind manners

    Telescopes microscopes and spectrocilloscopes
    Hidden microphones, speakers and unstable isotopes

    A Shapeshifting manual of style on blue tile
    Bungee ropes unravelling for mile after mile

    I walked to the counter and gave Shinobi a smile
    “Put all this into an APP from the top of the pile.

    So I booted up my Ninja APP and went for a walk
    Soon I started to talk, then I wrote in chalk:

      Ninja fingers and 2 gold Buddha thumbs

    Touch the Scruff of the head nod

    Multi-channel suite with
    Two Fingers sounds hyper-Tobin

    Snug as The Bug inna’ Slugabed,
    Poison dart in heart of the beats

    exquisite 23 course serving of DJ Food/
    Cold-cutting the cheese

    Brain thaw and brain feeder for the Coldcuts
    Atomic Moog, RE:volution and sound mirrors

    NJ Beats back in a Bogus Order
    Dextrous like the Bonobo

    Lush audio visual synthesis:
    The Cinemeatic Orchestra

    Cutting hard candy and acid squelch
    DJ Kentaro rotation

    A labyrinth of rhythms unlocked
    from Daedelus feather soft

    Innovative trans-genre tempo flux
    of the Funki Porcini

    Phat chunky Herbaliser grooves
    for the mother board.

    Slicing knife blade voices of Skalpal
    Jazzy chops, picked and Chris Bowden

    Flight path and charter for Airborn audio.
    Lingua dicing dancefloors

    A polished solid audio spark Plug
    To power the Wagon Christ

    Vibe medicine and beat pharmacopeia
    for Qemists and Juice Aleem

    Parts and pieces for the ferocious
    cutting teeth of King Cannibal

    Fender Bending gloves for scratching claws
    of the pause of Kid Koala

    Blending harmony and beauty with gravity
    and touch: the Irresistible force

    XY ‘floating points’ FX
    Hand cushion for Antibalas
    percussion

    Steve ‘fly agaric 23’ Pratt
    www.raw360.net

  • Panorawma for Robert Anton Wilson (2013)


    Panorawma
    (for Robert Anton Wilson)

    handcrafted study
    in every direction:
    Robert Anton
    Wilson’s 360

    digital artefacts now
    fly thru a CHU space, hand
    drawn appliances
    of raw sciences

    fresh crafted platforms
    state-of-the-art in house
    to look around use fingers
    gyroscope, arrows or mouse

    visit Washington cash spill
    illuminate, cool off
    cook listen wash-up
    go to pot or

    grill, open calendoor
    playback answer
    machine

    to zoom: pinch or use the + & – icon
    aim beyond language
    Into SPACE, go on

    explore rich n’raw media
    behind hots-pots
    cooking
    panorawma views
    you choose

    –Steven ‘fly’ Pratt. 23rd January 2013.
    www.raw360.net

  • Bigendig of Mayan Long Count in Panoramas

    At Chichen Itza last week–between playing drums for Fantuzzi, The Earthlings, and The peace tribe band at the chaotic ‘synthesis2012 festival–ifly, made some panorama photographs using my I-Pad, and shot some weird underwater video in a cenote called Encantado (rumored to have a female crocodile living in it!)
    My journey was really FAR OUT and mystical, beautiful and challenging all-at-once. I got into more textual porridge over at my acrillic blog. Be my guest:
    I opened an account with www.360cities.com today, and wanted to share my first batch of panos. Love, steve fly
    My Trip to Chitchen Itza and Tulum 21st December 2012: (Condensed diary spillage):

    Reflections on my trip to Chichen Itza: (a prose introspective streaming dollop) http://acrillic.blogspot.nl/2012/12/reflections-on-end-of-mayan-long-count.html

    360 PANORAMAS BY FLY.

    “And greater grown then in the trifle of her days, a mouse, a mere tittle, trots off with the whole panoromacron picture”–James Joyce, Finnegans Wake. pg. 318  

    Snapped December 21st, 2012. Chichen Itza.
  • Outline for a short film/animation/story?

    Raising Mycelium

    Terence Mckenna awakens from a long sleep, an extraterrestrial mycelim strain enters his corpse and reanimates him.

    T starts a journey across california to sprinkle the magical mycelium onto the ashes and corpses of  Timothy Leary, Ken Kessey, Robert Anton Wilson and Bill Hicks.

    Together, the group travel across the USA to Washington in a yellow bus, taking on the presidential race, the war on some drugs, immortalists, scientologists and fundamentalists of all denominations under the sun.

    Upon reaching Washington the group of countercultural zombies stage a psychedelic rock concert. Soon drawing the attention of government officials, the zombies have a stand off with the police, arguing their case on human rights, zombie banks, the war on some drugs, and the death of satire.

    The group retires to a new Millbrook in 2013, so developing Artificial General Intelligence and a new open source school for hopen learning, O’pen research. A radiodio show, open-circuit TV, broadercasting services, alive performance space, study area squared, Kitchen Itza, Mu-music rooms.

    –Steven ‘fly agaric 23’ Pratt.

    Maybelogic
    Dr Marshmallow Cubicle
    Radio Free Amsterdam
    Temple Dragon Band
    Garaj Mahal
    Synthesis2012

  • What if John Adams came back to Amsterdam?

    What if John Adams came back to Amsterdam?

    “Novelty of scene, the inexperience of the actors
    against paying for things we haven’t ordered” J.Adams (Canto LXVIII)

    Over ocean wave and round bend of bay
    John Adams with his wooden stump,
    missing eye, parrot and hat
    arrived at Amsterdam Central Station.

    From the land of Mars rovers
    Google and the CIA
    John Adams changed the game
    together with George Washington
    buying cannabis retail outlets
    and hemp factory unions.

    Bringing it all to Europe,
    hemp seed, oil mills, guns
    and the wah-wah pedal
    ‘we must agree on something’
    he said.

    And new loans from Holland
    to buy guns and dope
    and give em to the people
    some truffles are a valuable
    currency here’
    he said.

    John Adams bought a house
    on Princengracht and opened
    a foundation ‘Unistat
    cannabis culture’ along with west
    coast sexmagic and free jazz.

    Necklaces bore the motto
    JOHN ADAMS FOR PEACE
    bongs and rolling tins donned more
    slogans: KEEP OUT OF EUROPE, and
    IGNORANCE OF COIN, CREDIT
    AND CIRCULATION!

    John Adams cycled along the Gracht
    like Albert Hoffmann, a stranger in a
    strange new land, pipe ablaze with the
    finest East Indian charas and Haze.

    “and the Farben works still intact”
    he said to the polite officer who stopped
    John and issued an ‘on-the-spot’ fine
    due to insufficient illumnated seers
    or simply (no bicycle lights)

    J.A came to Amsterdam and unified bankers
    in support for CANNABIS
    the British and French found this to be
    a bitter ball to swallow, at first
    “J.A will provide” said Washington, sweating.

    “I have been in the most curious country among the most incomprehensible people and under the most singular constitution of government in the world” J.A

  • Atom and Archetype: The Pauli/Jung Letters, 1932-1958 Edited by C. A. Meier

     

    Atom and Archetype:
    The Pauli/Jung Letters, 1932-1958
    Edited by C. A. Meier
    With a new preface by Beverley Zabriskie
    Translated by David Roscoe

    PAULI AND JUNGIAN ANALYSIS

    In his physics, Pauli sought a unified field. But his personal life was one of fragmentation and dissociation. Within one year, his mother poisoned herself in reaction to his father’s involvement in an affair, and Pauli plunged into a brief marriage with a cabaret performer. At thirty, he turned to Jung for help.

    Jung, in his 1935 lectures at the Tavistock, offered the following example of dreams effecting change:

    I had a case, a university man, a very one-sided intellectual. His unconscious had become troubled and activated; so it projected itself into other men who appeared to be his enemies, and he felt terribly lonely because everybody seemed to be against him. Then he began to drink in order to forget his troubles, but he got exceedingly irritable and in these moods he began to quarrel with other men. . . and once he was thrown out of a restaurant and got beaten up.16

    Jung saw that “he was chock-full of archaic material, and I said to myself: ‘Now I am going to make an interesting experiment to get that material absolutely pure, without any influence from myself, and therefore I won’t touch it.’” He referred Pauli to Dr. Erna Rosenbaum, “who was then just a beginner . . . I was absolutely sure she would not tamper.” Pauli applied the same passionate brilliance to his unconscious as to his physics. In a five-month Jungian analysis, Pauli recorded and spontaneously illustrated hundreds of his dreams. “He even invented active imagination for himself He worked out the problem of the perpetuum mobile, not in a crazy way but in a symbolic way. He worked on all the problems which medieval philosophy was so keen on.”17 For three months, “he was doing the work all by himself, . . . for about two months, he had a number of interviews with me . . . I did not have to explain much.” Jung believed Pauli “became a perfectly normal and reasonable person. He did not drink any more, he became completely adapted and in every respect normal . . . He had a new center of interest.” Jung had thirteen hundred of Pauli’s dreams as the basis for his research into alchemical symbolism in a modern psyche. “At the end of the year I am going to publish a selection from his first four hundred dreams, where I show the development of one motif only.”18
    The physicist F. David Peat believes Jung’s assessment of Pauli’s state after his termination with Dr. Rosenbaum was too positive. Pauli’s new “reasonableness” didn’t last, and later he again drank excessively.
    While Pauli’s work aimed toward a “psychophysical monism,” his intense inner tensions seemed to manifest physically in the so-called Pauli Effect, when his mere presence caused laboratory equipment to explode or fall apart.19 His internal “monotheism” and his sharp critical acumen and tongue earned him the titles “scourge of God,” “the whip of God,” and “the terrible Pauli.” Even in the midst of personal disarray, Pauli kept his stance as a scientist of such rigor that he was called “the conscience of physics.” Asked whether he thought a particular physics paper was wrong, he replied that was too kind–the paper was “not even wrong.”20 Heisenberg’s account of a 1927 conversation reveals that, in his youth, Pauli was concerned about the distinctions between knowledge and faith.21 Heisenberg saw that behind Pauli’s
    outward display of criticism and skepticism lay concealed a deep philosophical interest, even in those dark areas of reality or the human soul which elude the grasp of reason. And while the power of fascination emanating from Pauli’s analyses of physical problems was due in some measure to the clarity of his formulations, the rest was derived from a constant contact with the field of the creative and spiritual processes for which no rational formulation as yet exists.22 For Pauli, the creativity of science included considerations of the psyche. In science, he subscribed to the quantum uncertainty theory that the position and presence of the observer changes the perception and reality of what is observed. To that thesis–that one cannot measure the wave and the particle at the same time–he added a psychological dimension, observing that insofar as the scientist must opt to know “which aspect of nature we want to make visible . . . we simultaneously make a sacrifice, . . . [a] coupling of choice and sacrifice.”23 Pauli demonstrated the value of intuition to science’s empiricism. As Weinberg recounted,

    physicists in the early 1930’swere worried about an apparent violation of the law of conservation of energy when a radioactive nucleus undergoes the process known as beta decay. In 1932 Wolfgang, . . . Pauli proposed the existence of a convenient particle he called the neutrino, in order to account for the energy that was observed to be lost in this process. The elusive neutrino was eventually discovered experimentally over two decades later. Proposing the existence of something that has not yet been observed is a risky business, but it sometimes works.24

    In a metaphysical leap, Pauli referred as well to “forms belonging to the unconscious region of the human soul” and stated that “the relation between a sense perception and Idea remains a consequence of the fact that both the soul and what is known in perception are subject to an order objectively conceived.”25 He acknowledged that he had realized in a dream that the quantum-mechanical conception of nature lacked the second dimension, which he found provided by the archetypes of the unconscious.
    It seems, however, that he could not find his way to the uncertainty, the “choice and sacrifice” that allows for reparation within analysis. While Pauli knew “that a truly unified view must include the feeling function, since without feeling there is no meaning or value in life, and no proper acknowledgment of the phenomenon of synchronicity,” M.-L. von Franz said that he later sought only a “philosophical discussion of dreams”:

    He wrote to me . . . [and] made it clear that he did not want analysis; there was to be no payment. I saw that he was in despair, so I said we could try. The difficulties began when I asked him for the associations which referred to physics. He said, “Do you think I’m going to give you unpaid lessons in physics?” . . . He wanted something, but he didn’t want to commit himself. He was split.26

    Van Erkelens speculates that Pauli would have had to submit to a transference and to a deeper Eros than “his inner urge to develop a unified view of matter and spirit.” For whatever reasons, von Franz and Pauli were not able to achieve the relational bond that holds and contains explosive emotional material and so allows surrender to one’s unconscious and to a suffered analytic relationship.
    Jung and Pauli corresponded and later met, not for analysis but for a comparison of ideas–Pauli pursuing Jung’s synchronicity thesis and Jung fostering Pauli’s understanding of the archetypal and collective factors in the psyche. Through their contact, William James’s two fields, to which both Jung and Bohr had been attracted, come together again. Von Franz writes that the

    notion of complementarity introduced by Niels Bohr to provide a better explanation for the paradoxical relationship between waves and particles in nuclear physics can also be applied to the relationship of conscious and unconscious states of a psychic content. This fact was discovered by Jung, but it was particularly elaborated by Wolfgang Pauli.27

    http://press.princeton.edu/chapters/s7042.html

    COPYRIGHT NOTICE: Published by Princeton University Press and copyrighted, © 2001, by Princeton University Press. All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher, except for reading and browsing via the World Wide Web. Users are not permitted to mount this file on any network servers. Follow links for Class Use and other Permissions. For more information, send e-mail to permissions@press.princeton.edu