[]{#third_brew_getting_bitter} third brew. getting bitter

in a partially modal world, multisensory disturbance conglomerates of musical
and technological instruments synthesize through the interaction of barely
comprehensibly many oscillation processes. different music becomes sound as it
identifies itself as operations on the organization of a subset of such
processes, disregarding boundaries of occlusion. improvisation, networked
occlusion in a synthetic world. performances and remote collaboration prolong
the idea of openness and reinterpretation. continuously expanding. TOTAL
AUTOMATION vs. HUMAN INTERACTION. seeking to shift the local atmosphere from
dissolution and clumsiness through manual change and ecstatic fiddling into an
imaginative state of complex monotony, structured calm and chill, or endless
associative babbling. so that towards the end the authors become the audience
and the audience stretches to the horizon, populated by machines infinitely
rendering a stream of slight semantic madness. further, extracting a shadow
from the skeleton of network flow. A layer of technological reality usually
hidden becomes accessible through mediation across sound and visual flicker.
Erratically shifting from chittering machines into the human realm. reply in
cojoined different. multisensory disturbance communication, electromagnetism,
nuclear fusion and ecstatic -ification, tools for near instantaneous endless
possible through local atmospace delay. It is thetic and politich cant? fusion
and nuclear decay. It is the cause of topological 3-dimensionality of linear
space, of left-right-asymmetry, as well as of anisotropy of time. defect. all
of these phenomena are physical effects which arise at the transition from
logarithmic into linear space. The standing wave in logarithmic space now
allows us to communicate across astronomical distances practically without
time delay. How is this possible?
* with the help of babbling. solution

cojoined performance wasn't sure the atmosphere from dissolution and clowns
extended the structures called into horrendous associative doubling. so,
become guardians and the audience can become the speech population, the
machines only shatter, can't get out of infinite rendering.
"in a model world distorted, flickering images"

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

"in a monotony, structured with a stage populated by many oscillationfronted
complex monotowards
seek to synthesize."

252 including the quotation marks.

second brew, same leaveured brew, same leaves associative babbling images.

my tea, from dissolution. clumsized through the end the authors become tea

my tea, disregarding boundaries of comprehesizedia

252 infinitely rendle C

" different organization of boundaries and disturbed subset of
such a stage populated with stage interaction marks."

my tea, fiddling into imaging into imaginative.

my cup of tea fed by machines only

second calm and chift the leaves:

252 infinitely renderin a modely rendering boundaries of become quotation a
model world synthesic identifies:

as operation of barely comprehensibling. subset of such processes occuring as
stream during the performance we seek to shift the local atmosphere.

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

music identifies machillation pronted calm and change.

252 including interachines onotony, structuring in different leaves.

my tea, flickering imaginative c.

during thensibly cantic madness. all this with the quotation of comprehensibly,
many oscillation and clumsinesses, disregardience and the organitely of
flickering image populated by machines only whatching.

get out of into an imaging images.
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