Xenolistening

Skhismasonic Growing Pains

Yoneda Lemma, 2016

for XenoPlot Carriers, who breach the joints that gate the
Outside

Intoxication, likely. ‘Dick [Richard Price] still maintained his

scan of the spiritual/psychological horizon and was willing to
embrace, at least for a while, unusual explorations “along the
psychological-spiritual front”. One of his last such explorations
was what he called his “research project in paranormal
intelligence”, involving an English woman named Jenny
O’Connor who, by automatic writing, channeled “the Nine” – a
group of extraterrestrials from the star Sirius. Dick used the
Nine as paranormal management consultants and adjunct
Gestalt facilitators. Around Esalen, however, the Nine were
much better known for performing the role of extraterrestrial
hatchet men, than for giving insight into how Esalen might
improve its operations.’ – Gestalt Legacy Project 1

‘We are the architects of the universal.’ – Laboria Cuboniks 2

 Phase out.

Navigational schemes hitched by the typo-logos. A coding error

[(k)not failure]. If we account for probability in the chain of
reasoning, there are bound (to be) skipped beats. We cannot
avoid the frontal necessity of failure, for navigation. Failure in
music, what eldritch Priest calls ‘Boring Formless Nonsense,’ 3
could be the reason why we ever ‘advance’ in our theoretical
practices [or in music], practicably because failure is an
opportune schism deforming the territory of theorizing. It is a
negation of the relation [standing on the side of reality outside
the subject]. Forgone planning – ploy. Yet! Failure by virtue in
theoretical thinking as a must will [[[potentially]]] never move
you anywhere else.

We have to fight this urge to navigate by failed theory. We had

ourselves to regret. For failing bodies, we are the mere wits of
sense. Senses without recognition, without pause [without
connections]. Senses lost in memory-loss, in hypnotic wobbling
of street-prose and ‘pony’. Rupuzh miltai… We would like no
more sense-slavery automaniacs.

We would like to recode machinic blasts from the future,

decaying someplace else. Could be – a science fiction – leaking
of sound into the skin, cannibalized hard, core soaked,
bled from pixel-seasoned flesh. Navigational schemes are
hitched by the xenotype. The Reasoner cannot even ‘advance’
theoretical thinking because theoretical thinking looks back on
‘time’. The hyperstitional recovery would be an
amethodological futuring, a harmonic suturing. We should set
out to reach every sonic type as a pivot point sigil. We would
obfuscate the codes and frequencies of different spaces in the
artifact of a global structuration of certain events. These audial
spaces are not meant for analysis – they unleash it, exhume it,
provide it.

Achingly hypothetical, remarked upon by a typologist,

diagrammed during a listening process, sound is not quite a site
or territory as we like to imagine visual space. Sound encodes
bodies. Co-homo-logical Hypertypos(st)itions. Resonating
Cuboniks' and Pietruszewski's libretto (Dia)grammatology of
Space: ‘hot queer impossible bodies that are not just symbolic
need more than syntax.’ 4

‘Sound’ and ‘Philosophy’ are intimately entwined through

listening and philosophical thinking: acute abstractions meet a
general abstraction. To abstract an understanding of abstraction
is to conjure a space of thought that (un)folds into itself, to
deform and morph its functional roles; ‘abstractions’ [noun
knotting verb & so on] are ‘types’ [object knotting gestures & so
forth] for empirical investigations. ‘Abstraction’ in listening is
the tendency to be drawn away, to link to subversive zone
textures through the compression of sonic experiences. The
perception of sound is archaeological [durational,
decompositional, and stratigraphic]; each sonic concept is an
artifact of a listening experience. Layers of abstraction reveal
that the spaces surrounding a listener are synthetic: a listener
simultaneously engineers or invents while excavating or
discovering the spaces entered. Typology is a methodology to
synthetically venture an understanding of the morphing manifest
images along the sonic continuum. Sounds crystallize temporal
matters [perceptual orders] indexing the listeners’ contingencies
[((dis)ad)vantage points and judgments].

Failure is no longer problematic in the listening experience.

Attaching to failure – fixed miscalculation: an idea for how you
are as how you should be, how you should listen; conventional
'oughts' that prune the general capacity for generating what
Immanuel Donat calls ‘fundamental synaesthetic guesswork of
the primitives – all humans' 5 . Manicuring severe sensorial
limitations, orientations, and navigational pathways leads to
unresolved ear drum spasms. When failure is recognized for
what it is worth [to sharpen your immersions], there is a constant
productivity through listening; there is never a retirement from
‘you’ re-catching your weight in experiences of this world. The
process itself is abductive, to feel yourself a line being drawn
out, to help orient your navigation. You are immersed in a
dream space for creating the very purpose of a life – a dream
space with the capacity to induce meltdown [dance], digestion,
and extrication from any attachments you may have,
attachments to the paralyzing notions of failure. Listening as
dreaming, in the present-day war against consciousness.

[Phase-out.]

Navigation involves a two-fold principle of composure after

localization: 1) sovereignty in the uprooting process and 2)
unifying patterns of intricacies.
 Dust Synthesis.

Who speaks of Xeno, without having even begun to affirm one’s

ears?

Navigation through listening [a cognitive mapping] bends

topologically with the strata of sound. Forms begin to shape
through an enmeshing ( )hole complex; artifacts of sound
[becoming sonic concepts] shift to higher registers,
perseverating overtime into sonic fictions through the global
matrix of listening. A temporal shape [the experience of rhythm]
modulates in the conceptions of reality, from a helical motion
between sense propositions and the interlacing of its proofs [an
automated looping of a malleable identity system qua ‘nature’].
Objective ‘proofs’ for time are highly selective, isomorphic
connections – lines or pathways – between grouped objects in
perception [sonic concepts] that each have, as forms of
processes, the durational qualities of a pattern. Synaesthetic
Transmodality. ‘Time’ is a plastic norm reducible to temporarily
binding identities and positions according to a fake typology [of
concepts, or artifacts of sensual events]. <This can later be
revisited and revised.

Suspended-listening, or free-falling navigation, where one’s

conjuring of multiple perspectives drift through the space of
sound, poses a question for rhythm, which creates both
continuity and discontinuity in the representations of the world.
Rhythm specifies divergences by sharpening milieus of noise,
enacting both negative feedback [decreasing noise] and positive
feedback [increasing divergence] across multiple scales of
analysis. Rhythmic chaos and order are dialectical to thinking.
The entropic compression of normative discontinuities become
incomplete revolutions in a fabric of thought, and in decaying
[an affirmative act of transformation], these discontinuities
magnetically tether conceptual transformations. Decay marks
process, and reveals a prescience of partial or hidden
information [artifactual vortexes] in existential spaces.
Discontinuity deracinates ideological productions, marked by
cuts that ramify the relationship between being and thinking.

The discursive privileging of metric time over rhythm [in

‘History’], packages discontinuities into nostalgic capsules that
quash many revolutionary shifts in thinking to tokened moments
of evolution. Instead of realizing cosmic evolution from a vision
of the future looking towards different pasts, these singularities
that are the result of humanity’s narcissistic drive to recollect a
notion of itself during a cut, are only otherwise – attempts to
colonize ‘glitched’ spaces [abortions] and sensitive zones of
integration, to appeal to transformation straightforwardly, as
‘humanly’ as possible.

Paradigm Patching in the analogic cockpit…

(Since) every attempt to objectify
gets folded back into the fabrics of fabulation…
(Since) fabulation
is part of the reproductive weaving procedure.
 There, Hummpa-Taddum’s General Maxim was:
To future fiction.
‘– It’s not just a difference in design,
it’s an exaptive, epistemological break!’

Listening is not limited to music, or musicking; thinking, or

inference, is not limited to the human. [Formalism at the level
of] Listening, can irreversibly transfigure the image we have of
‘mind’ in the recrudescence of abstraction, counterpoint to an
epistemological alienation. [Mind is, at the most general level, a
pragmatic ‘concept of concepts’.] Listening can become
practicable for enhancing consciousness, for complete
autonomy, especially with regard to anarchic, or anastrophic
compositional tendencies. Yawning intuitions draw specmo-
sonic paths, opening thought-transitions [in thinking with
sound] onto an abyssal frontier of labyrinths. Listening is
exercised with vision, interlacing a vast continuum of speeds of
thought with morphing shapes and textures of sound, in washes
of atmospheric pigments – it’s a fete de Smalley-Schaeffer, a
spectromorphological carnival. The transits resonate with
philosophical communication that transgresses senescence
through the gossip of multiple timbres; many languages are
collectively performed and tuned to, so deeper listening in this
enmeshly stratigraphic and plastic material radically alters how
the thought externalizes itself/its understanding. An erotic-
listening absorbs the dust of sound, body-hacking in the aether
of the flux.
The coming techno-sapiens’ living body never listens alone. It
traverses cosmically low. And wide enough, to pulse in
flowering nonhuman drones, and to array purple-shifting
antibodies for transcendental immanence. Twisting sonorously
around is a universe-fountainhead bringing techno-sapien
consciousness ponderously forth in the stream of Xenoic
growing pains, to a tasty ‘mission-balance’ at the edge of Outer-
Darkness. ‘This is an indication of interp[enet]ræ[ta]tion. …
Some music is of specialized interpretation… … Some music is
of synchronization precision …… Sometimes music becomes
more than music. And this thought reach is of the incredible
plane.’ 6

I speak of different kind of Blackness, the kind

That the world does not know, the kind that the
world
Will never understand
It is rhythm against rhythm in kind dispersion
It is harmony against harmony in endless
coordination
It is melody against melody in vital
enlightenment
And something else and more
A living spirit gives a quickening thought.

– Sun Ra 7

Endnotes, in order of appearance:
1
2014 Gestalt Legacy Project, The Life and Practice of Richard
Price: A Gestalt Biography, {pp.} 137–38. A John F. Callahan
publication.
2
2015 Xenofeminist Manifesto: A Politics for Alienation,
by Laboria Cuboniks.
3
2013 Boring Formless Nonsense: Experimental Music and the
Aesthetics of Failure, by eldritch Priest. New York:
Bloomsbury.
4
2016 The (Dia)grammatology of Space, Libretto, by Laboria
Cuboniks & Marcin Pietruszewski, with Virginia Barratt,
Katrina Burch, Helen Hester.
5
2026 War on Consciousness and Dreaming, by Immanuel
Donat. Rupuzh Miltai Project.
6
1971 The Outer Darkness, version 1, by Sun Ra, in Sun
Ra: The Immeasurable Equation. (2005) “Old” Europe:
Hartmut Geerken (Interplanetary Koncepts).
7
1972 The Outer Darkness, version 2, by Sun Ra, in Sun
Ra: The Immeasurable Equation. (2005) “Old” Europe:
Hartmut Geerken (Interplanetary Koncepts).