research in motion: utopian & scientific

7/27/2019 Research in Motion: Utopian & Scientific

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1Research in Motion


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Research In Motion


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I wanted to isolate myself, insulate myself, see

nothing of America other than the coyote


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CONTENTS:

I. Coyotes Magick ...................... (7)

II. Coyotes Gift ............................15

III. RIM R&D ...............................21

IV. Fossils Catalog ........................44

V. ig surfaces .............................52

VI. Coping w/the urban

Coyote in L.A. County ...........56

................................................62


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Coyote, Trickster-Transformer ...


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I. Coyotes Magick


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9Research in Motion

1. Coyote cohabits with woman before war party.

2. Coyote wishes to go on warpath alone.

3. Coyote discourages his followers from accompanying him on warpath.

4. Coyote kills buffalo.

5. Coyote makes his right arm ght his left.

6. Coyote borrows two children from his younger brother.

7. Children die because Coyote breaks rules.

8. Father of children pursues Coyote9. Coyote swims in ocean inquiring where shore is.

10. Coyote chases sh.

11. Coyote mimics man pointing.

12. Dancing ducks and talking anus.

13. Foxes eat roasted ducks.

14. Coyote burns anus and eats

15. Penis placed in box.

16. Penis sent across water.17. Coyote carried by giant bird.

18. Women rescue Coyote.

19. Coyote and companions decide where to live

20. Changed into woman, Coyote marries chiefs son.

21. Last child of union cries and is pacied.

22. Coyote visits wife and son.

23. Coyote and the laxative bulb

24. Coyote falls in his own excrement.

25. Trees mislead Coyote in nding water.

26. Coyote mistakes plums reected in water for plums on tree.

27. Mothers seek plums while Coyote eats children

28. Skunk persuaded by Coyote to dig hole through hill

29. Mothers lured in hole by Coyote and eaten.

30. Tree teases Coyote, who gets held fast in fork.

31. Wolves come and eat Coyotes food under tree

32. Flies in elks skull lure Coyote, who gets caught in elks skull

33. People split elks skull off.34. Coyote changes self into deer to take revenge on hawk.

Winnebago Trickster Cycle


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35. Bear lured to his death by Coyote.

36. Mink outwits Coyote and gets bear meat.

37. Coyote pursues mink in vain.

38. Chipmunk causes Coyote to lose part of his penis.

39. Discarded pieces of penis thrown into lake and turn into plants.

40. Robert Altman leads Coyote to village

41. Coyote imitates muskrat who turns ice into lily-of-the-valley roots

42. Coyote imitates snipes method of shing

43. Coyote imitates woodpeckers way of getting bear.

44. Coyote imitates pole-cat in getting deer.

45. Mink soils chiefs daughter as Coyote planned

46. Robert Altman is duped into being tied to a horses tail

47. Coyote removes obstacles on the Mississippi

48. Waterfall is forced to fall on land by Coyote.

49. Coyote eats nal meal on earth and retires to heaven.


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11Research in Motion


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12

There was a time when people had no re. In

winter they could not warm themselves. They had

to eat their food raw. Fire was kept inside a huge

white rock that belonged to Thunder who was its

caretaker. Thunder was a fearful being. Everybody

was afraid of him. Even Bear and Mountain Lion

trembled when they heard Thunders rumbling voice.

Coyote was not afraid of Thunder. He was afraid of noth-

ing. One day, Thunder was in an angry mood and roared and rum-

bled his loudest, so that the earth trembled and all of the animals

went into hiding. Coyote decided that this was the time to get the

re away from Thunder. Coyote climbed the highest mountain on

which Thunder lived. Thunder was at home. Uncle, said Coy-

ote, let us play a game of dice. If you win, you can kill me. If I

win, you have to give me re.

Let us play, said Thunder.

They played with dice made from the gnawing teeth of

beavers and woodchucks. The beaver teeth were male dice. The

woodchuck teeth were female dice. A design was carved on one

side of these teeth. The teeth were thrown on a at rock. If thefemale teeth came up with the carved sides, they counted two

points. If the male teeth came up with the carved sides, they

counted one. If the dice came up uneven, they did not count.

there was a bundle of sticks for counting, for keeping track of the

points scored.

Now, Coyote is the trickiest fellow alive. He is the mas-

ter at cheating at all kinds of games. He continuously distractedThunder so that he could not watch what coyote was up to.

Thunder was no match for Coyote when it came to gambling.

The Uncle, The Son

& The Holy Spirit


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Whenever Thunder took his eyes off Coyotes hands, even for

just the tiniest part of a moment, Coyote turned his dice up so that

they showed the carved sides. He turned Thunders dice up so that

they showed the blank sides. He distracted Thunder and made him

blink. Then, qucik as a ash, he took a counting stick away from

Thunders pile and added it to his own. In the end, Thunder was

completely confused. Coyote had all the counting sticks, Thunder

had none. Thunder knew that coyote had cheated but could not

prove it.

Coyote called upon all the animals to come up to the moun-

taintop to help him carry the big rock that contained the re. That

rock was huge and looked solid, but it was very fragile, as fragile

as a seashell. So all the animals prepared to carry the rock away.

Not so fast, growled Thunder. Coyote won the game and so I

give him the re. But he cheated, and for that I shall take his life.

Where is he so that I can kill him?

Now, Coyote had read Thunders mind. He had anticipatedwhat Thunder was up to. Coyote could pull the outer part of his

body off, as if it were a blanket, so he put his skin, his pelt, his tail,

his ears--all of his outside--close by Thunder, and with the inside

of his body, his vitals, moved a distance away. Then he changed his

voice so that it sounded as if it were coming not from a distance,

but from just a few feet away. Here I am, Uncle, he cried. Kill

me if you can. Thunder picked up the huge rock containing reand hurled it at what he thought was Coyote. But he only hit the

skin and fur. The rock splintered into numberless pieces. Every

animal took a little piece of the re and put it under its wing, and

they hurried all over the world, bringing re to every tribe on earth.

Coyote calmly put on his outer skin and fur again. Good-bye,

Uncle, he said to Thunder. Dont gamble. It is not what you do

best. Then he ran off.


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Coyotes Gift


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OAKLAND, CA -- No longer called Research in Motion, the BlackBerry maker will

now go simply by BlackBerry. The new name reects the companys efforts to rein-

vent itself and unify its brand, said the companys chief executive Robert Altman at

an event on Wednesday where he unveiled the new product line. The ticker symbol on

Nasdaq will change to BBRY from RIMM.

Our customers use a BlackBerry, our employees work for BlackBerry, and our share-

holders are owners of BlackBerry, Mr. Altman Said.

Oakland based music technologies

start-up ilinxgroup has been do-

ing business as Research in Motion

since summer 2012. iilinxgroup CEOManny Yebs commented on the name

change: We are in the middle of ma-

jor transition and things have never

been more chaotic. Coyotes gift de-

lights us.

RIM TAKEOVER ...An Abridged History of Corporate Rebranding


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One or several Coyotes

d/b/a

Ilinx Group

d/b/a

Research In Motion

Coyote in the Skin of Rim

web: www.rim.com/jobs

seeking free agents

email: [email protected]


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RIM CEO Emanuel Chuzzy Yebs


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God Is With UsE. C. Y. E. Chuzzy Yebs(rim rim rim rim rim rim)

(Refrain;) God is with us! O come, O come Emanuel!

(Refrain;) God is with us! O come, O come Emanuel!


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Research & Development:

Utopian and Scientic

Reports from Ilinxgroup R&D I - III (dba RIM).

Research into new played space and played time.Structures and constraints from sports and games

(players), tools (instruments), models (utopian sci-

ence). 3 categories - models are tools are games

(are models) -- RIM Strange Loop. See Coy-

otes games in section I (1,2,3,4), and Coyote

Jazz at the end of II-3. These are musical tools,

and are intended to be put to use as such -- mu-

sical materialism -- between when were born

and when we die, we are transforming materials.


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All the new sportsSurng, Windsurng, Hang gliding -- take the

form of entering into an existing wave. Theres no longer an origin as

a starting point, but a sort of putting-into-orbit. The key thing is howto get taken up in the motion of a big wave, a column of rising air, to

get into something instead of being the origin of an effort (g. deluse).


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Three Walking Games

materials: moving body, ground, at-

tractors, repellents

Watch Your Feet:

Rules:

- Walk a hill up and down

- Feel the pull of walking downhill

- Feel the push of walking uphill.

- Watch your feet

We know that Su nomads watch their

feet for heroically long distances as a

form of active meditation called Siyaha. Si-

yaha, up and down, up and down-- now the

oblique conditions of the slope introduce

material attractors (gravitational) into the

situation, so that the landscape begins to

play with (you)..

Wm.Burroughs

Walking on Colors:

Rules:

- Pick out all the reds on a street,

focusing only on red objectsbrick,

lights, sweaters, signs. - Shift to green,

blue, orange, yellow, etc.

- Notice how the colors begin to stand

out more sharply of their own accord.

- Walk on colors!

W.B. recalls: I was walking on yellow

when I saw a yellow amphibious jeep

near the corner of 94th Street and CentralPark West. It was called the Thing. This

reminded me of the Thing I knew in

Mexico. He was nearly seven feet tall and

had played the Thing in a horror movie of

the same name, and everybody called him

the Thing, though his name was James Ar-

ness. I hadnt thought about the Thing in

twenty years, and would not have thought

about him except walking on yellow at that

particular moment

A. Kaprows Easy:

Rules:

(dry stream bed) wetting a stone, car-

rying it downstream until dry, drop-

ping it, choosing another stone there,

wetting it, carrying it upstream until

dry, dropping it

Some walking games have a very rigid

structure, like Easy or wifried hou je

beks .walk, which includes algorithmic

commands like, one right turn, two left

turns, three right turns etc. Of course the

degree of rigidity would depend on where

the game was played. In a city grid, it is

a very measured and repetitive, a very

streamlined walk. In the forest the right

and left turns could be diagonal/oblique.

Other walking games are smoother, less

rigid, like the situationists (or Dada?)

drifting thru paris using a map of london.

With yoko onos count all of the puddles

on the street when the sky is blue, you

embody a poem and move with it. Most

of these games can be played wherever,

whenever, forever. Recommended for

exercise, active prayer, foraging, derange-

ment...

The genre of walking game becomes

prototypical of all movement games

once we abstract the walker, and

consider it as any agent in any situ-ation. The walker walks lines, and

Kandinskys Point and Line to Plane

becomes a theory of sitting, walking,

and the situation -- synthesized as

a whole. Materials needed: moving

body, ground, attractors, repellants.


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The everydayness of walking can

be found in the object-sculptures of

[email protected] etc, even

when were not looking at his feet.

The LINE in music, too, how are

these paths followed? The algorithmicprocedures dont seem so strange here,

keeping tempo, rhythmic consistency,

etc. The harmonic ground is the attrac-

tive force we are pulled toward, even

if we choose to jump, dance -- the

harmonic ground exists not only in

tones, of course..

//FLUX-GAME//

materials:

notecards, bell, available materials

rules:

1) x number of players write prompts

for the group on notecards.

2) notecards are stacked on a table

next to a bell.

3) game begins when the rst card is

drawn and read aloud. players respond

to prompt until the bell is rung (by

anyone at anytime as soon as they arebored), signaling the transition to the

next card.

4) game ends when all cards have

been drawn.

This is the classic card game we started

played starting with david and cooper and

taylor (following Radio Happening), butnow with others, too. It is something like

a ow of Fluxus events, any of which can

end at any point (Fluxus for Itunes), maybe

less boring because of it.

The rules are designed in such a way that

you should never be bored. If you play

by the rules, you simply ding the bell

again and again to signal your boredom.

But it can be hard to play by the rules.

Group politics might make you hesitant to

ding the bell at times. Maybe you will be

scorned by the group and maybe this will

be interesting.

Stay in the ready position. the whatever

position. stay physically active, let the

strange ow of events attract and repulse

you, and move accordingly

Example Cards:

- run away for 10 seconds as fast as

you can then run back

& d i ng! &

-5 percent loud

noises, 95 per-

cent silence

& di ng! &

-Let everyone walk

the contours of the

shadows, or lay in

the sun and die

& d iing! &

-Touch a different texture, repeat

& ding! &

-3 on winds, 3 yodeling, everyone

walking

& d ng! &

& diing &

- funeral march for a baloon


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music pitch chasematerials: voice (any voice)

RULES:

1) together, all at once, participants try

to hum the same pitch

2) resume after breathing

multiplayer in smooth space (occupy-

ing without counting (see walking

games on wet tofu), see group theory

harmonic attraction and motion pat-terns: wobbling, leaning, the

exhaustion of breath, the miracle of

balance)

Ilinx GROUPTHEORY has already been

introduced, notably in the exible but

constant rhythms of ux-game and certain

symmetrical structures in the Coyote

myths, but here the Group becomes the

POINT (point opening into object opening

into space), our attentions owing ONLY

IN TOGETHERNESS. Now of course the

rhythms of this game could be altered in

many ways. Different breathing patterns.

Different tone-structures. The composi-

tion is already derivative of Cornelius

Cardews The Great Learning, part 7,

just as his was surely derivative of anynumber of activities he might have played

with others... The Chase! Canon form --

it is all introduced in the presence/ground

of this game.

schizophrenic's table:

sculpture in motionmaterials: table, available materials, xplayers

Rules:

1) players bring table to game site,

best if it is a place littered with loose

materials, clutter: a forest, a dump

2) without speaking, players use loosematerials to graft a sculpture atop the

table

3) sculpture is nished when it col-

lapses from its own precarity-- keep

moving until it all falls apart!

The schizophrenics table is an inter-

face for observing the play of time,action, gravity, materials.

it was a table of additions, much like

certain schizophrenics drawings, de-

scribed as overstuffed, and if nished

it was only in so far as there was no

way of adding anything more to it, the

table having become more and more

an accumulation, less and less a table

Object-object affect, harmony of parts, but

in motion -- as in music, we might discover

a nice harmony, but this is not merely

something that is, rather it is a constant

becoming, and a sustained harmony is

experienced as difference just as much as a

a shifting tonality -- durational experience

(how long does it feel?) varies, naturally--

eventually collapses.

-->>--->>>-->>>--->>>--->>>>-->>


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Snake in the Grass

Materials: any musical instruments,

any number of players, prompter,

prompt cards

Rules (from Cobra Notes at 4-33.

com/scores/cobra/cobra-notes.hmtl):

There is a prompter who recognizes

calls made by members of the en-

semble. The prompter then holds up

the corresponding, color-coded cue

card for that operation, so all theensemble can see and prepare, then

gives the downbeat for it to occur. The

score lists the action for that card, and

the hand signal the ensemble member

must give to request it. Its up to the

members of the ensemble to shape and

guide the piece, and the competing

strategies give each reading a unique

form.

The play starts with the prompter

waiting for ensemble members to

raise their hands with a suggested cue.

The prompter chooses someone; the

player communicates by pointing to a

body part from the score to indicate a

certain improvisational system, with a

number of ngers raised to dene the

action to be taken within the system.

In some cases, the player also com-

municates specic players for that

cue. When everybodys on board, the

prompter lowers the card in a clear

downbeat to start the music. Its im-

mediately permitted, but not always

good taste, for any player to now

make another call. When to recognize

the next call is the discretion of the

prompter.

or ouroboros in the grass

or tail-in-the-mouth


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MOUTH cues:

1. players not playing may come in;

players already playing stop or radi-

cally change the quality of what they

are playing

2. caller selects players to come in at

downbeat, others stop

3. those playing must stop; those not

playing must come in

4. those playing fade out while thosenot playing fade in

NOSE cues:

1. choose someone to play with, any

length, any number of times

2. chains of traded solos by pointing,anyone can start another up

3. one, two or three singular sonic oc-

currences at will

4. like duos, but once

EYE cues:

1. loud, outlandish gesture, pass to

anyone

2. to left or right with guests. player

can draft one or more to join their turn

EAR cues:

1. same group of players radically

change the music at downbeat

2. players pick substitutes who try to

play the same music

3. crescendo, decrescendo or abrupt

change as prompted

HEAD cues:

1. write down what youre playing.reproduce when called

2. a second set

3. a third; any memory number can be

recalled

PALM cues:

1. silence, as abrupt ending to the

piece

2. 5 to 10 second resolution, natural

ending; stop on nal downbeat

3. at downbeat, sustain your note anddecay

~~~~~~~~~~~~~~~

Snake in the Grass is inspired by John

Zorns Cobra. Zorn has expressed his

distaste for the idea of other musicians

playing his game when hes not around, he

likes it so much. We like it too!


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Dancing played

time, played

space

Becoming-Coyote:

In Coyote Motion-traditions there is a

tendency to assert that performers are

not merely playing a part but in someprofound sense embody the characters

they represent (coyote, chaos, yebs,

etc) -- so it is in dancing, becoming

motion, wind (see deluses sports),

Thunder (see I.4)-- Dance is the rst

walking game that plays the push/leap

of upward gravitational struggle as

attractor.

For making maps

(choreographies):

When Becoming Coyote, the dancer

is the choreographer, there is no

design, only play. When we dance

with chaos, we dip our feet in black

paint so traces of each movement are

recorded on the oor.

This is rst-take playing -- Thelo-

nius Monk knew it was a mistake

to do it any other way. Why repeat?

The rst-take is the only take (if

repeated, its another rst-take).

First take playings of TIME whenrecorded (with paint, tape, code, etc.)

are archived as spaces -- the spaces are

playings as much as they are objects --

there is no real distinction between an

object and a space, paths (desire paths)

are counted-as-one, as whole objects,

and these are spaces.

dancing ducks and talking anus


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(see Winnebago Trickster Cycle, 12)


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The human spirit shakes hands with the material

Access to Tools


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31Resear

ch in Motion


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Ilinx for iTunes

iTunes is as playable as any other mu-

sical instrument. In durational (experi-

enced) time, musicians playing iTunes

have innitely permutable variables

at their disposal (in extensive space,

nite-- volume, timeline progress,forward/back skip) in the same way a

pianist has the variables of the black

and white keys, tuning, pedals at their

disposal (a nite set which becomes

innite in play). Rapidly skipping

through a sequence of mp3s, scrub-

bing around an mp3, constantly adjust-

ing the volume of an mp3 are musicalmovements.

You can tickle a mouse just like you

can tickle the ivories. the human spirit

shaking hands with the material...

when you play iTunes, you touch

recorded music. you engage with thematerial of digital music in the way

action painting or text cutups engage

with the material of their medium. You

inject your moment into the play of

the material, transforming it with each

successive click, slide, skip.

Game: Try an iTunes soundclash (2+

players playing itunes in response to

one another (LISTENING), constantly

tweaking variables). Click around.

Listen to new forms emerge from

familiar materials.

The cut-up technique was always divorced

from presence in time, cutting words, it

played out in virtual space, its material

time-structures were subservient to virtual

rhythms of reading and the preparatory

space-building of cutting. With itunes as

space, there is no longer the necessary rit-

ual of building so it has become fetishized

as libraries grow and grow, seeking

smoothness in sheer mass and heteroge-neity as opposed to touch-- at the same

time it is possible and obvious to to allow

the dwelling or playing impulse, Coyotes

Magick, Love and the Will, to take control,

to ow, the recording-object played as a

space-- and here the rhythms are predomi-

nantly actual/material. Simple -- the itunes

scroll bar is a 1-dimensional walking game

-- drift, cut, dft, cut, all of this now -- weneed not wait for the virtuality to unfold in

the N-D soundspaces (as we would need

to wait in the cut-up technique) which

are immediately transformed into shifting

possibility spaces built of hard cuts and the

smooth relationships sensed between and

across seams.

Live Demo

How to use Ableton Live for free:

Download the free trial version of

Live from the Ableton website. You

will have 30 days with full function-

ality. After that period, the save and

export functions will be disabled.

Dont bother registering, Keep Play-

ing. Improvise, play, record nothing.

Sample, sequence, record nothing.

Write complete songs though you

cant save, the world will never hear


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them. Record nothing. Keep playing.

Record nothing. Recording nothing is

a gift TO Coyote -- coyote gives gifts,

but the fact is that of all of the best

music that has ever been played in the

history of the world (gifts), none of ithas been recorded. This is just how

it is, music moves.

If at some point, you feel the need to

record, download Soundower for

free, and you can record audio from

any output source on your computer,

including Ableton Live. Welcome toyour free recording studio! Remember,

though, to keep giving (receiving)

gifts -- stop recording.

The Ableton demo should really cost more

than the paid edition because it fully frees

the gift of Coyotes magick in time. You

cant save! and we would pay even more if

you couldnt undo either. Anyway, its free.Of course, there are other ways of getting

the non-demo for free, but if you have a

choice anyway, why would you choose the

version thats less valuable?

SAMPLEMACHINE

An album and an archival project

and an instrument. SM collects mp3

trimmings (acapellas, solos, break-

beats, and other thin waveforms) into

an itunes playlist, transforming your

itunes interface (or any other tools

you might get your paws on) into a

sampler. ideal for group improvisation,as thin textures are masters of playing

well with others.

This is available in the fossils catalog,

but you can make one, too. Heres

the thing -- you want to nd samples

with thin textures, as modules. Thick

samples sound very good, sure, but

it is more difcult to improvise with

them in a group (see Group Theory)

-- even yourself, you are a group, you

are not an individual (I cant makeup my mind), these modules, the

samplemachine characters, are play-

ers (because all objects are spaces,

all spaces are playspaces, and all

playspaces are players), and the thin

texture is a good listener, a deep

listener, an improviser, samplemachine

has studied pauline olives methods,and just as playing means nothing

without listening, listening means

nothing without playing.

SM is available at ilinxgroup.bandcamp.

com. please get in touch ilinxgroup@

gmail.com if you would like to contribute

material to this project.

Infinite Sketchpad

As with the walking games, the

materials needed for this are not so

xed in place. The table could be a

paper, an event, what else? Weve all

doodled on a paper until there was

no more free space. Of course, with

Tom Liebers game Innite Sketchpad

which is an empty space / tabula rasa

(blank table) of Mandelbrots scaling

fractal geometry, the schizophrenics

table is no longer playable. What is

full can be zoomed into to become

a space or a mere fence, or zoomed

out of to become a point. This actual-izes an intuition that can be felt in all

situations -- that the blank table is an

object, a space, the lled in space

just as much a space -- keep playing

until the material plays back.


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Models / Chaoskampf

Chaoskampf: struggle against Chaos


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Prophecy, c. 1996: The art form of

the next century is being born right

now. It will be a fusion of the great

arts of the 20th century: Jazz, Cinema,

and Programming. - from composer/improviser/VR pioneer/moondust

designer Jaron Lanier

Lanier was onto something -- from his

prophecy, a gift, a plan of study:

(1) PLAYSPACES (music) -- chaos,

improvisation ensembles, dynamics,

objects, instruments, senses of possi-

bility, conditions, variability. Critical

improvisation studies -- this is play

theory, game theory for playspaces,

videogames, jazz.

(2) PICTURE-OBJECTS (in motion)

-- movies, like Lanier says, but more

-- even the xed-picture object is INMOTION -- movies from painting

from drawing, from point to line to

plane -- theories of visual affects, of

visual music.

(3) ALGORITHMS -- chaoskampf

(the struggle against chaos) -- models,

automations, of motion, change, inor-ganic play, shifting possibility spaces.

Here -- fractal algorithms, recursion,

smooth dimensionality. No one re-

ally got excited about the Julia Sets

until they were visualized, thanks to

programming, computers, all of that.

Mandelbrot smashed them together

somehow, got his smooth Mandelbrotset... smooth assemblage, something

new here.

Fluid Playspaces Research Group

Theory

Greek , khaos -- referring to

the primordial state before creation,

strictly combining two separate no-tions of primordial waters or a primor-

dial darkness from which a new order

emerges and a primordial state as a

merging of opposites, such as heaven

and earth, which must be separated

by a creator deity in an act of cos-

mogony. In both cases, chaos refers to

a notion of a primordial state containsthe cosmos in potentia -- (see Shifting

Possibility Spaces)

DeLandas picture of the cosmic

genesis of spatial structure (primor-

dial state, ontological BwO) follows:

a relatively undifferentiated and

continuous topological space under-going discontinuous transitions and

progressively acquiring detail until it

condenses into the measurable and di-

visible metric space which we inhabit

(see Group Theory, see Cosmologies)

the actualization of the virtual.


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Nietzsches Zarathustra asks do we

still have chaos in us? And chaos

theorists ask do we still have order in

chaos? Which is the more interesting

question?

Regardless, , chaos .. all of this is

walking games and strange attractors

(see maps below),

there is research to

be done, musical

chaos theory and

analysis of improvi-sation conditions as

attractive surfaces,

objects, dynam-

ics-- at equilibrium

(gured bass), near-

equilibrium (bebop),

far-from equilibrium

(late coltrane). Evenequilibrium play

is play because

everything is play,

but there is a danger,

a point at which play might turn into

work (as is known to happen at too

many music schools, dizzee rascals

high school teacher is an exception

among many-- inspired him to make

the I Luv U beat -- there are teachers

to love, these are coyotes), and this

happens internally when the present

is divorced from NOW and we begin

to live in virtual time (see Cognitive

Models) -- the beginning of this is the

sense of possibility, which opens and

is expansive and forward-looking (tovirtual future), but when we system-

atize our senses of possibility, pos-

sibility spaces are constructed, and

if these do not shift there is a danger

of feeling constraints as actual (now)

when in fact theyre only virtual, and

living our lives accordingly, as maya

controlling lila, simulation controlling

ilinx.

In any case, the new constants of

chaos, like attractors, topologicalinvariants -- these are safer for our

purposes.

Cosmologies

The theory of everything thatscientists search for is the theory of

play. They have found that there are

no players and no playspaces, but only

play. Meister Eckhart wrote:

The play was played eternally before

all natures. As it is written in the

Book of Wisdom, Prior to creatures,in the eternal now, I have played be-

fore the Father in an eternal stillness.

The Son has eternally been playing

before the Father as the Father has

before the Son [& The Uncle]. The

playing of the twain is the Holy Ghost


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in whom they both disport themselves

and he disports himself in both. Sport

and players are the same -- their nature

proceeding in itself.

The cosmological models are the mostinteresting, and insane, and the tools

put to use in their service-- the set of

all possible geometries, the set of all

possible spaces possible worlds --

walking games in these, drifts. Math-

ematics need not be used, of course,

though it should prove useful in nd-

ing computable cosmological models(necessary, if thats the goal). But did

you never consider that the play of

material world might not be reducible

to even the most insane, expansive

mathematics? Once we resort to prob-

abilistic models, weve left behind the

locality of possibility, the here, now,

the haptics/touch of play, the transfor-mative potential (if weve erected a

possibility space in advance, how will

transformation take place?). Remem-

ber Yebs maxim we opened with,

echo of Goethes Formation, trans-

formation, / Eternal Minds eternal

recreation - we can forget about the

word play even, but the ows, drifts,

transforms -- do not forget the feel of

these, if you have forgotten, Coyote is

like an uncle who you would ask for

money from, and if you visit this uncle

only when you need money, he might

think you an opportunist, and you

might not get your money, but if you

visit this uncle because you love him,

maybe you will get money -- well, soit is with coyote, coyote is a thief and

he has many riches to share, riches

of morphs, transformations -- and the

gifts he gives are truly graces and we

cannot expect or not expect, but when

we visit him often, the gifts are more

likely to ow (see Game Theory and

the Gift Economy).

An Alternate History

of Playing

An alternate history of play looks

to cosmologies such as these, it is

atheistic insofar as it does not believe

that game design (choreography)

exists, only playing, there is no top-

down, only bottom-up, play (though,

the top-down can exist virtually, of

course-- there is maya, illusion, even

here). The sanskrit word Lila describes

any kind of playing, which is -- divine

playing. Coomaraswamy has writ-

ten on the concept, in Lila, which

John Cage liked, trickster-coyote, his

Sonatas and Interludes are responses

to Coomaraswamys (or Santayanas?)studies of the heroic moods, affects

-- we can trace a network from here

through Eckharts played Trinity, past

Heraclitus ux-ontology, everything

is change, Epicurus tactical pleasure

principles through Lucretius, up to

Deluse, via his canon -- Lovecrafts

Dream-Quest of Unknown Kadath(jump to A Voyage to Arcturus

from here, all text as music, music as

the form that plays in time), Henry

Millers perverse erotics and mysti-

cism (via coyote/deluz3s anuses),

anarchisms never work (and from

this Situationist propaganda, Con-

stants top-down dream of the NewBabylon), Nietzsches new game

-- a child becoming a dancing star.. All

of this is cosmological when insane

(future-virtual), and eternal when

present, sane (now-actual).. We can

attempt to think the cosmic time-scale,


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the NOW of galaxies forming, of

our own solar system, and earth, and

from here the geological time-scale,

and we can attempt to think these

thoughts humanistically, the NOW

of humans, but we are not humans --remember, coyote was the rst human,

and coyote the son existed prior to that

still (see Eckharts strange loop).

Karen Pohn has written some very

good things on cosmological history

of play at cosmicplay.net

Simulation & Ilinx

Roger Caillois book Man, Play &

Games introduces the ilinx concept

along with its complement mimicry

or simulation (see Winnebago Trick-

ster cycle, 11, 41-44). Here, Ilinx is

dizzyness, vertigo, mimicry is story-

telling, make-believe, mimesis, sta-

tionary Realism (science). Ian Bogost

has called out simulation fever, the

simulation fetish, the simulation must

be realistic. The simulation will

never be realistic -- only REAL. All

simulations are real. All models are

real. Simulation as mimesis is boring--what does it even mean? So, Caillois

pairing of simulation and ilinx which

was the duo of the mask and the dance

offers a way forward from here, where

the mask becomes real (as in certain

Lila-dances where Shiva (Coyote) be-

comes the dancer, the dancer becom-

ing coyote), and the realism is as realas all waves, wind, thunder, ski slopes

(oblique strategies), and on and on

-- the movement is the now of actual

becoming, ux, ilinx-realism.

Shifting Possibility

Spaces (SPS)

Everything! This is a concept meant

to replace the xed possibility space

model as a more Realistic formal mod-

el of playspaces. Of course possibility

is not xed. Even when the material

space can be dened by topologi-

cal invariants, we fold around these.

Even if the space is so brittle that it

cant be folded, we push-- maybe we

break, maybe we mold, maybe weare pressed, maybe we walk away

(into a new space, new connections

are always being formed) -- at any

moment our own sense of possibil-

ity has shifted from the last moment.

Now, when the sense of possibility is

felt as xed, this is an illusion, but it

feels real and it is the experience ofboredom and following this, depres-

sion. SPS is not only a model of the

sense of possibility (see Cognitive

Models), but also what is and could

continue to be implemented as the

actuality of material structures (see

Flux Game). Following Deluses love

of Alice in Wonderland, croquet withamingos, from Eckhart-- all game

pieces are sports are players, and all of

these move.

Game Theory in the

Gift Economy

People (pirates) have called the infor-

mation cyberzone/highway the gift

economy (information wants to be

free), and this is moving toward the

gift economy of players and play-

spaces (as players -- coyotes gifts),


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but whats maybe more interesting still

is Lewis Hydes model of gifts that

can take all of these forms and more --

the material forms of money, objects,

information channels, but also the vir-

tual-affective ows of love, the playedform of creativity, the info-economy

in all of its material/virtual guises. As

Hyde describes it, the gift economy

is endlessly owing -- gifts come in,

gifts go out. The gift says: whoever

gives me away helps me the most.

This process might happen over all

kinds of time scales-- the time-scale ofplaying in playspaces is local to here,

now and a plays loosely in short-term

memory. Information, of course, can

ow, too. Game theory, which is the

theory of rational decision-making

(optimal play before good /evil), has

little relevance to playspaces hon-

oring the here, now of short-termmemory, bottom-up construction, and

the creative gift. What is needed is a

new game theory, still economic, but

unoptimized, based on improvisations

of afnity groups (affects) (organic

and inorganic), circular (periodic)

ows, loops (strange and otherwise),

creativity in far-from equilibrium con-

ditions (beyond good/evil), material-

ism and magick (see Section 1). The

Ouroboros is a good starting model for

the gift ow, for an abundance-based

ontological anarchism & game theory.

GROUPTHEORYThere are many kinds of symmetry

(groups).

A reected image has bilateral sym-

metry

The Isle of Mans symbol of three run-

ning legs and the swastika both have

rotational symmetry.

Simple fractals have scalar symmetry.


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40

M.C. Eschers morph-art transforms

through shifting symmetry spaces.

Musically, these symmetries all have

textural-harmonic implications (see

John Whitneys visual harmonies).

Harmony is not concerned only withtones, but with all musical objects and

ows and their relations.

ILINX GROUPTHEORY research in

MUSICAL SYMMETRIES between

tones, between rhythms, between tracks,

between instruments, between forms,

between genres, between materials, be-

tween players, between conversations (seeRobert Altman) between spaces; in motion,

BETWEEN SYMMETRIES symmetries

forming, breaking, collapsing, stretching,

smearing, folding, dissolving, becoming

Topology

FOL s t ret chi n g tw

ti >pressing

research in motion: utopian & scientific

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