Jackson Mac Low
...be very easy on it, not very, you know, keep the amplitude down to, no higher than mezzo piano. Can someone take one from here? I'm supposed have one and ten. Try to start with the earlier ones and then go into the later ones if possible. Those with the first, the earlier numbers should be on mic first. Those with numbers between two and five I guess. So that the [inaudible word] will hear the earlier ones more than the later ones. You can prolong any of the phonemes at the ends of lines. This is another piece called "[inaudible word] and Ladders".
Performs "[inaudible word] and Ladders", [beaks and Lamons??]
Performs "Blue Bird Asymmetries".
Jackson Mac Low
I have one last one that none of these people have yet seen, and so this one has no rules, that is, the others have some rules for how you put in silences, these will, these, in the summer of 69 I did a project for the Los Angeles Museum of Art, an art technology show that's going to open this May, unfortunately, my machine was bombed out, the corporations seems to be on the rocks, they're not providing the machine, but luckily I had poems that appeared on cathered[sp?] ray tubes or something called a programable film reader, and the words appear at the same time we sent the same impulses through an audio system and they turned out to be, well, [inaudible word], everything down from paniono [sp?] oboe to double, double, double bass oboe according to how long the lines were and so I did quite a few poems, this particular one is "The", and it's the last one I did, and tried to [inaudible] I guess three pages each, just use whatever discretion you want to, and listen, listen, listen. Earlier I had very strict rules governed by chance operations and so-on, in reading these, well, in reading these kind of simultaneous works, and more and more I came to the, well I always had the principal of the most important things was to listen hard to everything that was happening, including whatever was happening in the room, whatever’s happening outside and so on, but more and more I relied on the readers to judge when to come in, and in- perform- these I found, this is one very long print-out of this particular poem, I don't want to- I think in, I don't remember, someplace there's a description of the idea of how they were made and all that, but what I got was a number of messages that, of which the units were permuted, the earliest form of my program was simply permuting the words in each single words in each message, later on I was able to get carriage returns? and things like that so that in this, each message is a group of short sentences, usually about the same thing, and you'll, so that on the page each message looks like a sort of a stanza or strophe, and the groups of sentences- any number of the groups of sentences from any one of these strophe units may appear at any time according to way the thing is programmed. Does everybody have about three pages? Let's just make it...
Jackson Mac Low
END OF RECORDING.