Reality Hackers #6 0014171110

Citation preview

EXCLUSIVE!

COMPUTER VIRUS SECRETS REVEALED

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1988 Thinking Allowed Productions

Spend an evening most

inquiring

with the

r

"i Thinking Allowed

minds of our

5966 Zinn

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An extraordinary

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in-depth,

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me

Zip

your complete video catalog.

(HF)

J

HIGH FRONTIERS

WMii editorial PUBLISHERS Alison Kennedy,

Morgan

Russell,

Ken Goffman

4 SOAPBOX by Jas. Morgan

and accomplices

EDITOR-IN-CHIEF R. U. Sirius

DOMINEDITRIX Queen Mu

6 HACKER BIOS

8

REALITY HECKLERS Letters to the Editor

ART DIRECTOR Roger Raupp

MANAGING EDITOR Uncle

Nunzio

St.

EDITORS Judith Milhon,

Morgan Russell

columns

10

FRINGE SCIENCE by Nick Herbert

MUSIC EDITOR Jas.

The master of quantum

Morgan

CYBERNETIC SYNTHESIST Michael Szesny

PRODUCTION EDITOR

made

by Terence McKenna Logomagician turned

TYPING & TRANSCRIPTION SPECIAL THANKS Marc

Gullichsen, Carol O'Connell,

Ed Paul

Ellsworth

& Tim

Adam

at California Arts in

A new column

in S.F.,

Oakland.

Tim Hildebrand

"mellow"

in

by Michael Hutchison

Zakin,

COVER PHOTOGRAPH

travel editor finds

14 MEGABRAIN UPDATE

Franklin, Eric

& Pinnacle Type

is

Southeast Asia.

Loona Vermont, Dagen

Flattery,

Universe

12 PSYCHOPHARMACOGNOSTICON: OUR MAN IN MRVANA — KOH SAMUI

Nancy Schorr

David

reality says that the

of music.

presenting the

latest "nautilus

machines

for the brain."

16 PSYCHEDELIC SCENARIOS by Bruce Eisner & Peter Stafford

DISTRIBUTION REPRESENTATIVE:

The opening of the Albert Hofmann latest on the legal status of MDMA.

Progressive Magazines, Inc. P.O. BOX 423 Montvale, N.J. 07645

(201)573-9566

Published quarterly. of this publication

All rights

may be

reserved.

printed

in

No

part or

and the

megabytes & minibytes

The Science of Music Contents Copyright © 1988 High Frontiers/Reality Hackers

Library

18

& Consciousness

ITS A GREAT TIME TO BE A MUSICIAN

BELEW INTERVIEW

part

whole

by

Tom

Erikson

without written permission from the publishers,

High Frontiers/Reality Hackers is not responsible for claims made by advertisers or opinions expressed.

High Frontiers/Reality Hackers P.O. Box 40271,

BERKELEY, CA. 94704 415-845-9018 Single issues are $5 ppd. $7 Overseas

22

VISUAL MUSICAL INSTRUMENTS by Ralph Abraham Chaos theory meets VisMusic

27

DEPT:

THE DISTORTION OF SOUND

by Alexander T Shulgin Weird drug distorts music on the

inside.

ADRIAN

28

VISUAL MUSIC IN THE THIRD By Queen Mu Icaros, or magical

30

shamanic melodies, of the ayahuasqueros

BLUE OYSTER CULT & THE CHORDS OF DOOM: AN INTERVIEW WITH SANDY PEARLMAN by Grade

34

WORLD

& Zarkov

MUSIC FOR EARTHQUAKES: BRIAN ENO AT THE EXPLORATORIUM IN SAN FRANCISCO Eno interviewed by Charles Amirkhanian

44

MASTER OF MELODY: by Faustin Bray

ALI

AKBAR KHAN

and Brian Wallace/Sound

Photosynthesis

46

SUN RA'S MAGICAL KINGDOM Sun Ra interviewed by

Ira

Steingroot

52 HARMONIC OVERTONES: AN INTERVIEW WITH DAVID HYKES by Faustin Bray

56 THE SHADOW WORLD OF HEAVY METAL by Grade & Zarkov Heavy Metal, according to Z & G, is "nothing the Shadow of Western Civilization."

less

than

62 THE MAGIC OF MUSIC: MAPS & LEGENDS by Rich Young

A

resource guide to esoteric

&

non- Western music.

66 LOAD AND RUN: HIGH-TECH PAGANISM — DIGITAL POLYTHEISM by Timothy Leary

Modern alchemy

& Eric

Gullichsen

for the cyber-set.

68 CYBER TERRORISTS/VDIAL HITMEN by Michael Synergy

Computer

87

Viral Protection 101

MATHEMATICA: THE REVELATION By Gully Jimson "The era of doing mathematics by hand and brain has

nightcap

88

PEAK EXPERIENCE by

We

Hakim Bey present the winner of our Peak Experience Contest.

now ended

18

The personal computer revolution has vastly empowered the individual. Yet it is a fragile and vulnera-

soapbox

means Information

is

Individuals have at their

ble system.

you

true capital. Grain rots,

can't

who

you might not need medicines. All of these capital, have been used for centuries as barter. But what makes doctors, genetic engineers and, for that matter, plumbers, wealthy? Knowledge, information, data. You can learn to grow crops, mine gold, practice alchemy. Proudhon stated the crux of

a crime against Species Intelligence.

commodities,

true

the matter in three simple koans: "Property

us your thoughts!

Property

is

freedom. Property

is

is theft.

impossible."

Property

is theft.

learned.

All that

polated.

We

own

is

All that

gain,

we know, we

from agriculture

freedom.

While others may

you can

still

stein articulated the

have

built

us,

to the

No one can

utilize

profit

upon

from

the

lan-

atom bomb.

steal

he's in

much

their

from them as well. Ein-

to his chagrin

issue

is

you

was used

to

to integrate

We

is

we

free.

the very essence

is

A continuous stream of data allows new models into your self-created re-

and discard outmoded ones. There are those cling tenaciously to the security of their present

belief system. will

In

And

exchange

new model.

there are the intellectual faddists their current

model

in favor

of

any

model more importantly, what works for is what works you.. But be aware. We attempt to widen the bandReality Hackers believes the best

—

width and present as

We

vided that

control them.

Information

ideas

promote and endorse maximum

who

nobody can

impossible.

over the coming months. Send

ality,

ble.

is

ethic to guide

danger of being scapegoated for what

likely to rage

develop nuclear weaponry. Nobody owns ideas and Property

new

a

is

liber-

mostly inter-corporate sabotage. The computer virus

who

your

your concepts for

The hacker

neural fluxibility.

concept of General Relativity and

atomic theory, which

him—or

The communication of

have discovered has been extra-

have gone before

lever,

Property ideas.

who

Yet the hacker must forge a

ties.

of this magazine.

have simply stolen and

ideas of those

guage to the

we

Those

Promethean and the guardian of personal

Infor-

mation equals property.

the

hoard, damage, or destroy signals are committing

eat gold,

is

command

to capriciously misuse' the technology.

many and

varied ideas as possi-

any notion pro-

are willing to entertain nearly it's

resonant and interesting. So don't

believe everything

you

read.

Think

for yourself.

communicate with symbols and concepts developed by

fact

information

is

taken for granted, as

people other than ourselves.

We

build the tools to build the tools.

on Proudhon's concepts

is left

daily

build the tools to

-Jas.

Morgan and accomplices

The Zen meditation

to the reader.

History of Underground Comics

by Mark

J.

Estren

$17 95 ISBN 0-014171-11-0 336 pp "An interesting read" -High Times "Every ma|or underground comic artist •TOT) Rotxrt

Crumb

is

represented" -California Magazine

History of Underground Comics has tha most lavish collection of

DID YOU KNOW?!?! You can not see the stars in space!? We live in the interior of the hollow sun!? Electricity is our externalized soul force!? Colors are not contained in light!? AIDS is not a virus!? These ideas + much more (including the Cosmic Weather Report) are explored in THE JOURNAL OF BORDERLAND RESEARCH, issued to Members of Borderland Sciences Res. Found.

Membership in BSRF is $20/year (6 JBRs) Sample JBR— $5 * Book Catalog/ JBR Info— $2 B.S.R.F., PO Box 429, Garberville CA 95440 4

REALITY HACKERS

ono book, plus

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In

tha history behind tha stories, put together by

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tha halp of tha cartoonists. Includes: R. Crumb, Gilbert Sheldon, Bill Griffith, S.

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Order by phone with VISA/MC or UPS-COD, call day or night To order by mail send $17.95 per book plus $4 shipping

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A

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brain at the user chosen rate tends to produce a type of copying effect, " Following Response" or entertainment effect. The brain tends to synchronize with the frquency being transmitted from the device. This can be shown through the use of an EEG Graph. The EEG for most individuals goes to the same frquency as the machine in a matter of

affordable price.OPEN MIND ENTERPRISES has the pleasure of providing the most

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The Innerquest. The human brain is a mass

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means

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sound devices.

MIND ENTERPRISES has researched and found the Innerquest to be far superior to any other similar products. It is a two person unit with sixteen programs and a built in cassette player to provide your choice of background

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waves (8-12 Hz) occur during relaxation, especially in the twilight state just before sleep. Theta waves (4-8 Hz) are emitted during deep sleep or deep meditation when the subcoscious is being tapped. Delta waves (1-4 Hz) occur during deepest sleep and are seldom, if ever experienced by the conscious mind. This new Innerquest allows a person to

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r

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Potential

^

.,:>/ /:

'.;;

Bruce Eisner: Bruce began writing for the Underground Press back in the 1960's. He is known to readers for his work in Oram and High Times. His forthcoming book, Ecstasy:

hacker profiles

The MDMA Story (Ronin Press, Berkeley) is scheduled for a January '89 release. Affiliated with the Saybrook Institute in San Francisco

and manning the helm

at

Mindware

Inc., a

Bruce always finds time to participate in marathon encounter sessions with the Federal Government over the legality and ethics of certain Entheogenic substances. Mindware is at 1803 Mission Street, Suite 414, Santa Cruz, 95060distributor of psychoactive software,

Ralph Abraham: Ralph has been sor of mathematics

at

UC

a profes-

Santa Cruz for

(gasp!) nearly twenty years, and has been a student of Classical Indian Music for nearly as long.

He

has also become, of

lectual historian of great

and

late,

power and

an

intel-

subtlety,

5296.

a popularizer of the abstruse ideas of

Fractals, and Chaos. His four volume set, Dynamics: The Geometry of Behavior, is a graphic feast for the

Tom Erikson: Tom

mind (Aerial Press). He is currently working on a popular book on Chaos for Harper & Row. He can be reached at Box 7920, Santa Cruz, CA 95061 or UUCP:

a number of arcane record albums. Latest one: Ex-Dead Kennedy Klaus Flouride's solo album (Alternative Tentacles, S.F.). His interview and photos of John Cage appeared in Conversing with Cage (Limelight Editions, N.Y. 1988). He is currently writing a book of interviews and live portraits of musicians. He listens to Captain Beefheart and his Magic Band and sees creative forms of communica-

Non-Linear Dynamics, of

!ucbvax!ucscc!D:abraham.

Charles Amirkhanian: Charles joined Laurie Anderson, Yoko Ono, and John Cage in "The Guests Go in to Supper (Burning Books, 1986). Not merely a composer, he is music director at Berkeley's KPFA, and heads the San Francisco Exploratorium

"Speaking

of Music" series. He also founded the enormously successful Composer-to-Composer Festival in Telluride, Colorado. The first CD of his work was released in September by Perspectives on New Music (music DN-10, U. of Washington, Seattle, 98195-$15 pp.). His latest commissioned work includes Tibetan gongs and talking parrots with

WA

Synclavier.

Faustin Bray and Brian Wallace: Faustin and Brian are cutting edge, pure signal transmissions. Their company Sound Photosynthesis constitutes

resources of the

produce a

one of the great cultural community. They

New Age

vast array of

"New

Ideas" audio/

video tapes and CDs. Having studied with Indian sarod master Ali Akbar Khan, they apply their musical skills to their band Intuit!, They can be reached at P.O. Box 2111, Mill Valley, Ca. 94942.

RHAI.l'IY

HACKERS

Erikson teaches interac-

San Francisco Exploratorium and it. His photos have appeared on

tively at the

believes in

tion as

HOPE.

Gracie and Zarkov: An over-educated couple with advanced degrees in psychology, philosophy, anthropology, natural science, and international finance— they are perhaps the most colourful and exotic dyad around. Gracie is a belly dancer in her "on" moments and Zarkov is financial adviser to the Vatican. Music remains one of their three favorite obsessions (guess the other two). They juggle an amphibious existence as high-tech investment bankers weekdays, and designer heads on weekends. They spend their quality time luxuriating in the pleasures of Magick Theatre.

Eric Gullichsen: Eric notes: "Dynamic interaction with cyberspace computer interfaces can be of arbitrary dimensionality, in a phase space of the user's choosing. The perceptual experience of living in the world is 3D. Imagery projected on paper, or the computer screens common today, is 2-D. Any

words

I

can write here are prisoners of the

single-dimensional printed line, of the tyran-

ny of conventional typography." Specific questions can be addressed to him at Autodesk, Inc. in Sausalito where he writes software systems to permit greater intimacy with computer appliances (electronic mail code: acad !egullich@sun com).

Terence McKenna: Logomagician and

phi-

losopher, is author, with his brother Dennis, of The Invisible Landscape. In California he

Wu

Nick Herbert: One of the original "Dancing Li Masters," and long time student of the

and managing facility which distributes his Timewave computer software, books, and numerous audio tapes including a talking book, True Hallucinations. In Hawaii he is secretary-treasurer of Botanical Dimensions, a non-profit research facility which cultivates and preserves plants of ethnophar-

Quantum Mechanics

macological value.

of Everyday Life, Nick's writing has spanned the whole of Fringe Science from Nikola Tesla, Bell's Theorem, and the physics of Psi Phenomena, to Houdini, the Metaphase Typewriter, and the sexing of quartz crystals. His book Quantum Reali(Doubleday, ty: Beyond the New Physics 1985) has been translated into six languages. His latest book on time travel, Faster Than Light: Superluminal Loopholes in Physics is just out (New American Library, hardcover, $18.95).

Michael Hutchison: Michael wrote the book on isolation tank techniques, The Book of Floating, which sparked a fascination with mechanical mind expansion equipment and methods. His most recent book is the bestselling Megabrain (Beech Tree Books). Mike travels extensively, giving exposure to these "Nautilus machines for the mind" in his Megabrain Workshops. Those interested in his workshops or his soon-to-open Brain Research Institute, should contact him at 193 Stanford Ave., Mill Valley, Ca. 94941; 3811731.

Timothy Leary: As

now

Cyberdelic Guru of the

'80's,

he

ware

to effect brain change.

computers and softHis Future History Series is enjoying a renaissance through a new release by Falcon Press, who's also scheduled to publish his latest Millennium Madness: The Cyber Society. Tim's software company, Futique Inc., is progressing towards Head Coach. A newly-released annois

utilizing

tated bibliography of his Press, hardcover, $37.50) for

all

establish

him

as

work

(Shoestring

should once and (most valuable

MVP

philosopher) of the twentieth century!

is

currently writing, lecturing,

Lux Natura,

a publishing

Alexander T. Shulgin:

known

Affectionately

as "Sasha," Shulgin

is

one of the

fore-

most researchers

in the area of psychoactive ready resource and gentle advisor for young researchers in ethnopharmacology,

A

drugs.

he

is

also

class of

one of the chief

authorities

compounds known

on

that

as "empatho-

His book, The Controlled Substances Act (Fall '88), is the definitive manual on the current status of federal drug laws. An exhaustive compilation, organized by drug gens."

name,

structure,

&

code numbers,

it

includes

drugs, solvents, vitamins, foodstuffs, "and

even things unrecognized." A must! (383 pp. Available through mail order from A.T. Shulgin, 1483 Shulgin Rd., Lafayette,

94549. $24.95 plus $1.62 postage).

Peter Stafford: Peter delics Investigator)

CA

tax

CA

and $1.60

Stafford, P.I. (Psyche-

and

Circuit Rider, co-

authored LSD: The Problem-Solving Psychedelic, was advisor on psychedelics for Life magazine, and authored Psychedelic Baby Reaches Puberty. Currently rewriting his Encyclopedia of Psychedelic Substances (3rd ed. due from Tarcher Books next spring). He is also writing two new books: Experiments in Short Term Memory Loss and Be He Male or Female. He can generally be spotted in Hollywood wearing one of his favorite T-shirts: "Everything's Peculiar," "Communist Party Animal," or "Absolutely NOT BUSH." He will accept alms, volunteer project assistance, or royal patronage. Contact him at: 1625 Woods Drive, Los Angeles. CA 90069; (213) 650-7512. (continued on page 80)

WINTER

7

success rate for technically complex government pro-

reality

jects.

My hope writing

hecklers

that

is

Timothy and

pop cyberpunk

Eric are

in contrast to their

simply

having de-

cided that any government project should be supported.

Hagbard Celine

What go

One day

gives with the name-change?

and

to the kiosk

Frontiers.

What

can't find a single

do

I

find

is

copy of High

Reality Hackers

.

.

.

sicko mass-murder magazine ...

it's

it

doesn't belong there.

been moved.

It's

in

He

real estate guides.

I

tell

him

to

Next time

I

Reality Hackers,

Recently on the Usenix newsnet an accusation

be-

thinks Realty Hackers

guys having an identity

check

it

come by

with Apartment Life and the

nal for real estate sharks

is

a jour-

and subdividers. Are you

crisis

or just fucking with

Apfel Transfers

I

tween Soldier of Fortune and True Detective. Obviously the newsie thinks Reality Hackers is some S & M out, that

&

Gold

Reality Hackers:

was leveled ality

at

Timothy Leary as being popish and Re-

Hackers for being stupid and

underground culture" and accused you

He

also referred to

I

fail

Quizzically,

technical,

Eddie Esposito

in

NYC

tic

and accused you

"underground" about

and

Technology by Leary and Gulmakes me question the motives of

Artificial Reality

the esteemed authors.

The

Monthly, and the LA Times.

known

as

up

the issue of devices, some-

waldos (Heinlein),

battle

armor (Hein-

and Haldeman), telefactoring units (Zelazny), or body prosthetic appliances (medical science). Humans need not be sent into the vacuum of

space or the eye of the 26, issue 5 of

battlefield,

—

RH.

While the major emphasis military use of

except virtually.

machines? Webster's

aren't miracle as:

"an extremely outstanding or un-

personal computer permits

3-D scenes,

me

efficiently

to interactively

comes from Agency (DARPA),

re-

communicate around the

store, search,

formation.

and organize

and amounts of diverse in-

vast

Continuing growth

in

processor speeds

make sensory-encompassing interfaces seem an inevitable next step. Where else to put the user, who is today

in direct control

of the internal processing of the

machine, than "through the looking

such devices, and the major funding for

view

globe, rapidly explore mathematical hypotheses,

has been the

in fiction

my

usual event, thing, or accomplishment." Today,

alistic

brings

article

have recently appeared

political issues

such mainstream publications as Rolling Stone, Atlan-

defines a miracle

lichsen in Issue 5

page

as "junkies"

fun..

to perceive anything

Computers

full

you

much

of having too

folks of fool-

computers are "miracle machines."

ishly thinking that

Leary these days. Leary's commentaries on social,

Reality Hackers:

lein

This

piece referred to Leary and associates as a "semi-

my

heads?

times

parasitical.

Finally, as a recent

claims, Reality

glass."

advertisement for

RH

pro-

Hackers are bringing together forces

to

biocybernetics (man/machine interfacing)

create a future of abundance, individual freedom, crea-

Defense Advanced Research Projects

tivity,

the warping of such technology to military ends

should be

like to

better

it

makes good copy, but

I

would

walk and function as well as

I

I

Sausalito,

CA

do, not as a

weapons system. Making

life

better for the handicapped, or appli-

cations in space/planetary exploration, or those areas

dangerous

to

life

firefighting, et al)

Dear

Reality Hackers:

Hello from

Down

Under!

We

are

(chemical/biological/nuclear hazards,

deeply impressed by your magazine

should be the main focus for the de-

autographed

signers.

Devices such as waidos should be developed by the free-market for free-market use, as

8

believes in this goal,

Autodesk, Inc

see waldos used to allow paraplegics and quad-

raplegics to

who

this effort.

Eric Gullichsen

resisted.

understand

I

and novelty. As one

support and applaud

REALITY HACKERS

we know

the

and remain

— we received an

copy from Anton Wilson. According to our mindset, your mag is most aptly named and certainly top of our list of inspiring and encouraging earlier

( continued

am page

78)

Is

your

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life

working? A

glaring shortcoming

extension books

is

in

almost

all

the absence of a

of the popular

method

life

to test the

effectiveness of proposed anti-aging regimens. Without

such testing there claims

made

nutritional,

is

no way to evaluate the beneficial dose multi-vitamin, anti-oxidant,

for high

and exercise programs.

Now, Ward Dean, MD, tells you how to measure your biological age and evaluate your life extension program in his new book, Biological

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1

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/2

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author,

ing

Here's what others say about this book: Durk Pearson and Sandy Shaw, authors "This is a greatly

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practical use of available

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John

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recommended for anyone

A.

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of

be of particular value

UCLA and

Long and

make

author of

Maximum

Life

Span:

Secrets of Life Extension.

with your

book

Well audiotape by Dr.

Ron

order:

Klatz,

President of the American Longevity Research Institute, contributor to The Life Extension Weight

Loss Program, and co-author

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Send check or money order

For readers of Reality Hackers

Live

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$12.95 value -Free

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life

for

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The Center for Bio-Gerontology P.O. Box 7837 Thousand Oaks, CA 91359 (805) 529-6665

world made of

[

magine

I

music instead of solid

a

objects.

is

There

vibration.

nothing in

world

this

own

its

Nick Herbert

B

never does the clamor cease. Since

it

is

the

very substance of the world, as long as the world exists

rhythm. The music goes on

so does the

The science of music-world

is

forever.

not tinker-toy me-

chanics but a science of vibration, a deep appreciation of the ways that waves work.

The

book of undulatory wisdom is a forms. The number of possible waveforms

is infinite,

For instance, a proper

ist.

waves could produce the sound "music" complete

self-

rhythm. Taken together, these

numerous rhythms sometimes harmonize, sometimes clash, but

families that ex-

combination of triangle

that

buzzing, ringing, clanging,

isn't vibrating,

possessed by

waveform

is

number of

to the infinite

fringe science

The essence of musicworld

first

chapter in the

catalog of basic wave-

with

all

vocal

the subtle intonations peculiar to your

tract.

Music synthesizers work on

commonly using

either impulse

own

this principle,

waves or sine waves

to duplicate the sounds of various musical instruments

and

new

to create entirely

sounds.

Performing the synthesis operation

form

families.

is the most important difference between music-world and a clock-

Here

so only the

work-style universe

A

made

of ordi-

only one way, separating into

produced by organ,

parts

cello,

nary objects.

voice,

cymbals,

Waves

The other

the piano

is

is

a

family

member of the piano-wave fammembers are the other notes that all

others contain an infinite

Chapter two

most important that

is

for

each possible

fre-

in the

Book of Waves describes make new waves. The building waves from one an-

Big

together to

tool for

called the "synthesizer theorem" which states

any waveform whatsoever can be synthesized by

putting together (in the proper proportions)

members

of any one of the waveform families.

imagine speaking the word "music." Your speech act a particualar

waveform

in the air, a

plex, transient pattern of sonic vibrations. sizer

10

theorem says

that this

REALITY HACKERS

but their technology

just

number of

infinite

one might choose

families

waveform

analysis.

imagine that music-world

been discovered by

a race

com-

The synthe-

sound can be exactly du-

sufficiently

is

advanced to have

produced a variety of spectrum analyzers with which to indirectly

The Exxons,

probe music world's complex for instance,

content of this

new

vibrations.

can determine the sine-wave

world. Because

it

is

made

of

waves, not things, music-world obligingly responds to the Exxons' probings by breaking

up

any wave-

into

forms they happen to choose. Each of these ways of

a partial truth. rectly,

Even

valid,

is if

but each represents only

they could hear the music

di-

would miss much of music world's hearing, itself, is only one particular kind

the Exxons

import, for

of spectrum analysis.

Because

not things, music-world

is

it

is

made

of waves,

simply richer than any one

description can encompass. If

As a simple example of the synthesizer theorem, produces

an

in

— the "Exxons". These beings are completely deaf — they cannot hear the music —

probing music-world

vibration.

how waves come other

In principle, the

capable of putting out.

number of members, one wave

its

of intelligent beings

a Steinway grand, for instance,

piano-wave family, and

quency of

has

/

and the mathematically perfect oscillation named "sine wave" after the familiar trigonometric function. Each of these waves stands not only for itself but for an entire waveform

ily.

Now

/

"impulse wave,"

The sound of

apart in

can be broken apart

as a basis for

tooth wave, triangle wave, the quick

family.

comes

of different ways, corre-

waveform

here as well: the square wave, saw-

sounding C-sharp

it

sponding to the

created by electronic circuitry are

digital blip called

—

infinity

and hundreds

of other musical instruments.

clock

unique pieces. But a wave has no

piano, saxophone, tuba, violin,

human

any

in reverse,

wave may be analyzed, broken down into elementary waveforms belonging to any one of the various wave-

most interesting and useful waves are pictured here. In chapter one the wave scientist can find the waves

drums,

num-

plicated in an infinite

ber of ways corresponding

you are reading

some new outlaw suggests, then

this

column hoping

edge, as the

you are

to discover

Fringe Science

in for a surprise.

fancifully called "music-world"

as described

title

is just

What

our

own

by quantum physics, more than

I

have

world

sixty

years old, the mainline, hardcore, establishment

science, the basis for

computer

chips, lasers

and much

Our world

is

made

Atoms

are, in

it,

"Atoms are not

pio-

things."

essence, a certain kind of wave, cease-

lessly vibrating,

extended disembodied

dividual notes in the music-world

take part

quantum

of atoms, but as

neer Werner Heisenberg put

way

oscillations, in-

symphony we

all

of

up

the world's waviness into

quantum physics

worlds

we

made slice

of waves, obligingly

—

it

this

is

what

What we see

choose to look, or

is

splits apart

physicists call the

"observer-created reality" feature of the

world.

is

quantum

partly a function of

how we choose

to fracture the

rotation, for

example

—

we

we

instance,

the world as a fixed pattern of localized

cor-

have chosen to measure "momentum" and see the

If

world as

made

analyzing that world into the wave-

in

an

we

break the world into sine waves,

movement. Because it's quantum world can be constmed

infinity of

ways.

Unlike the Exxons,

ens' choice of spectrum analyzers for the

happens

nary senses and their technical extensions.

attribute

corresponds to analyzing

the atom's music into sine waves; measuring the

atom's rotation corresponds to breaking into

waveforms

Whenever we make world,

we

up

its

music

called "spherical harmonics." a

measurement on music-

are not quite measuring what's inherently

there but are looking at the results of

one

particular

The

is

Homo

Sapi-

quantum

music-world

be the "impulse wave." Measuring an

we

a pattern of rapid

of waves, the

forms that correspond to the position attribute which

momentum

for

have chosen to measure "position."

Hence we see

means that when a physicist makes a position measurement on the quantum music-world, he is, in

effect, spectrally

break the music up into impulse waves,

events.

This

to

how we

-

that every physical attribute

momentum and

If

responds uniquely to a particular waveform family.

atom's

compo-

world's deep musical unity.

in.

we humans cannot directly hear atomic music, but we can probe this world with a few spectral analyzers. One of the most peculiar features position,

all

any way

Like the Exxons,

of

of splitting

nent waveforms. The quantum world, in the manner

of today's matter-of-fact technology.

severely limited, consisting of our ordi-

—

our mainstream quantum physics is that we live in a world made of scientific wisdom music. The ancients were right. Not only the world but our own bodies are made of this quantum music. and probably our minds as well. Matter is made of more basic than lite itself, the music in your ears is the gist of

—

it.

music of the spheres.

WINTER

11

CanKathmandu an old

'69, still

Koh

tripper,

psychopharmacognosticon

find para-

the

dream

McKenna

By Terence

of Thailand. At dinner talk of

Southeast Asia? Poignant

his tra.

Nirvana:

Nixon administration. It is

this is

Koh Samui

February 1988, and

not a vacation. This

beaches. This place feels

Asia. Clad in full safari drag, courtesy of the

Banana

money belts, and fesmake a comic apparition.

Republic, corseted with hidden

tooned with camera gear, I "Our Man in Nirvana" the editors at Trips magazine have styled me. My expectations flicker like the lights of Bangkok beneath me. Editors operate on the Impact Theory of Travel Journalism: Shoot the writer at the target and pick up the pieces. The seatbelt sign comes on, the flaps go down. I brace myself for the descent. Clutching

my APA

guide-

book like a talisman, I get jostled through Customs and disgorged into the sultry Bangkok night. And now

remember

or

the smell of Asia, smell of dust, diesel

human sweat

air pollution?

— adventure.

Koh Samui

.

.

It is

.

.

.

—

and something

the scene

moved on

leaving Nirvana to

else. Is

it

realize with delicious

accounts

.

now abandoned

scene,

I

to

differ. Is

ganja

shock

a burnt-out

it

European sex

freaks?

and

to

me?

On

the morning

Thani I mull the questions over in my braced for adversity, fended against disap-

flight to Surat

mind.

I

am

pointment, but even Bangkok seems wonderful to one so long away from Asia. Hey, this is beginning to feel like fun. I have found the world in Koh Samui. By yesterday afternoon the mist-filled valleys and rugged heights were jutting out of the Gulf of Thailand ahead of me. I chose my destination with an eye to avoiding

German

dished me up a "Chaweng, Chaweng," they

tourists. Fate, nevertheless,

truck-taxi filled with them.

Bo Phut

is

—

mel-

becoming clear that Thailand itself is in full The rumors were true. A golden moment shimmers and shudders like a soap bubble whose delicate beauty is always about to dissolve. The basic concern of the Thais seems to be to have a good time. There is It is

flower.

a real exuberance in the food, the culture, and the

people

The

intoned gutterally. I was dumped out at Bo Phut beach. The bungalows were of brick and teak. The

—a

sort of tropical

larger

waterfall

is

Japan with a Latin beat. Na Muang. It is a ki-

called

lometer's walk off the

main road to Lamai, a crowded on the wet sand at the base of the falls and rise upward in a startled variegated cloud. Later we hitch a ride back to Na Thon, the port and largest town on Samui. Na Thon teems with the low-budget international tourist set. There are very few Americans on the road in Asia. We seem to have abandoned it to the ubiquitous Germans and the party beach. Butterflies settle

French.

Everything goes on in

Or has

to other beaches, other islands,

itself

right.

low and unspoiled and deep as only Asia can be.

an assignment. Real Work. Check out Southeast

I

with

German girlfriend, PeThe sound of the surf

very

is

fuel,

Eritrean medi-

and the ganja combine to open into deep dreams. It rains lightly; next day I will explore the waterfalls and

haven't seen since the

I

overhear

cal student traveling

questions to ask 33,000 feet

above the Pacific and headed toward a continent

I

mushrooms and

meet Tas, an

Our Man In

of

cities

islands

fifty

archipelago

this

off the southeastern coast

Have

twenty years of American Imperialism and doperunning tarnished forever-

more

Thai for "island,"

comprise

dise in the steamy labyrinth of tropical Asia?

is

and more than

Class of

All the pleasures

Koh Samui

as

if

in a

dream.

of the flesh are taken for granted.

seem naturally modest and at ease. Excesses, though not flaunted, are no cause for comment. I make my first serious visit to the beach and find the water a milky turquoise, the level of beach nudity high, and the vibes thick. No question about it, this is lotus-eater land. Name your pleasure and you will find

Thais

it

at

hand.

Several of the local hotels have signs posted with messages on the theme, "Yes, we have Magic Mushroom" and "Today Yes Mushrooms Today." The doorway to the psilocybin spaces shimmers and opens on Koh Samui. Hard not to be won over. At Chaweng and Lamai beaches the sound of distant rock & roll fills the air at night and there always seems to be a party going on in the next coconut

people seemed friendly so I settled in. Four minutes later I had scored some ganja and embraced the place. The beach sweeps away in a white coral curve in both

grove. That side of the island

directions. Across the water, forty

slightly frantic juices of the

mostly youthful travelers.

Chaweng beach has ocean

surf

Koh Phangan, 12

equally beautiful,

REALITY HACKERS

minutes away,

still

is

more remote.

swarms with

libidinal

energy; the meeting of tropical softness with the

and seems an endless

succession of beach clubs and

bungalows fronted by nearly nude sun-bathers. For contemplative

types there are other options: Mea-

nam and Bophut and Na Thon,

pristine

In

are restful places,

apart. I

see

handmade

signs offering a six-year lease

on

a

working restaurant of twelve

beachfront acres for

an amount of

money

that

I

dare

not report for fear of causing mass migrations. For

cheap one could become the master

of a

self-

sustaining settle-

ment

in Paradise.

Every Chaw-

eng restaurant worth its reputation offers movies each night on VCR. These are usually ripened

American action pictures.

Pursuing

elusive drugs, plants,

women,

or

contraband sculpture might

be good

strategies

for adventure. But it

would seem

somehow

forced

under the circumstances. I doubt if Dr. Hunter Thompson himself could squeeze much horror out of

this.

Mellow has seized the high

ground on Koh Samui.

Photosynthesis Photo by Faustin Bray/Sound

World Bungaat Bophut Beach, at six dollars a night, remains a favorite. There are more comfortable upscale digs but then one crosses the line between traveler and tourist and becomes anathema to really interesting people. Pursuing the latter, I compliment a young Italiana on her dragon tattoo edging thighward. I ask if she had got it in Asia. Suddenly adventure raises its goatish lows

head. Yes, she replies,

she had gotten

it

only

hours before in Na Thon. She remarks on the traditional

ing

Thai

and

skill in tattoo-

instantly

I

feel

the hot breath of excess (continued on page 96)

|OCYBE

**SSON»H*

of the most One teresting areas

neuroscience

ones

over twenty years. By using

megabrain update

deter-

is

his

UC

cess this state,

Michael Hutchison

Ir-

(as told to Eight-Circuit Eddie)

its

two-part process they

key

to

A new machine memory

Long Term

call

bypass

training!

formation. Lynch and associates that the

to ac-

now pos-

twenty years of meditative

memory and

have since found

it's

sible, in a sense, to

vine associates have extensively researched

meditated for

an electronic device

mining the key to memory.

Gary Lynch and

who had

in-

in

Megabrain workshops

consists of a

Device. This

Potentiation, or

is

I'm using in

called The Twilight Learning

was developed from

the

work of biofeed-

back researcher, Dr. Thomas Bidzinski, who's been

LTP.

Long Term Potentiation requires

a specific type of

in-

vestigating the use of the theta state for accelerated

neural firing consisting of a voltage change in the neu-

learning. Bidzinski said "Theta, the twilight state,

rons in the hippocampus. Then, a specific neuro-

where a lot of learning gets done very quickly; where you can get lots of information into the brain in a short

such as glutamate, must shoot into the

transmitter,

ceptor

site

cocking firing

of different neurons. The

the trigger of a

gun and

first

part

is

re-

period of time." In other words, theta

like

Lynch

for learning.

^^^

and associates have been using

is

An

Direct Electrical Stimulation of

the brain to generate LTP.

They've found that LTP

when

ticularly effective

ond

proclaimed

mary

first,

milliseconds.

The

"We have

a sec-

200 five

second

endogenous rhythm of the hippocampus"

quency of this rhythm.

An

The

to

meas-

for monitors.

^^^H

When

your

brain begins to produce sufficient quantities of theta,

and

only then, a tape plays the infor-

mation you wish

sifies

intervals.

is

phones

the natural

effect inten-

when ten pairs of these ms pulses are applied at

EEG

tape recorders with audio head-

the theta rhythm....

or pri-

an

wave activity. The hooked up to a series of

ure brain

EEG

by two hundred

pulse,

,

advanced biofeedback

a very

tool that uses

found the magic rhythm,

electrical stimulation, or

pulse, follows the

excited Dr. Lynch

par-

is

state

What you learn there becomes a part of your long-term memory. The Twilight Learning Device ^^^^

the second part, like

it.

In recent months,

an ideal

is

is

to learn.

something happens

If

to disturb

you, the machine will switch off

fre-

electrical stimulation mirrors the theta

excited Dr. Lynch proclaimed,

"We have

until

you get back

into theta.

It's

an elegant

little

accel-

erated-learning device that guarantees you'll only re-

when

found the magic rhythm, the theta rhythm... the natural

ceive the information

endogenous rhythmn of the hippocampus." Theta is the brain rhythm we go into during those moments between waking and sleep. In this state

ing state.

state.

(slower than alpha), the brain throws up

resembling two geodesic domes joined together. In the

all

kinds of

spontaneous unpredictable imagery, creative vivid memories. Theta

on and we

say, "Ah-ha!

is

where the

light

ideas,

and

bulb flashes

We have a solution to our

problem."

Theta ly falling

to

is

a very difficult state to stay in

asleep.

However, people can

without rapid-

train

themselves

remain there. Research shows that long-term medi-

tators are able to

produce large quantities of theta

waves.

A

tive state,

monks showed

brainwave

into alpha,

activity

theta the quickest,

was

that in their medita-

slowed

and then from alpha

interesting discovery

14

Another brain machine, Genesis, accesses the theta It's

middle of the user

an eighteen-sided aluminum/titanium frame this

lies

frame there's a cushioned platform that

on suspended four

A number of specially-designed

down from

beta

The most monks who entered

into theta.

that the

and with the greatest ease, were the

REALITY HACKERS

feet

above the ground.

sensors, transducers,

and speakers are mounted on the frame's superstructure, under the platform. These interface with a sophisticated electronic console that controls an array of

computers, electronic synthesizers, power amplifiers,

and graphic

displays.

As music plays from

study of Zen

you're in an optimal learn-

all

sides, sensors

monitor vibra-

body accepts or rejects by decoding energies given off by tensed or relaxed muscles. The computer then calculates the data and reprograms its field processor to intensify and enhance the various tional frequencies the

musical densities (frequency, phasing, equalization,

equalization,

and acoustical amplitude)

that

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As you

relax, the music's tonal quality

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Although Genesis

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the corporate audience as a stress reduction device (It's

— around $50,000

quite expensive

sense

is

that

it

offers

more

simple stress reduction.

-

$60,000),

my

interesting possibilities than

I'll

be experimenting with

Genesis in depth over the next few months and will

on my experiences. of time at the Monroe Institute where I went through their Gateway Experience program. They've recently developed a special weekissue a first-hand report I've

spent quite a

bit

long training session called H-Plus, or

people

who

Human Plus,

for

have completed the introductory Gateway.

some of Bob Monroe's new research tapping higher human powers. I'm going to be

This incorporates into

and

there in October for the session

I'll

write about

I'm also involved with a group that's opening the

Brain Technology Research Institute in San Francisco. This non-profit

on

facility is

dedicated to conducting re-

the effects of various

mind machines and

technology on brain functioning. objective data turers

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on these Megabrain

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hard evidence from speculation, really

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WINTER

15

psychedelic

a

the

psychedelic scenarios

soiree to benefit

the Albert

Hofmann

Memorial Library was

$50 a

By Bruce Eisner & Peter Stafford

and mingled about on the stage. by an additional 1500 persons

plate, milled

later joined

"Beyond the Doors of Per-

for a presentation called

Oscar Janiger, the psychiatrist noted for turn-

ing

on

bevy of

a

and

celebrities

artists,

compared the which will

Hofmann made

since

end and other

library will also

Some

Hofmann Foundation, 1328 Westwood Blvd. Suite 36, CA 90024. Its phone number in LA. is (213) 470-1624.

MDMA

Dr. Janiger

it

Schedule

legal status

^"""

The seesaw battle may have ended in Februagain.

I

years,

its

(MDMA)

legal status

came together

cly for the

cleared fired

up

first

time

ping-pong

whack

ball.

from

wasn't

fired.

fired

didn't

immmm mhmm

quarter of a century.

I

Metzner

had been

to point out that there.

changed

was much more

it

my

interesting

I

was

powers

story because if I

said

found

a grad

I

I

was

Ram

MC

Paul Krassner as

Dass") gave a progress report on his

well-documented journey, promising another such port ten years hence.

He began by

clearing

up

re-

his

"People are always asking me,

drug-taking status.

you have stopped using drugs, haven't you?'" He responded, "No, I take LSD about every two years to find out what I forgot and to have faith in who we Well,

He

would have remained a middleclass neurotic if not for Timothy Leary and the experiences that propelled him on his well-chronicled journey.

said that he

"As long as

happened

to

I

live,

me on my

I

will

first

be growing

Timothy Leary paid homage plorers

16

and predicted

REALITY HACKERS

into

what

psychedelic experience." to seminal brain ex-

that in ten years,

1998

— 75% of

DEA

to temporarily

MDMA was

salt.

its

in

it

a group of re-

I,

In the midst

new emergency

Appeals courts

it.

I.

as

After the

attempted to place

used

ban

this unconstitutional

because,

later

at that time,

the

have the authority.

didn't

own

At the conclusion of the hearings, the DEA's

more benign Schedule III. DEA Administrator John Lawn simply ignored the recommendation and whacked it back into judge

Richard Alpert (introduced by

are."

DEA

resembled

back into Schedule

searchers protested and hearings ensued.

of the hearings, the

I

..."

"Just Plain

DEA

Schedule

have a job

Subsequently,

student. realized

I

it

legal as table

publi-

am happy

"I

status has

Until 1985,

the misconception that he, too,

by Harvard.

its

ball. Of course, the ball always ends up back in the DEA's court and they always

trajectory of a

later,

in a

in the

the trajectory of a ping-pong

has resembled the

Harvard, Leary, Alpert, and

Metzner,

into the

During the past three

During the past three years,

to paint

terrible triumvirate

administra-

it

drug schedules.

while on the psychedelic.

The

DEA

with the

tor again placing

Hopi Kachina

LSD and again

before

MDMA's

in

most severe category

used to give

and ask each one

doll

is

of

who

the art will be from artists

his subjects a

want more information, write The Albert

ary,

were turned on by Janiger back in the late 50's and early 60's.

benefits are in

house a psy-

chedelic art gallery.

open by year's the works. If you would

Los Angeles,

over

^^"™

The

declared,

donate money, psychedelic memorabilia, or ex-

like to

his for-

tuitous discovery of LSD.

He

fans.

Janiger promises the library will be

library to a time capsule, or fossil record,

contain books and memorabilia of the half century

Dylan

"The fun has hardly begun!"

hibits or just

ception." Dr.

House 60%

Supreme Court judgwill have been Bob

es

re-

wood's John Anson Ford Theater. Over two hundred psychedelic cognoscenti, at

of the

of the

cently staged at Holly-

They were

members

of Representatives and

recommended

Schedule

placing

it

in the

I.

— led by Lester Grinspoon, M.D. — successfully appealed. The

The researchers of Harvard

First Circuit

Court ruled that

it

should be taken

reconsidered by the DEA.

DEA

It

off

Schedule

I

and

did not take long for the

and put it back in Schedule I. At those who have opposed the scheduling

to "reconsider"

this point,

are ready to give up.

one tooth

at a time,

"When

you

still

you're defanging a bear got a problem," said a

noted chemist and researcher.

One

diehard

going again setts.

is

who

is still

hoping

to get research

Rick Doblin of Cambridge, Massuchu-

His organization,

MAPS, has conducted animal

research to examine the charges of possible neurotoxicity

lodged against

MDMA.

His conclusions are con-

tained in a report titled "Risk Assessment:

and

MDMA

pendix

Research." (The report appears as an ap-

in Bruce's

in Berkeley,

Story

CA.)

The non-medical use of MDMA has not stopped its scheduling and continues at a very significant

rate in the United States while, at the

MDMA

If it

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WINTER

17

INTERVIEW

WITH ADRIAN BELEW

/

San

musician

met Adrian Belew at the Miyako

Hotel, in

a couple of days after hearing him speak at S.F. State's music seminar series. Adrian was in San Fransisco Fransisco's Japantown,

on tour to promote a new record by the Bears, an Ohio-based rock band he has put together as an attempt at a more commercial sound

and as a

collaborative experiment with other

musicians from his

home turf.

Adrian Belew's innovative guitar technique

is

legendary. Although probably best

known for his work

with Frank Zappa, David

Bowie, King Crimson, the Talking Heads,

and

Laurie Anderson, Belew's solo albums rank

among the most original pop music written and performed in the 80's. It's this more per-

my attention to Adrian writing and moved me to include him my documentary project Musicians' Musi-

sonal work that drew 's

in

cians.

Enjoying the energy of the new tour, Adrian was extremely willing to talk about his music, as well as the part he has played in the

music of others.

Tom

A

Adrian

Belew appeared

Erikson

at S.F. State Col-

lege to deliver a "lecture" to the music de-

partment. Rather than lecture, Adrian simply took questions from the large

gathered for

this free

crowd

that

appearance. Adrian

same unpretentious good hucomes across in his music and

displayed the

mor

that

song

lyrics.

Quotes from the

lecture are in-

terspersed throughout this interview. Audi-

ence questions are

in italics.

Photos by Jay Blakesberg

REALITY HACKERS: What part does music play in your life? ADRIAN BELEW: Well, it's been since my childhood that

had music running

I've

my mind

through

almost constantly, like a

record or something. For instance, Lone Rhi-

no was written

at 3

had no instrument. song as

I

my

my mind

in

could.

just

and wrote

just

it

down

as well

such an integral part of

for that reason

ing around in

I

have a

my own

little

lot

of music go-

mind.

*

he future of the guitar synthesizer

to the imaginations of

The technology er.

For me,

lot.

now

it's

can't play

I

I

imagined the whole

don't listen to a lot of other music,

life. I

and

It's

o'clock in the morning. I

is

all

getting better

up

and cheap-

my vocabulary a

increased

some

is

us guitar players.

of the things

I

play

without guitar synthesizer. At the

same

time, I'm very careful to balance these

things with things like Dobro, acoustic

in-

struments, and regular guitars.

want

I

don't

to get to

be

What

the precedent for your animal

is

sounds? It just came

just

naturally to

In trying not to

was

left

guitar

a synth nerd.

with

sound

sound

my way

of playing.

anyone else, I ways to make the

like

just finding

like other instruments

or unique

plug in

One of my favorite things to do is a new electric gadget and see what

can get

it

sounds.

to do.

I

almost always stumble

onto something new. sounds.

I've

got a million

I

warm "OK,

=fihe

me

Lodger album was done without

ever

hearing the songs previously, or even knowing what

was

—

room away from the control room. couldn't see them (Eno and Bowie). There were video cameras. They could see me and couldn't see them. They'd just say key they were

In fact,

in.

I

in

a

different

I

I

"Play now!" Voice of god, Brian Eno!

way.

It

made me come up

with a

It

lot of

was

from

feeling

now I want

The

it.

was kind

third step

of,

an instrument,"

to learn to play

and getting absolutely passionate about it and doing it every day of my life. I would be the one kid who

would go back

to school after

be pale white, because

I'd

room

all

I'd

summer been

day playing the drums and

songs and figuring out

this

and

vacation,

sitting in

and

my

listening to

that.

fun that

things

I

would

never have thought of doing.

do

like

banging on things. Yeah.

when was

1

I

Is

It

started

0.

there a danger in that?

in it, and I'm very condo is write alot on acoustic guitar. That way, I'm more apt to come up with a piece of music that sounds complete in itself. Then you just orchestrate it with all these tools. I look at synthesizers and flangers and guitar effects as paint. They're like little colors on your palette and hopefully you can use them judiciously.

Yes, there

a lot of

is

danger

what

scious of that. So

I

you have a prop department. These guys are

rubberneck

you

to

say something

And they run had more time,

guitar!"

incredible.

If

I

what we'd have come up tar.

In fact,

mold

to find

had to do

with!

It

off

like "Build

and

me

a

build one!

no telling work as a gui-

there's didn't

they kept having to re-pour the rubber

a consistancy

three of

them before they

enough. But you couldn't prerecorded.

It

that

worked

play.

I

at

finally

was

They

all.

got limber

faking

did look pretty good, didn't

it.

It

was

I

I still

play

it

do with the guitar are rhythm-oriented, and the rest of them are sound-oriented. I've pushed the guitar I

into other areas out of a consistent

won't sound forced

I

ing a guitar tar.

I

but

it

like

on

someone

myself.

My

also enjoy

like

It's

just

came

lucky break

me was mak-

that the biggest joy for

sound

something other than a gui-

making a

guitar

me no end when

thrills

program of say-

else."

all

sound

like a guitar,

of a sudden

I

find a

new sound and it breaks open a whole new area. Have you been able to achieve a direct mind-toguitar-link at times?

There are periods where you doing.

I

have

that

happen

you are transwhat you're

feel like

cending and you might even get

lost in

in songwriting, as well,

and those are usually the most incredible moments. It's

very hard to bring that out because in our society

pounded

you're just tion

it?

started playing drums.

way now, and think became an integral part how my guitar playing is different. A lot of things

from realizing

just waiting for

It's

of

something

as the rubberneck guitar in the movie Home of the Brave your idea? Yes. The wonderful thing about making movies is

I

that

ing, "I

W that

So you started from a rhythmic point of view. Yes. At age ten,

and

stuff.

I

to death with so

tend to tighten up

much

all

informa-

the time, so

I'm always working to loosen up. I'm always stretch-

You've pushed the guitar into new territory, like Hendrix. And you've been very influential. How did your playing evolve? From the time I was a child, age four I think, I used to sing all the time. People would put money in the jukebox; I would sing along with the records. I was kind of an extroverted

little

child.

That's

how

it

began.

That fueled the next step, which was actually ing a passion for music time, being

20

itself,

overwhelmed by

REALITY HACKERS

listening to it,

and

it

all

just

hav-

ing my body and I'm always trying to loosen my mind up and let that stuff pour out more. It's hard do

t

Anderson

me have

room

do whatever want. Usually she would say something like "Try to make it sound sorta like a chicken chasing a steam roller." And I'd come up with something. aurie

let

a

lot

of

I

the

getting that real

to

Do you use

physical and mental exercises?

to

* *

Yes.

I

some think

do some yoga

exercises.

meditation. Mainly,

more music than

W

course,

I

do

I

I

do some

I

do

bet

I

you can turn them around backwards.

It's

simply an-

other tool.

Have you considered doing music for film? always think in cinematic terms when I'm doing muI

hat's

we

right out of in

I

actually play.

my

opinion about sampling? Well, of

artists don't

get paid

when someone

tapes our records. That's very annoying

used

Tai Chi.

a lot of thinking.

business. But

I

—

think sampling

put us

can be

wise ways. You can put samples together,

sic. I try to produce, mix and write music in that way. The depths and dimensions of it do take on film-like qualities. I'd like to do some film music. We'll see what happens.

(continued on page 94)

WINTER

21

&

Visual Music Instruments

CHAOS CHAOS THEORY HAS GIVEN BIRTH TO VISUAL MUSICAL INSTRUMENTS. RALPH ABRAHAM TRACES THE GENESIS OF THE MIMI PROJECT

By Ralph Abraham

Readers of James Gleick's Chaos quixotic Ralph in the

Abraham and

his

will recall the

Chaos Cabal nestled

witchy-woods of the Santa Cruz Mountains. For

years they met secretly in catacombs under the U.C.S.C.

Campus

tinkering

on

rusty icons like the Sys-

tron-Donner analog computer. The Dynamical Sys-

tems approach was

initially

seen as a dangerous mind-

by both the physics and mathematics depart-

parasite

ments. Yesterday's heresy or dangerous sectarianism today's

—

Hottest

new way of looking

well,

if

not exactly orthodoxy

—

let's

Now

at the universe.

is

say:

two

of his experimental projects in chaos and vibration

theory have finally evolved into a digital-video based instrument.

Here he traces the genesis of MIMI or

Mathematically Illuminated Musical Instrument.

— Queen Mu

MY WALKABOUT IN CHAOS worked on a single matheThe project culminated in two books, written simultaneously. When the manuscripts were done, I looked up to see what was happening in ordinary reality. It was Princeton University in 1967. The Sixties were happening. A full-bore revolution was on. A lot of people were departing ordi-

Once upon

matical

nary

a time,

problem

reality for

I

for six years.

one-day

trips.

decided on the spur of the

me,

was

this

was no one-day

Like Joseph Knecht,

moment

trip.

to try

I

For

out.

When came down, I

it

1973.

During

this six-year

walkabout,

I

moved from

Princeton to the University of California

(UCSC), toured

my

it

family

spiritual

expand and

at

Santa Cruz

groups and techniques, saw

contract, took leave to explore

Europe Hippie style, searched the Himalayan foothills for traditional knowledge, trekked to the borders of In Santa

Tibet. light

shows. In Amsterdam there were esoteric books

and video there

Cruz there were rock concerts with

and

artists,

were

floors to sleep on.

teachers, Sanskrit texts in English translation,

caves to sleep

music

my

post

fornia in January, 1974.

I

at

the University of Cali-

what

tried to integrate

I

I

had

my

journey with

my work

gave seminars

in vibrations,

combining the Vedic

gained from

concepts with European mathematics. spired

more by desperate need

as a professor.

My

goal, in-

communicate than was to share

to

the ideals of Boddhisatva or Toynbee,

the essential visual aspect of the vibratory fields

seen

my

in

for

travels.

I

provided further teachings on mind and consciousness. My

study of Indian music furthered

wave metaphor, which

my

understanding of

basic to the

is

Samkya

phi-

losophy.

Dynamical systems theory, including catastrophes

After a cooling-off period in

difficult.

returned to

I

six years,

model

and chaos, provides

Tahoe, supported by mathematics applied to blackjack*,

neys over the

and

in.

Reentry was

experiences, repeated during regular inward jour-

the vibration

the

In India

yogis, gurus, classical North Indian

own

had

a mathematical

elaboration of the vibration model. ration

was already underway

Christopher

fact,

model

framework

for the

Indeed, this elabo-

in the

Zeeman described

work of Thorn. his

own

In

explicit

memory, based on catastrophe theory and excitable media, to me in Amsterdam, shortly before I flew to India. However, it was Jenny's work, providfor

ing visual representation of the basic concepts and

phenomena, which seemed

to

me

have the greatest

to

potential for furthering our understanding of

human

consciousness.

The whole experience of the

Logos could not be shared, but perhaps a visual

would excite the full field in the mind through morphic resonance. The underlying idea was a vibration analogy for mind, brain, and human behavior. At present, similar ideas have become widespread and familiar, in the

representation

The idea was

a

viewer's

form of neural ta,

chaos revolution wave had

influence of the lost Sixties,

we began

Further, the just

Some

the physical sciences.

and human behavior. At present, similiar ideas have become widespread... brain,

media, cellular automa-

nets, excitable

and complex dynamical systems. But

they belonged to the fringe.

vibration analogy for mind,

at

the time,

neural nets, excitable media, cellular

edge of the

automata, and complex

arrived at the shores of

students,

were

still

attracted.

under the

dynamical systems.

Together,

the macroscope project.

THE VIBRATION METAPHOR During the European phase of February, 1972, stitut

I

was

is

the

home

in

Institute for

Paris, the

Advanced

Study.

Rene Thorn, who in1966, and David Ruelle,

institution of

vented catastrophe theory

who

walkabout,

des Hautes Etudes Scientifiques near

French equivalent of our This

my

in

brought chaos theory to the attention of physi-

cists in 1973.

Kymatics

.

I

Thorn showed

a meeting.

me Hans Jenny's

was immediately

urgent importance.

Soon

I

I

called

was

at

book,

struck with a feeling of

Jenny

in Basel to arrange

Jenny's home, where he

showed me slides and films of his work, and shared his ideas on the significance of vibrations and Chladni patterns in human physiology. He was a follower of Rudolph

my

With the aid of students from

my UCSC

reproduced Hans Jenny's kymatic device

Our device was

We

larger

and

used a four-inch dish

tion, four-inch

vatory, Settles.

and

less precise

my

I

lab.

than Jenny's.

for the water/glycerol solu-

telescope mirrors loaned by Lick Obser-

a color Schlieren

An analog

filter

developed by Gary

electronic tone synthesizer

built especially for the device,

arc

in

seminar,

lamp provided the

and an

illumination.

was xenon

industrial

When

finished,

I

aligned the optics, approximating by eye, turned

everything on, and glanced

at

the screen.

I

was

asto-

nished to see a perfect Jenny-style Chladni pattern, in full

color.

The experience overwhelmed me, and

I

re

Steiner.

Later that year in India, Jenny's ideas in

THE MACROSCOPE

invited for a short visit at the In-

were echoed *

reading of the Vedas and the teachings of the

yogis and gurus, especially

Neem

Karoli Baba.

My

For an entertaining read see

Pie, Vintage, 1986,

Thomas

Bass'

The Endaemonic

described by the N.Y. Times as "electronic Gon-

zo journalism" and a "veritable pinata of a book."

WINTER

23

experience with Indian music, Samkya vibration theory,

Thorn's catastrophe theory, and the light shows of

Math, music, mysticism

the Sixties.

Subsequently,

we made

—

all

are one!

systematic use of the in-

strument (with the tone generator, not

my

master's

voice) to study the bifurcations of chaotic motions of vibrating

waves

until 1979.

A

strument and the experiments Press

.

No

my

is

in-

available from Aerial

other direct reports have been published

in scientific journals,

from

video describing the

but the understanding gained

experience with the Macroscope has illumi-

all of my writings (especially those collected in my books On Morphodynamics and Complex Dynamics). Recently we revived the macroscope to record a

nated

"music video" of Jill Puree's overtone chanting. The routine use of such a device for visual music

is

incon-

venient but highly recommended, and this direction

ERNST CHLADNI. A

Mozart and Beethoven, he founded modern acoustics while trying to improve the tone of Ben Franklin's glass harmonica. Reproduced from

contemporary

Mary Waller (1961), Plate

of

1.

has been developed by Gary

THE VISUAL MATH PROJECT. Soon

after

beginning the Macroscope Project,

computer graphics arrived ired to the corridor outside the lab to recover

my com-

computer

scientist

Evan

at

UCSC.

Schaffer,

I

In 1975, with

taught a special

section of calculus using computer graphics for

posure.

An official opening was planned named the JENNY FOUR-INCH MACROSCOPE, in impulse,

I

for the lab, re-

onstrations.

dem-

This grew into a state- and federally-

On

July, 1974.

my

Settles.

asked

Indian music

guru, S.D.Batish, to sing at the

We

opening.

at-

tached a micro-

phone

am-

to the

plifier that

vibrates

fluid in

the dish, in place

of the pure tone generator.

This

event provided

my

first

experi-

ence of visual music based on Chladni patterns, the essential

forms of vibration in three-

dimensional media.

It

connected,

my

all at

once,

24

REALITY HACKERS

MARY DESIREE WALLER. ice.

Here she demonstrates her method, an extension of Jenny's work, for teleaction of a vibration maintained by dry

The sand pattern is formed on a square plate, under the Reproduced from Mary Waller (1961), Plate 2.

vision.

funded project to develop

massive teaching system

a

for

beginning math courses, called VISMATH.

ed

in 1982.

Part of

show,

Box

our

VISMATH program was an all

annual film

computer graphics

on

films

THE HISTORY OF VISUAL MUSIC

:

(if little

a

is

known)

traditional art

history.

It

and the early

paleolithic,

Cave

civilizations of the Anatolian neolith-

ative mystery schools of Ancient

and eventually multiple

continued

we added a number of art films to the programs. In this way we became familiar with the visual music me-

We

dium, as used by frame-by-frame film animators. also got to see

Tom

BanchofPs great

Of The Sphere, and

time great Inversion

my

two

In these

from

actual images

walkabout.

perience

Some were

I

all-

tion of sitting in the film

recognized

inner experiences during

so accurate that a prior ex-

Patiently,

I

show

in

the

UCSC

auditorium

waited for computer graphic

hardware to evolve the capability to create and manipulate these

share

images

my own

in real-time,

I

could use

it

to

I

with video feedback. they did provide

tried to create suitable

Although these

ious associations.

visual

recent times, visual music reappeared

In

fordable,

from Aerial

programmable

Press.

in

the Theo-

sophical Revival at the turn of this century. Aleksandr Scria-

Prometheus: The Poem of Fire (1910) to be aclight show. (By the way, begins in chaos.) Alexander Wallace Rimington performed live color music in London at about this time. Claude Bragdon and Thomas bin intended

companied by a

it

in New York created keyboard instruments for live performance of color music in the 1920's. In the same period, Arnaldo Ginna and Bruno Corra in Italy, and Oskar Fischinger in Germany, laboriously made color music compositions in the form of animated films. In 1936 Fischinger

moved ing

to California, where he continued his work, influencJohn Whitney and other major groups of color music film

artists in

America.

The live performance of color music survived in the work of Mary Hallock Greenewalt in Philadelphia in the 1940's (she invented the rheostat for her organ), Charles

Dockum

in

in

New York and

California

in

the 1950's, and of

the Hippie culture of the 1960's.

images

relating

chaotic bifurcations

music context.

of vibrating fluids

Some of these are illustrated in an excellent video made by Jim Crutchfield with an analog video synthesizer, available

and cloths were famous

the eighteenth century.

in

efforts failed,

some fundamental concepts

and chaos theories) to the

mystical relig-

its

Father Castel's Paris performances of

dynamical systems theory (especially bifurcation theory

Greece may have

along with

color music created with candlelight

course

inner visual experiences with other

Meanwhile,

people.

so that

this artistic tradition,

Wilfred

their

1969 might almost have been a precogni-

in

in 1975.

meet

to

films, in particular,

my own

mathe-

and Nelson Max's

matical animation, Hypercube,

authors.

classic of

in

sanctuaries, rituals of Minoan Crete, and the deriv-

mathematics were shown. Each year

film artist John Whitney and his family, co-workers, and followers were using mathematics in their works,

medium, with an exten-

probably played a basic role

the arts and rituals of the cave cultures of the European epi-

ic.

it was longer, shows were necessary. As

1

Visual music sive

which almost

at

end-

It

we wanted

But

up by

af-

the visual

may be

artist in

new

performance... a

called

real-time

level of reality

digital video.

hacking for the future THE MIMI PROJECT. In the early 1980's, satisfactory digital video hard-

ware became

available.

The

Fairlight

Computer Video

Automaton Machine (CAM) appeared

at scien-

The new era for digital video music For me, this meant the possibility of re-

connected

via

tific

conferences.

Sitting at the

had

arrived.

and play

nothing

MIDI

to a digital

picture,

all at

once.

because of the recent evolution of the MIDI

The

picture part

upon ordinary

form of real-time video. This

.

keyboard instrument.

keyboard, one might sing, play sound,

visaged as a modulation

placing the Macroscope with a digital clone. This

could be portable, affordable, and programmable

is

but a digital-video based clone of the Macroscope,

Instrument (CVI) was an early application. Soon, a Cellular

minated Musical Instrument (MIMI). This

was en-

reality, in

sort of reality

the

hacking

in the Fairlight CVI.

ation

on

ments, a digital video-based visual musical instrument

cally,

through the algorithms of dynamical systems

could be playable, via keyboard, guitar,

theory.

standard for interconnection of digital musical instru-

flute, violin,

or

even voice. In 1983,

people began inviting

My

me

to

speak

path along the

at"

New Age

campsites eventually led to a stage in Hollywood, I

Among

these algorithms are the cellular au-

tomata invented by

non-mathematical events.

where

a real picture

proposed

a design for a

Mathematically

Illu-

man

brain, cellular

wave equations

is

However in MIMI, the operwould be defined mathemati-

used

Further,

Von Neumann

to simulate the hu-

dynamata based on the heat and

of mathematical physics, neural nets,

excitable media, turbulent fluids,

and so on.

For example, with no keys pressed,

we

might be

WINTER

25

and

puter,

B6x

2:

THE HISTORY OF ACOUSTICS

dynamic image process

The glass harmonica was invented by Benjamin Franklin in Paris in 1761. It was popular until about 1800, and many composers use including Mozart and Beethoven. Ernst Chladni was the father of modern acoustics. Born in Wittenberg, Saxony (near Bonn, Germany) in 1756, it,

he earned a degree in jurisprudence at Leipzig in 1782. An amateur musician, he designed and constructed two glass harmonicas.

In

connection with

this

work, he developed the

technique (now called Kymatics) of sprinkling sand or powder on glass plates, and bowing them with a cello bow. The

sand would move dunes,

now

a

to

filigree of ridges, like ridges of

The

called the Chladni Nodal Lines.

sand

regions

between the nodal lines, called Antinodes, are responsible sound produced by the vibrating glass plate, its pitch, timbre, and so on. Chladni searched for designs that would have a specified timbre, like the electronic synthesizer programmer of today. His first report of this research for the

was published researches

at

in

1

787.

home

in

In

addition to pursuing his acoustic

Finally, the

(a mathematical rule followed

video processor)

may have parameters

under control of the performer

via breath controllers

by the

digital

or other MIDI devices.

Thus, chaotic bifurcations of

vibrating fluids such as seen in the

be called up

at will

time performance.

performance

by the This

visual

may

Macroscope may

music

provide a

artist in real-

new

level of

for reality hackers of the future.

The first protrotype MIMI is now under constmction at UCSC, under a contract from Pacific Shift, a high-tech studio in Santa Fe, NM. It consists of a MIDI keyboard and sound synthesizer,

a

personal computer

with MIDI interface, a real-time digital-video image processor, this

and

analog video studio gear.

a rack of

has cost about $100,000 so

far,

All

but prices are rap-

Wittenberg, Chladni travelled exten-

around Europe giving performances and demonstramusic and sand figures. In 1800, he arrived in Par-

sively

available to the performer.

is

idly falling for

most of the components.

tions of is

and made a presentation

to the

Academy

ACKNOWLEDGMENTS.

of Science, at

the invitation of Laplace. Chladni had a private audience

Institut

with Napoleon, which resulted

in a prize competition in a mathematical explanation o< the nodal lines. Napoleon's prize was won in 1815 by Sophie Germain, one of the first great woman mathematicians. As women were

were very supportive.

1809

Schavrien, Thatcher Clarke,

for

prohibited from attending univeristy classes at that time,

she obtained her mathematical training by impersonating a male student, Lucien Leblanc, at the Ecole Polytechnique in Paris. Her prize paper founded the branch of the mathematics, now known as Continuum Mechanics, basis for the modern science of acoustics and mathemati-

truant

—

cal theory of nonlinear vibration.

Chladni's experimental work has been repeated and extended regularly over two centuries, most notably by Mary Waller (London, 1961), and by Hans Jenny (Basel, 1972).

In Paris,

Harold Rosenberg and the

des Hautes Etudes (especially the director, Nicolas Kuiper) In

Amsterdam, Simon Vinkenoog, Judith Bill Levi, Jack Moore, and the Matema-

were most helpful. In Uttar Pradesh, Neem Karoli Baba and many Pahari people were very generous. My reentry in Santa Cruz was facilitated by Terence McKenna, Ray Gwyn Smith, the Batish family, and the Abraham clan. It is a pleasure to actisches Instituut

knowledge the support of the University of California and the assismy students over the years in the macroscope project (esp. Paul Kramerson) and the Visual Mathematics Project (esp. Peter Broadwell), and the support of Pacific Shift for the MIMI project. Bill Moritz generously shared his rare knowledge of the history of visual music. am very grateful to all of these people and institutions for their kind support through these many years and changes. Thanks are also due to Hillevi Wyman and Rebekah Levi for their comments on the manuscript. tance of

I

BIBLIOGRAPHY Ralph Abraham, Vibrations and the Realization of Form,

watching an ordinary video of a dancer or

When

surfer.

down, we get a note. An organ tone and a MIMI note. The MIMI note stops the ordinary reality action on the screen, and hegins a mathematically defined deformation of pressing a key and holding

the freeze-frame image.

it

In the case of

would fade slowly

continue as long as the

would key was held down. The pace

to grey.

This process

Upon

Ralph Abraham,

to follow a

each of the two keys

singly.

dynamic image process

(or combination of keys) ains in a personal

26

Rl'MlTY HACKKRS

to a

Aerial Press, Santa Cruz,

Santa Cruz,

CA

1975.

James Crutchheld, Video Feedback, video Santa Cruz,

CA

Dostrovsky, Ernst Florenz Friedrick Chladni,

Sigalia C.

Scribner,

New

cassette, Aerial Press,

1987.

Charles Coulton Gillispie, ed.. Dictionary

A

in:

Biography,

Of Scientific

York, 1970, pp. 258-259.

Return from Obscurity, Leonardo, 20(1087), 139-142.

Hans Jenny, Kymatik

Basilius Press, Basel, 1967. 1972.

William Moritz, Abstract Film and Color Music,

Tuchman, Abbeville,

Gary

May

ed.,

New

The Spiritual In

Art: Abstract

in:

Painting

Maurice

1890-1985,

York, NY. 1986: pp. 297-311.

Settles,

The Amateur

Scientist, in:

Scientific

American,

1971.

Mary D. Waller, Cbladni figures; A Study In Symmetry,

totally unrelated to the individual effects pro-

program attaching

On Morpbodynamics,

Hu-

1976, pp. 134-149.

Ralph Abraham, Introduction To The Macroscope video cassette, Aerial Press,

release of the

would fade back into the ordinary reality of the moving surfer. Similarly, there are different ways to interpret a MIMI interval. Two keys pressed at once could initiate a combined effect, which may

grammed

MA,

CA, 1985.

key, the grey

be

World. Addison-Wesley, Reading,

Gerhard Finkenbeiner with Vera Meyer, The Glass Harmonica:

might depend on key pressure or velocity, pitch wheel, or other MIDI controller.

man

an image pro-

cessing algorithm based on the heat equation, the picture

in:

Earich Jantsch and Conrad Waddington, (eds.), Evolution In The

The key

microcom-

London, 1961.

Bell,

The Distortion of Music By Dr. Alexander

T.

Shulgin

Generally the effect of psychedelic drugs on the perceived quality of music is a positive one. Psychedelic drugs usually promote eyes-closed imagery furnished with figures, structures, patterns, and designs that create a synthesis with the mu-

^^^

sic.

One

family of such drugs

is

The

DMT

(N,N-dimethyltryptamine), and best studied of the group and a component of toad ven

om

and several South American

DMT, like its close allies (N,N-diethyltryptamine) and (N,N-dipropyltryptamine), is

snuffs.

DET DPT

active

when

taken

orally:

it

in-

subjective

decrease in frequency of

the simplest

sounds is a fixed value which leads

must be

to jarring

absorbed parenterally [outside the intestine]. A well-known exception is psilocin (4-hydroxy-N, Ndimethyltryptamine) and its phosphate ester, psilocybin the major active components of Mexico's magic mushrooms which are orally active. These drugs are noted facilitators of visual imagery in conjunc-

distortion of

harmonic

—

intervals.

—

i^^^™

tion with music.

is

exceptional

among

the

DMT congeners

in that

Visual effects are non-existent.

remarkable effect

Its

it

is

most

to

i

mydriasis.

DIPT that is most unubeing a consistent disturbance in the auditory process. Most subjects note that observers' voices sound much lower in pitch. Women's voices are heard It is

—

™^™" One

produce distortion in the hearwhether voice or music. The effective level of DIPT is from 20 to 50 mg. Onset of symptoms occurs about half an hour after ingestion; the full effects last from one to two hours; with recovery to a symptom-free state by the fourth hour. Side effects can include mild nausea and is

ing or perception of sound,

sual

Musical sounds Subjects volunteer

such comments

"Do you have

bad

bass tones.

cold?" or,

as:

"How

would put such the radio." The

a

a

strange they

poor recording on

subjective decrease

in the frequency of sounds is a fixed value rather than proportional, which leads to jarring distortions of harmonic intervals. Subjects vary in the degree to which this auditory phenomenon occurs, but there is a con-

sistently

complete return to normal

perception coincident with the disappearance of the other symptoms described. Subjects report little or no euphoria and are curiously neutral when asked whether the experience was unpleasant or pleasant. A single trial conducted at 80 mg revealed only a greater intensity of the same

activity.

DIPT (N,N-diisopropyltryptamine), the structural isomer of DPT with branched chains on the nitrogen, orally active.

are also distorted.

in

rep-

resented by the dialkyl tryptamines. These indole bases are all relatives of

N,N DI-ISOPROPYLTRYPTAMINE

classical distinction

between the

"natural"

schizophrenic state and that induced by drugs ( the so-called "psychotomimetic" state) is that in the former, hallucinations are largely auditory, while in the latter, they are visual. DIPT produces changes only at the auditory level. Whether this occurs by affecting the musculature of the ear or the integrity of the auditory association areas remains unclear. What is clear however, is that this unusual indolic drug, DIPT, could be uniquely useful in helping us map out the distinction between endogenous and chemically-induced sensory distortion.

the subjective effect of

that

See:"N,N-Diisopropyltryptamine (DIPT) and 5-Methoxy-N,Ndiisopropyltryptamine(5-MeO DIPT). Two Orally Active Tryptamine Analogs with CNS Activity." Shulgin, A.T. and Carter, M. F. Commun. Psychopharmacol. 4 363-369 (1981) (1)

WINTER

27

ural plant sources

of tryptamines,

such as Psychotria

Visual Music

uiridis,

added

have been to aya-

huasca prepara-

in the

tions to heighten,

lengthen or mitigate the effects of

Third World

the beta-carboline alkaloids (har-

mine, harmaline,

By Queen Mu

The

etc.).

skillful

use of such addi-

The ayahuasca colated

down

cult has

There

gie circles in California. it

is

true, a

not per-

still

to recreational drug-

few self-appointed

are,

New

tives

is

the special province of the vegetalis-

A good

ta.

when

say

the

mention of a "barf bowl"

in their

phase of the

promo

some-

tion

literature suggests

thing like an ordeal

Few

ritual.

weeks

in rig-

itself. The purga no doubt cleansing,

ist,

boa entering one's to the

other end with involuntary defeca-

and emesis. The experience,

under the best of circumstances,

INTENSE

.

fascination

is

exerts an abiding

Still it

hour of prepara-

this

thorny area

of ethnopharmacological research with several

tion

to the

Dennis McKenna, Terence's kid brother,

brava, while

mouth and chewing through

it

to effect the quality of the

has contributed valuably to

ors of the trip

feel like a

"

brew.

advance, or the gastro-intestinal

can

moon

combines

They meaning

"luz.

clarito,

Everything from the

will create clear visions.

people are prepared to undertake the dietary restrictions for

good, se ve

it's

Age ayahnasqueros, but

mere

ayahuasquero

vegetalista or

prepares a brew that imparts

technical

But for the nonspecial-

papers.

the most fascinating

the subject

Luna.

is

work

to

appear on

Vegatalismo by Luis Eduardo

{Acta Universitatis Stockholmiensis

no. 27, 1986).

Ayahuasca

is

usually thought

of as primarily a visionary experience, but effects

on the auditory process are

its

also strik-

ing.

which the work of

Bayon described

In 1906, Zerda

its

use

scholars like Gerardo Reichel-

in the

Dolmatoff and Michael Harner have

tried repeatedly to give expression to their

fanned.

feelings about the wonderful, loud, intoxicat-

From an ethnobotanical

stand-

whole Ayahuasca-caapicomplex is fraught with diffi-

Caqueta region of Peru: "They also

ing music

which they were hearing and

point, the

which sounded strange

yaje

theless entrancing, so that they could

culties.

There are over 40 different

common names

for the

ayahuasca

brew based on the harmine-

there are perhaps as

many

designed to potentiate

its

(e.g.

scious, too, of the

additives

have ever heard

names

compounded Commonly though,

ethereal,

in

1980 wrote of his

for

The

in

"I

became con-

most beautiful singing

my

life,

first

I

high-pitched and

emanating from myriad voices on

board the

toad skins). The ple-

thora of local vernacular

they were transported."

experience with ayahuasca:

effects,

com-

with nothing earthly and by which

And

derived from botanical or faunal sources

it

Michael Harner

containing lianas, Banisteriopsis

caapi and related species.

pare

to them, but never-

galley."

basic notion exists that ayahuasca

teaches "magic melodies"

plant species has

the

In fact, being a vegetalista

confusion.

nat-

mous with mastering

known is

as icaros.

almost synony-

a vast repertoire of

—

icaros

The

each of the different psychoactive

plant spirits has

own

its

icaros are the quintes-

sence of shamanic power.

icaro. Different

A

types of icaros serve a variety of purposes

good

ranging from love magic to divination to the

chestrate" beautiful or transforma-

vegetalista

is

able to "or-

cure of snakebite. Shirohaehua or fun

tive visions

songs, for example, animate the patient, in-

melodies.

ducing joy and hope. Manchari are sung to

times arise between maestros to

lead an abducted soul back to

With the icaro de la aranita, a spins a ing

web around

them

for

all

a

owner.

its

man and woman

unit-

eternity.

present

under the water. There are even

ros of perfumes, stones

and

sir-

in aya-

huasca sessions. They appear, singing beautiful icaros,

accompanied by

struments. Their icaros can give

tures are feared ers, yet

string in-

one power

Appendix describes

Don

of his book.

III

some

Luna

of the icaros as

and urges ethnomusicologists

evanescent feature of shamanic

as mighty sorceral-

pleasure during coitus with dolphins, and

selves.

Icaros are used only during ayahuasca

There

is

a hierarchy

of the icaros

among

sha-

number and power they know. The icaros sung in the

Spanish are not as powerful as those in jun-

Quechua; mixtures of Quechua with Cocama and Omagua are particularly potent. Yet each shaman has a principal icaro gle

which represents the essence of In the

his

power.

highly sensitized state of aya-

huasca intoxication, the icaros help structure the vision.

They can

nations themselves.

also

Luna

modify the

halluci-

reports: "There are

icaros for increasing or diminishing the intensity of the visions, for

changing the color

perceived, and for directing the emotional

contents of the hallucinations."

culture, that

Vegetalistas are masters of synaesthesia.

is

fast

disappearing.

True ayahnasqueros, he claims,

Through using the most interesting acoustic effects produced by whistling and singing,

are dying out

the geometric designs can be seen acousti-

key to recognizing a true maestro

cally.

The

icaros refer to a medicine as

painted song," signs," or

"my

"my words with those deringing pattern."

"my

and

their roles are

being assumed by charlatans. The

is:

does he

dies?

know the magic

regurgitated with the

yachay and used

for

to

record them soon, as they are an

are said to feel an intense

mans depending on

and even baby piranhas-which are

magical purposes.

are sometimes unable to separate them-

sessions.

magic

darts, rock crystals,

insects,

Emilio, in

These crea-

they are also invested with sexual

Men

lure.

and seen

informant, Maestro

phlegm. This thick white phlegm lies at the top of the stomach, thought to be the most vital part of the body. It is in this area that the shaman harbors the virotesthorns, razors,

transcriptions of eight icaros

having great unearthly beauty,

over the underwater world, particularly over the bufeo or pink river dolphin.

their tricks.

culled from the repertoire of his

ica-

The

resins.

enas or mermaids are often invoked

a kind of competitive

Luna has included musical

Icaros are taught by the tutelary spirits

ample, an aquatic plant, can teach one to

—

"jam session" where they unleash all

of plants and animals: the raya-balsa, for ex-

travel

Competitions some-

"monopolize" the visions of those

spider

little

through his magic

The vegetalista regurgitates his yachay, or supernatural

melo-

Original painting by Pablo Amaringo Shuha (from Luna, op. cit. p1 14)

ipper Gore fears that

Heavy Metal

You can

the souls of America's children.

thank the Blue Oyster Cult for the beginning, both

band was more

critics

stealing

is

From

that.

and fans wondered

if

the

interested in occult phantasmagoria

than in selling records. Their multi-layered guitar

thunderous innovative

licks,

biguous

lyrics

earned the

critical

am-

sinister yet

raves and a

While never a wildly successful ven-

loyal following. ture,

and

riffs,

BOC

they became the premier "cult" band of the Sev-

enties through their

unmatched mastery of the Heavy

Metal idiom, an idiom they, in no small measure,

helped to

create.

was fueled by a consistent vision. The arcane and dark imagery of the lyrics reflects a fascination with the ambiguous consequences of an accepted worldview that divides thought and action into Good and Evil, pure and impure, often without logical or biological foundation. In the same manner Their creativity

as the French Symbolists, the

BOC

cepted worldview often gave

"evil"

allure

and

realized that the ac-

an unreasonable

BOC's

irresistable attraction.

lyrics

explored

consequences of impurity, alienation and gnostic initiation. Ultimately it created much of the

artistic

evil,

the lingua franca of Black Metal.

BLUE OYSTER CULT & THE CHORDS OF

DOOM

sink the music.

threatens to is

Grade & Zarkov

lyrics

never

overwhelm even the

strongest lyrics, for is

it

most

The BOC understood that the power of Heavy Metal is unleashed by combining guitar-based distortion and strong rhythmns with repetitive chordal harmonies and dense texture. While all natural sounds voices, ocean waves or acoustic music reveal the same fractal dimension striking.

—

—

when

mathematically analyzed, electronic distortion

The unnatural added tones, to the uninitiatsound like painful screeching, particularly in the hands of a guitar masturbator. However, in the does

not.

ed, can

hands of the BOC,

who

are masters of using noise as

music, these "extraneous" notes

become

the essential

timbre and texture of heavy metal, serving the same

purpose as the orchestral texture or instrumental timbre of a classical orchestra. Additionally, the

BOC makes

heavy use of

classi-

music techniques, particularly from the Romantic

tradition,

in conversation with

Yet the

the contrary, the music often

music that the BOC's uniqueness

in the

cal

Sandy Pearlman

On

BOC

most

particularly

from

Liszt.

From

Liszt the

adopted the technique of thematic transformation

and repetition as well harmonies to provide shifts in

mood

modal diatonic Gothic atmosphere and rapid

as the use of a

so well suited to these

lyrics.

The BOC's rhythm section provides the power source, careening between thunderous blows and ma-

30

REALITY HACKERS

enough

niacal speed, but with

and

variation

to avoid the shoals of stultifying sameness. fort

for

is

naught however

mud.

if

what comes out of your

Fortunately, the

speakers

is

carefully

produced

flexibility

All this ef-

to provide

BOC

albums are

an almost lushly

tex-

ther.

tured orchestral sound.

BOC's albums are absolute musts Tyranny and Mutation (1973) is a mas-

terpiece of heavy metal sensationalism

charmingly

still

appalling after the passage of fifteen years.

Fortune (1976), with contains the hit solo

anthems of

its

on

cheerfully black chansons.

BOC was

since the twelfth

I Love the Night,

essentially a

hymn

Upon The

the

infinitely reiterated chord.

when about a new BOC album

curious, then,

(InterModular) distortion; so you have, in

effect,

random texture. Right. Right. Exactly.

ing out of the volume. The Blue Cheer is this in

its

most intentional form

.

.

.

re-

Cream an Apollonian album with Fresh

is

tales.

year ago

a great sense of discipline

we

and

that would Rock Firmament. Sandy Pearlman, the BOC's longtime producer and contributing lyricist is the single person most responsible for the BOC's vision. He agreed to meet and talk

them once more

.

During the next ten years,

contains several delightfully excessive romantic

read about an ambitious

.

Heavily amplified, heavily distorted, heavy I.M.

thy exception of Revolution by Night (1984) which

elevate

development of heavily-

and other

unable to equal their earlier work and

were

find the roots of

pop music. With an emphasis upon chords. power of the chord. The reiterated chord.

leased a series of moribund albums, with the notewor-

We

who

Unlike Blue Cheer, where you have texture com-

the tritone

Spectres (1977) contains our favorite

Dark Goddess,

to the

Reaper's guitar

't

(considered the diabolus in musica century).

Agents of

radical alienation

Don Fear the Reaper..

for us the definitive fantasia

is

It's

amplified

Several of the for collectors.

Blues-based. There are those

Heavy Metal in Led Zeppelin and the Blues. It's not. The Byrds have nothing to do with the Blues. The Vanilla Fudge don't have anything to do with blues ei-

in the

it

does not

possess the chords of doom.

with us about the musical and moral underpinnings of

but,

heavy metal.

its

you know, you've got

most intentional form,

didn't really hear Blue

ON THE ROOTS OF HEAVY METAL

But

structure.

with the Cream.

is

to decide

whether

interesting.

Cheer

first.

You

Blue Cheer stole the

this, in

Anyway, you first

heard

Cream

it

live.

Even Hendrix was already second generation.

REALITY HACKERS: Where did Heavy Metal come from?

SANDY PEARLMAN:

It's

a weird confluence of the

5D

Byrds of the Eight Miles High and torious string

through the No-

Byrd Brothers period. Totally amplified twelve

(most rock didn't use twelve

strings)

fluence of that with the Vanilla Fudge

(

— the con-

You Keep Me

Hanging On), and the Cream live which is exemplified only on Wheels of Fire.. It's not really on Fresh Cream Fresh Cream is an Apollonian album with a great sense of discipline and structure. But it does not possess chords of doom. It doesn't get into the realm of InterModulation Distortion as a component of the .

.

COMPARATIVE DEMONOLOGY 101: BLACK SABBATH AND BLUE OYSTER CULT:

.

.

Where did the that

is

Where did Sabbath get They had ly are

Heavy

guitar.

Metal, the music

itself,

well,

it

isn't really

the Blue Oyster

a

it

from?

They realsome very basic truths. They have formal mechanism to communicate these lyrical grammar to communicate these

a superficial interest in occultism.

dealing with

developed a

truths.

handle twelve string

atmosphere Heavy Met-

Cult.

truths,

to

now almost common

classical

in certain

bands come from? That comes from Black Sabbath and

.which came out of the Byrds because they were using the first generation of transistor amps. It came out of that and the inability of the amplifiers .

Romantic

al

sound. .

late

and

a

And in the hands of a madman like Ozzy, and former madman, like Iommi ... at one time, these

people were

in the functional equivalent

of posses-

Whether they were or not doesn't matter. They functioned as if they were possessed. Anyway, that's what they were interested in. And you know the Blue sion.

WINTER

31

SBMwiai IMAGINOS Blue Oyster Cult

mi

1988

is

Hence

al.

the biggest year only

it's

CBS Records

the history of

in

Heavy Met-

that the Blue Oyster Cult

fitting

produced

imaginative use of Romantic classical musical texture

Doors

leitmotif into the

and guitar-based metal timbre.

evoking a star-strewn night sky overlaid with the silvery

their best

album

years.

in

Imaginos success-

extends the range of Heavy Metal as music. The

fully

album

is

This

a tone poem written as a song cycle, making

hook-laden Rock and

is still

you are unaware

ment

use

is

It

a

War

I,

miss the

you'll

tale of the occult aliena-

tion underlying the destruction of the

der by World

shadows

if

historical ele-

as music,

of noise

of the story.

Roll, folks, but

Romantic

of either the

or the lyrical

resonance

European Old Or-

musically realized through iterative

of

heavy metal

.

Frankenstein's Castle

Of)

;

for

headbangers

two pieces

(I

Am

The One You Warned Me

of fin-de-siecle

French musical color

terwoven with demonic banshee guitar wails (Les bles

and

Presence

In the

rection that's

.

.

.)

and an underwater

no less then a recruiting anthem

you

dislike overt

music technique

The

is

distinctive

well realized

raw timbre

in-

pand the band's musical horizons while unmistakably

like

guitar orchestra.

In

resur-

and

and

Investiture of

Oyster Cult has a history

In

is richly

The Siege

Baron von Frankenstein's Castle, an

much more

sophisticated interest in

.

I

didn't write

many

mostly mine

.

.

.

.

.

.

the universe of discourse,

and (Richard)

also wrote lyrics.

REALITY HACKERS

as that

of classical

Meltzer's, 'cuz Meltz

a density

music but

Was

there a point

knew

is

and partic-

still

as

satisfy-

evoking the esoter-

was

the B.O.C. 's

and heavy metal.

roll

where you

musymphony a tracks of

sort of had the

BOC would represent?

what

exactly

and

in

of texture

occult/science fiction universe that

original contribution to rock

I

.

"The Reaper." But the framework;

you know, the grammar

ic

vision of what

and decadence.

Was that more than just you; were there other members in the band who were interested in Well,

ing

in

and

to ex-

an almost Straussian

precise, with

ear for ensemble, at times using as

explicit

Imaginos, a dance melody

embroidered with layered guitar textures.

riffs

sounding

ularly polished

orchestra. This results

an

still

Invisi-

for

not

the album's

Mutation or Agents of Fortune. The production

hardcore B.O.C. aficionados (Blue Oyster Cult). The of

is

the Blue Oyster Cult of Tyranny

songs make

use

in

of metal

sical material as there are instruments

extraordinarily effective

Romanti-

album

rhythms and the unusual coloration are combined

(Faust as transcendental parable). There's an occult

boogie

if

allergic to Liszt or Ravel, this

virtuosity

Imaginos' ambitious and innovative use of rock and

production.

.

trite limits

rock guitar solo. However,

Song (which conceals a

.

if

of the conventional

classical

"

the

The album's unique sound combines playing as in a chamber orchestra,

while transcending the

The songs are textural variations on these themes. They range from the surface pop gloss of Del Rio's .

who determine

those visible Invisibles

multiple guitars

for you.

dense

"rhythm of events onrushing,

giving listeners the excitement of

thematic transformations of leitmotives.

disturbing core) to the

if

"rush of events."

cism or are

Lisztian orchestration of

32

sombre timbre of multiple metal guitars playto sound as they are playing) in tight Lisztian ensemble. Best of all, Astronomy uses the guitar ensemble sound most eloquently, transforming a ing (or

back with

is

acoustic grand piano provides percussive ornamentation to the

is

it

was going

to

be and represent

from the very beginning.

Were there any things going on influenced I

.

.

.

in music that

?

think the only things

we

admired musically

really

were the Doors and the Byrds

.

.

.

the Byrds from the

5D and

Notorious Byrd Brothers period.

And we

got

THE NEW SCIENTIFIC GRAMMAR

some musical grammar from Black Sabbath. By the way, I think that the BOC is more influential than

In effect, what

Black Sabbath because the Sabbath's attitude toward

culture can't be expressed with the musical gram-

was

evil

ambivalent than that of the BOC.

less

mar that's been handed down

How would you describe that? is

straight out of

La-Bas by Huysmans. That's where

came from

me.

very profound in

One

world.

this

more

is

is

Why

it

a bi-polar situation in

and eventually

easier to achieve,

because

more acceptable than

it's

The argument about

the other.

they went

Purity

Gilles

de Rais

vs.

Joan

did they diverge in the directions that

the musical grammar.

The whole

Artistic

grammar may have well played

it-

self out.

Do you think that there's a possibility of a new grammar that will open up a new music or a new painting Yes.

.

.

?

.

The new

grammar, obviously.

scientific

in?

much an anti-Church of England black magician flavor to it, both in terms of the harmonic structure (S. Fifths) and in their demonology. One of the things that makes the Blue Oyster Cult interesting is that you don't have this continual rehash of the old Biblical Devil vs. God story to express the M anichean dichotomy. Well, basically, yes. You know, Black Sabbath is Paradise Lost ? But with the same sort of ambivalence Black Sabbath has very

you see

that

to the culture of

the nineteenth century could be expressed with

thought there was something

that.

fascinating,

of Arc*

I

to us. Whereas,

what was important or central

Well, our analysis of the role of evil in a culture

for

important or central to this

is

in

ter Cult doesn't really

of creatures

Whereas the Blue Oyshave much to do with those sort

Paradise

Lost..

at all.

*

The

of Arc

fascination of Gilles

De

— kust

Mass

as the Black

Rais

as an inversion of Joan

is

an inversion of the true

is

Mass. For those of you unfamiliar with J.K. Huysman's La-

was

Bas; Gilles de Rais life

whose

a 15th Century French noble

forms a perfect diabolic contrast to Saint Joan of Arc.

was Joan's

official military

protector

and was

at

He

her side for

the year from her triumph at Orleans until her capture.

Over the next 10 years de

Rais

turned to alchemy to regain

it.

squandered

satanism and finally the torture and

napped children where

.

.

In 1440

."

his confession,

his estate

"He resorted ritual

to

murder of

he was sentenced

and demeanor

at

and

necromancy, kid-

to death,

the gallows

were

"acclaimed as an example of Christian penitance." (Quotes

from 1968

E. B.)

A CLASSICAL ORCHESTRA IN SONIC SPACE

We

had

Patti

lyrical

input from three people: from me, from

Smith and from Richard Meltzer.

had the eruption of

brilliance every

And

once

from Donald "Buck Dharma" Roeser

who

also,

in a

you

while

wrote "The

Reaper", and / Love the Night

The

Two of our favorite songs. Well, / Love the Night

NEWVISIO

remarkable.

is

Were you the producer for that song?

Catalog of Art Videos

Yeah.

one of the things

remarkable about / Love the Night, in addition to the poetry which is just unbelievable, is the sense of orchestral space around the music. It sounds like a classical orWell,

that's

chestra in sonic space. It's

amazing. Oh, what

it

featuring

Computer Graphics, Cymatics, Fractab, Dolphins,

Dream Journeys,

Animations, Inner Space, really

sounds

like

is

Crystals,

& more

.

orchestra.

Explore Magnificent Realms of Nature

Or the chamber portion of Mahler.

Fascinating Worlds of Special Effects

OK. But you're dealing with very similar sensibilities. What is the difference between Paris, fin de siecle, and

Scored

Vienna,

fin

cept Paris

de

was

siecle?

There

isn't

a healthier place.

much

.

Ravel's

difference ex-

to

Expansive

New Age Music

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WINTER

33

J

!

I

t

Music For Earthquakes Brian Eno at the Exploratorium in San Francisco

vV 1

Interviewed

ft

Eno.

A

legend.

Amirkhanian

by Charles

Up

there in the Pantheon with Da-

'4

Bowie and David Byrne. His designation on Roxy

vid

Music albums

Eno

just as

simply: Eno.

is

she

knows which

Everyone knows which Victoria or

which

Attilla.

Having a major proportion of Earthlings recognize you

by

name

a three-letter

is

a distinction shared only with

God. Indeed, many intone Eno's name with the same reverence (and a good deal less embarassment) as they

do God's;

it

actually has a better ring to

it.

Try

it.

E-

.-

NO, E-NO,

E-NO.

spelled backwards *3

"one."

is

A

veritable mantra of a

"dog;"

name. God

Eno spelled backwards

is

You decide.

Now

he's in

stallation at the

San Francisco where he's created an

Exploratorium and

conference. Fittingly,

it

is

housed

is

in-

holding a press

in the

Grecian temple-

Photos by Jay Blakesberg

WINTER

35

like Palace of Fine Arts.

I

march

at

ness of the installation which

the tail-end of a

the wire services, the big dailies-all the annointed. faithfully file into the

We

entrance of the installation, hid-

den behind the shapely poured-concrete ankles of a naked bored-looking rump-jutting nymph. A co-

giant

with

lossal caryatid

Crumb

R.

is

contained within a

King Kong banana-shaped room, and stand

procession of media acolytes from ABC, NBC, CBS,

idealized buttocks gaz-

staking out their

through the the hell

am

Grunts and expletives cut

turf.

feet

How

"Hey, turn the lights on in here!

air.

going to video

I

defiling the rich templelike

this?" a philistine

moans,

atmosphere-an atmosphere

ing wearily, a hun-

dred

in the re-

cesses as reporters shuffle and jostle one another,

being continuously

above our

created by subtly

heads, across a re-

But

flecting pool.

who

is

this

anony-

mous-looking chap

on

sitting

a

green

slat

parkbench serenely observing the reporters

file

past, their

eyes busily absorbing the outsized charms

sound from

of the callipygous

shifting

nymph and

interacting un-

her

sister-

servants slouching

matched tape-loops

beside the swan-

and slowly meta-

infested waters?

morphosing aqua-

Surely, that

is

an Eng-

hand-sewn

lish

dovan shoe

I

relle light

washing

over Eno's foamcore

cor-

spy on

architectural con-

the casually crossed

staictions.

We

leg or a fop I'm not.

wandering

in

Certainly he's molted

ever-changing non-

many

feathers,

glitter

and some

much

are

an

repeating sculptural

Amazingly, none of the professional newshounds take

The video images are simple geometric blocks of color on twenty-five inch monitors which are not viewed directly

any notice of the man they're here to cover.

but, rather, cast their light

watching

my

me

hair,

but

just as certainly that is

Eno

environment bathed

watch him— a curious feedback loop.

companion, Jude Milhon

-

I

turn to

arch Enophile, and indi-

Eno with a nod of my head. "My God," she exclaims. "Yes, exactly. Do you have tiers on you?"

skewed German polystyrene— a

cate

other planet

copy of High Fron-

a

don't

want

to disturb

It is

dicity.

him— he may be

Jude and ful

I

distance of eighty

feet.

servationist might study

Jude looks

at

at

him

as a con-

36

REALITY HACKERS

I

file

into the

I

a

world of nonredundancy and nonperio-

cannot be grasped intellectually —only

room on

Sirius.

It's

like

me

am.

womblike dark-

felt in

it

might be a

being abducted by

Some people It's

a

return day after day

space designed to linger

in:

and

ali-

a

stay for hours.

polysensory limbo

informed by one of the most interesting minds

an endangered skink.

she might a rabid propagandist, which

It

world.

ens and then having to wait for your brain-scan.

the respect-

"Don't disturb him," she says sternly, eyeing

Sighing heavily,

waiting

a perfect opportunity!"

walk past him and stop

with multiple luminaries, seen

Furnished with upholstered sofas,

silt.

"He's sitting here watching the bloody fucking is

endowed

a transitory way, slipping past one's senses like fine

meditat-

ing."

squirrels in the park, this

expanded simultaneous sunrise and sunset on an-

through shimmering atmospheric haze: another green

"Yes," she says, fumbling in her bag.

"I

onto an angular canted and

Expressionist cityscape of

and red and blue

"Good. Give him one."

in Jacuzzi chromatics.

as

sic today:

in

mu-

Eno.

MORGAN RUSSELL

OF CRESCENDOS AND RAINDROPS CHARLES AMIRKHANIAN: How did you

when you first

the idea for such a thing as ambient music?

BRIAN ENO:

can trace

I

two

to

it

on the cover of Discreet Music it's got knocked down by a taxi one time when was the story

told

I

—

One was

things.

music

get

-

And

always make use of every-

I

you see. Getting knocked down by a taxi is not the most promthing,

good

ising start to a laid

up

bed

in

but

idea...

and

for awhile,

ed was leaving and

mind putting

on

a record

quite heavily outside.

So,

all

.

.

'This

was

way

^^^^

This

is

a use for music'

It

as the

central focus of attention, but part of the context that

you

live in.

cause that

mean, the idea wasn't unfamiliar be-

I

had been aware of the various experiments

I

knew real way

John Cage and others had performed. So

about

it

as a theory, but I'd never felt

As

of listening.

making music

that record played,

that didn't

impose

I

its

to

was

be

it

as a

thought about

Music

presence.

deliberately

a part of,

I

which,

I

think,

the father of

son of

And

I

is

a nice building.

thought about

and

I

It's

it

how

I

would have

thought that the sense of

in

would have

to

be

some way.

So

be

a

music

a

bit

have to make a music

that didn't frighten

timid about flying.

music that could be

because you have announcements that didn't

all

internipted,

the time.

demand

Then

I

thought: "What

on top of

that,

on

into

feel

their faces, at

you're taking

your hands. And

of course, the airlines

come

(He

"nnnnrrrrrrrnnrnnrnr": like that.

if

there thinking,

sit

they can't get a cassette

player to work, what

am

I

doing

in

this thing?"

So

I

thought, 'Right.

You're

never going to convince people that

give you the feeling that, 'Well, all

it

doesn't really matter

much anyway. What's a few humans less?' So why the music has a slightly, I'd say, resigned

that

that's

feeling to

it.

You could make us a Music For Earthquakes. (Brian laughs—low roar in Auditorium.)

Oh, yeah,

right-you need

that's

some

of

that!

All sorts of

The music ed, at

it's

to feel

goes with the

that

inception, to

was

installation

be always

never hear

it

intend-

different at every

point in time and at every point in space. will

That

is,

the same, anytime or anyplace.

you This

has been achieved by an interesting inversion of the

The idea is that with a tape you can duplicate things perfectly. And the

principal recording. der,

ry of tape recording

is

perfectly.

tape recorders.

So

on each

is

histo-

We now

have very

faithful

you run four tape recorders

and you don't synchronize them

the combination

loop.

if

recor-

a history of duplicating things

more and more

always

different.

So the element

be

individual tape recorder will

But the combination of

all

to-

any way,

in

four

is

a repeating

always a

dif-

ferent combination.

This piece of music

ed out as

was made

like this.

a twenty-four track piece of music.

It

start-

Now,

down to two tracks What I did with this piece was onto one two-track tape and then an-

normally you would mix those

and

to mind.

do you most want

FOUR-LAYERED SOUND SANDWICHES

You'd

resolution.

People won't be around for the resolution. interesting conditions started to

life

laughs) So, you

^

gether,

I

could do that with sound. Obvito

people since they're already a It

was designed by

one of the members of Kraftwerk.)

space should be celebrated

ously,

(It

a triangular building with very high ceilings.

like the building

And you can

music.

I

made to be useful. Music made what you might call, the acoustic context that you live in. This idea developed into Music was sitting in the Cologne Airport for Airports. that

peppy "poke

this is not a dangerous situation. So what you have to do is make them not care if they die.' I was thinking that Music For Airports should

had never heard music before, not

I

this horrible,

really sort of

never have decent cassette players;

work

I

really beautiful.

is

a

just

It's

It's

your very

"Jesus,

was sort of crescendos mixing in with was listening to that and thought,

It

make

to

all right.

has

moment when

this

produces charmed

.

the raindrops.

supposed

It's

these fixed grins

ignorance that

The highest frequencies, probably. That's right.

terrible.

that the

they're always going

could

I

It's

bum" Baroque

the

the condition of

me?"

for

the loudest few notes

just

up

Well,

left.

of the harp

^ her

to.

Everything's

British Airlines

something about

one of the speakers was on the blink and had gone out. And she'd put the music on too softly. And it was raining hear was

day.'

there's visit-

She put on a record of virtuoso harp music and

normal

"Do you

said,

I

—^"^™

I

supposed

was aware

I

has exactly the oppo-

in airports

think, 'Don't worry.

was

I

couldn't move. A friend who'd

used

it's

And

a plane?"

Baroque rubbish.

I

crossing the street.

you

on

that gets

site effect that

a

I

get

that's the record.

mixed one

set

WINTER

37

I

ended up with four two track tapes. If these tapes were perfectly synchronized and run together, they would produce an exact copy of the original piece of music. What I do is run these four layers out of sync with one another and, as a reother and so on.

I

they constantly create

sult,

new

sandwiches. They're

auto-reverse cassette players and each mix fades

down. So you do

ber.

was

I

fascinated

Where did you I

don't

person

paintings.

see brightly-colored paintings?

know, but in this.

by brightly-colored

my

think

I

uncle was the formative

He was

have a very eccentric uncle.

I

in the Hasad in India. One day he fell off a horse and became concussed... and he became a mystic (laughing). So if any of you are interested in that, that's how you do it. He stayed

occassionally get the

in India for six years

situation that three of

and then

them, for instance,

back

are reversing at the

town where

same

You

time.

little I

was

born, Woodbridge.

get a

He was

very sparse sound for

moment. Each

that

came

finally

to this

a gardener, a

landscape painter, a

tape runs for a differ-

—

porcelain repairer

ent length of time.

and the

So the original cluster

tric, really.

of events which, on

lot

my

one day he showed

original version of

the piece,

—

gether

work

And,

apart.

they

me

to-

as the tape

circulates, they

like

clearly

and innocently

made

has the book.

ago and

quickly

is

the record,

I

simple system.

So when

thought; "... Piece of cake.

good formula

here.

I'll

do

a

few of

I

made

I've

these."

got a

But

I

it

that

never

I

made another one liked as much as that. And know what was that made that piece work. there's

I

I

don't

it

something about the condition of ignorance

My

the time.

drian, really.

painting,

I

looked

was

roots are

& roll friend we called

38

interested in painting as early as

REALITY HACKERS

I

in the arts?

can remem-

still

still

I

have

Richard and

Mon-

real painting ex-

fanatically listening to

And then

roll.

a family

us his record collec-

left

was all music that I had never Big Band music of the late forties, Jack It

Coniff; big influence

.

.

.

formative

Music For Airports.

I

The

airbases

had 15,000 this sort

inhabitants.

So

of pathetic, dread-

English cover version of things like Cliff Richards

and Craig Douglas and But

uncle

We had two big American airbases within five of my house. So the town lived in had 5,000

inhabitants.

ful

that period

Little

"Uncle Stan"

Teegarden and Ray side of

My

couple of months

really fanatically interested in

I

tion to look after.

heard before.

a

it

had never seen a

I

every cafe in the town had

was

at

listening to Little Richard

was also records. Rock &

rock

miles

I

became

though

cept Mondrian's.

think

produces charmed work.

OF LITTLE RICHARD AND MONDRIAN When did you first become interested I

in the

sort of relived that feeling.

are the records.

don't

a terribly

I

Another thing from

remember how you did it. After finishing you think; "Oh, yeah. This is a good idea I'll do another twenty." And then you go back and try to do another one and can't remember what the important things about it were. Discreet Music was a good example of that. The record, Discreet Music,

the

Mondrian was

using.

that withstands the

You

of time.

remember

simple, clear colors that

the music

can so

I

on me. They were

A MAGICAL CONDITION OF IGNORANCE

test

Each

effect

it's

having a continu-

it's

book of Mon-

half but

ous shuffling system.

Often

books and

art

about an inch and a

start clustering

So

a

reproduction was

fall

in fact,

other times.

a

He had

drian paintings.

with other elements at

of

local eccen-

also,

all

these miserable honkeys.

because of the huge American contingent,

they had the R

which ones that at

I

I

the R

&B

never

knew

that they

any of these people.

was many years

later that

Good

that

ole Gene,

my

of

because

all

And

pretty manic.

I

that Little Richard

to hear a

resounding bit, right?

records.

"

This

Where we Forget

all

is

play

all

men

But the

knew

following the chief, and they're

each beating

a different story.

ship.

that

They're not playing music. Like in England,

campanologists

you

like

.as far as they're

process.

English Bell Ringing Foundation

my

quite angry letter saying; "This

music?

were very concerned

on.

I

was

set

up

for

& B and

by Doo-Wop, R

it

But

the chain of connections.

with Fela Ransom,

I

I

think

suppose. He's

it

really started

now

called Fela

Kuti or Anikulapo Kuti or various other names. 1972,

I

first

heard a Fela record

the Africa 70. It's

It's

now

Fela

.

.

.

Ransom

James Brown and understood what to

Fela

I

In

Ransom and

and the Egypt 80.

contemporary Nigerian pop music.

Then

so

wasn't difficult to go back one step further in

It

that

I'd

heard

was about.

heard Fela, and he was an African

who

listened

James Brown. And he'd taken what James was do-

ing,

but really extrapolated

70's recordings six

drummers,

were the a big

it

best,

in a I

big way.

think.

horn section,

lots

The

They had

any transcriptions of your music?"

ating

that

think that that

you could have noise

Sax cubed,

Audience Member: I was wondering ifyou'd related the African concept of cross-rhythm to the

was oper-

musical context

in a

was not musically conceived noise. On Land, which I released around

the time of that Africa

Usually the

noise.

we have

visit,

way we

used

I

a lot of

non-musical

think about music

is

that

aural

and then we have the rest of the universe; we have foreground and background.

What

about, instead of accepting these dichotomies,

instruments,

letting all of

those things be a continuum.

So, instead

we

have:

mu-

musical instruments, vaguely

musical instalments, kind-of-noisy-things-that-make-

musical-sounds, things that are

ground and background.

like Yackity

it

In the record

sound which didn't sound anything like Western saxophone playing. You remember Boots Randolf who

was

get

not music." They

realize that

sical instruments, sort-of

you know?

we

on some other level. It was the same thing with - it was completely novel for me to

clearly not instruments at

it

is

maga-

got back this

five or

of back-up sing-

a

the African trip

the

did "Yakity Sax"? Well,

we

We

of having musical instruments and noise

-

What

head of the

there's this

early

It was a very big band maybe 22 people. And sound was really, really harsh. The sax players worked on getting this kind of brutal, rhinoceros sax

ers.

-

and asked "Could

music of Africa and other countries. Was that a natural outgrowth of your interest in doo-wop Well,

concerned

wife, wrote to the

zine called Ringing Weekly

If

got interested in bell ring-

I

SIBILITIES

So Anthea,

-

an accident

it's

working through

is

ing.

interested in the tradition-

bell ringers

don't consider

musically,

it

they're doing

stuff!

al

-

themselves to be playing music.

OF AFRICAN MUSIC & THE WHOLE FIELD OF POS-

When did you become

It

doesn't have any rhythmic relation-

^

the old

video

this

many, many

So there are three of these very old

Black.

good

the

&B

they were

of that? (a

little bit

Vest.")

never

Do you

(to the audience)

it.

want

way

R

for

generations on the talking drums.

funny thing was

heard insanity and tenderness mixed

back

ry of the tribe

the

that play

the talking drums, recount the histo-

heard

originals.

never really

I'd

I

drummers, and these guys

it's

such a tender song as well as being

did

^

was

all

the characteristic ability of that

I

We

wish he was

I

Send Me Some Loving

me most

in quite the

it

is

a number of levels at the same time. When was in Ghana, went to a festival where the big chiefs are brought in on these ceremonial litters. And behind them followed the corps of

It

— -^^^™

of the,

records that changed

here tonight. inspired

America and

in

relates

music to be able to absorb

discovered that there was

I

Duke of Earl was one life.

What

But the

were Black -

liked.

I

I'd say, five

originals.

never saw pictures of them.

I

such a thing as Black music everything

work you 've done with delays and modulation of phase relationships?

knew

I

There was no doubt about

all

heard

funny thing was

So

originals of them.

preferred.

We

all.

& B

whole listen,

field

just

noisy and are

What about using that And the same with fore-

all.

of possibilities?

When you

sit outside and you hear some things loud 'cause you're close

to them.

It's

just

an accident.

It's

not because they're

more important. But if you listen, you hear things that you know are actually loud but they're just on the edge of your earshot. I wanted to make a music that

WINTER

39

placed you in a

of sound and implied that the

field

horizon wasn't the end of

around the edge,

it,

that

it

continued

around the globe. Music

right

then you don't release those ones!

Somebody else

right

Charles

that

refering to the fact that he's got a bootleg al-

is

bum which

puts you in context.

does!

I've

bloody won't

never seen before

which

-

hope he

I

play!

Why did you choose as a kind of ostinato

OF WORDS & TALKING HEADS

Who wrote the lyrics to the Talking Heads'

pattern,

repeating "4m/ the Heat Goes On," constantly

Born Under Punches (and the Heat Goes On) ?

throughout the. Oh, that was very simple.

That song;

On

we had

got into a

is

which

this record,

not typical of the

three records

we

with

real fix

did

it.

.

And

like getting into

I

because

together, the lyrics

fixes

were kind of consult-

think something in-

ed upon. Normally,

teresting

David (Byrne) wrote

when

the lyrics and, as far

into a corner.

as

know,

I

But

whole was

was

the

first

tions

new

solu-

All the solu-

tion.

more of an improvised and groupgenerated record.

sort.

Yeah, a

this

record, in fact,

you're backed

some

the lyrics for the songs.

happens

A new solution of

writes

still

I

you already

know

don't work.

It

record

they did where they

went

into the studio

without a set of

They went

songs.

into the studio with

the assumption that they al in

would work up some

was what /represented That's the That's the

way you

way

I

materi-

— which

relation to the possibilities of the studio in the equation.

like to

work,

always work,

With

a

band

more difficult because of the awful threat of democracy creeping in. There's nothing more certain an idea than democracy, as

kill

cerned.

I'm not

making

dio

is

way

creatively.

anything interesting gets done

by someone

saying; "I'm going to

do

For me,

not,

"Do you think maybe we should do this?" or "Could just do it a little more... could we?" There's no point in taking a compromised stand. If you're going to make an experiment, just make it. would hate to do something where people would think "Oh Christ! that's a bit off," "that's a bit weak, "just

doing that old

periment, and either usually

40

it

fails

-

it

stuff again!" fails

that's the

REALITY HACKERS

or

it

nature of experiments.

But

David

riffs,

same

grooves.

place.

It's

funk and African music.

a very different thing. If

The energy of

what's going on underneath. gives a piquancy to the that.

let

It

same

the song

is

drops, and

note.

I

have

created by it

adds;

lots

In fact, that's the only trick

What you do

the music change so

it

is

sing

— stay

drops away

underneath you. Suddenly there's a

When "

this

you're writing over a chord change, you can stay in

and I

On

have any chord changes because

listening to a lot of

learned, really.

You make the exAnd most

doesn't.

used

didn't

songs that do

we

or

we'd been

the

in the stuthis,"

we

record,

We

con-

a political statement here, but

one about how things get done the only

far as I'm

difficult to

In the past,

had always been writing over chord changes. This song didn't have any.

it's

usually

to

been very write.

isn't it?

really.

That particular song had

you're writing over

riffs,

it

of I

ever

in place,

like a cliff

real tension.

that

never hap-

you want to create the feeling of chord changes, you have to imply it in the voice. Like you pens.

If

sing sevenths, or ninths, or funny notes, to create

those tensions. So, writing the songs on this record

was quite a problem for David. On this particular song, it was really getting critical because we all liked the music, but there was no song. So said; "Give me I

twenty minutes."

"Everybody leave the room", you mean? Everybody leave the room because have to do Embarrassing Things. What did on this and on The Great Curve was to build the vocals that were replywas

the answers.

like

Now

do, as a singer,

all

was

was

I

David had

to

am

I

to ask the right

But,

if

way

^

someone working

something

of supporting what the guy

lar

-

actually

Melt

things they can do,

And

Down if

auditorium, a public, and the accu-

mulated resonance of pop music

up

many

ignorance as

For me, rock

skill.

rary electronic music.

It's

come from

contempomaking the

'n' roll is

the people

records are not virtuosos in a musicological sense.

Musicology doesn't have a place for rock music because

it

doesn't extend music in a

music oppressive in

England?

___^^^^ ^^^^^

interesting things

And

that time.

til

way

that musicolo-

Classical

pathetic.

rope

to point out that as

the system

just six strings.

Is classical

virtuosity, but

is

pathetic.

It's

music

in

esting musical experience

I

had

in Russia

wasn't

these

all

new punk bands

Russian orchestra playing a contemporary Latvian or-

was

sort of reminiscent of Shostako-

You

hate most classical music.

vich and wouldn't excite a Western musicologist

despise

it

pantheon day

in

&

A

mine who

friend of

and only cares

roll

says, "Well, everything that's

happening

to-

rock music had been done by 1820," ... or

1790, or whatever date

tening to

is

he puts on

the chord sequences

Then

totally traditional.

and ordinary. What he

it.

See,

which

all

are,

he's

lis-

of course,

the rhythms, also, are boring isn't

listening for are

novations of popular electronic music.

the

all

in-

The extensions

of sound and timbre that have never been possible be-

The

fore.

of a contemporary composer work-

ability

ing in a studio to deal with place as a subject of the

Then

music. sic that,

Now

there's the fact that you're

a

mu-

within a week, touches three million people.

these are

in the

making

all

properties of music.

But they're not

academic area of consideration. So you

It

still

-

I

way

mean it it was played was absolutely galvanizing to me. Because it was played with real muscle, you know. It wasn't this kind of But the

wasn't radical.

for the classical

listen-

that they have now, hop or anything like that. The experience that stayed with me was switching on the radio in a friend's apartment one evening and hearing a

ing to

chestral piece.

hates rock

inter-

or scratch or hip

understand.

with a passion.

Eu-

yards of

like

But you know, the most

wall-to-wall carpeting.

gists

I

who

strings,

join.

deny

is.

a musician

It was six some electronics, an amplifier, some big speakers, an

wasn't

tastic, isn't it?

Well, actually, the point wasn't to

So

popu-

understood the system that he was

pretty fan-

it's

is just

really doing.

what music

Hendrix was

anyone wants to

Flutes,

is

the

structure

music, you have to extend your

definition of

dealing with.

The Talking Heads are such virtuosos. Now, you've said in some interviews that virtuosity isn't what rock 'n' roll should be about. But when you're working with a group that can do the

means

The

contemporary

to deal with

of the Society to

EXTENDING YOUR DEFINITION OF WHAT MUSIC IS

dealing

within an archaic

exciting, that

the important thing.

isn't

secretary-treasurer

questions.

He knew he was

like that?

electronics. Now, the structure he was working within, the blues, was kind of an archaic

a

—™^^™

filling in

Who

performing electronic musicians.

with

staicture

ing to the lead vocal that didn't yet it

first

performed

structure does

I

So,

else

structure.

I

exist.

of the

perfection-oriented approach to classical music.

No-

body can make

God!

hate that!

I

I

a mistake.

can't

tell

you

It's

got to be just

how much

am actually secretary-treasurer Down Flutes, if anyone wants to I

music

Classical

in

England

is

that

so.

annoys me.

of the Society to Melt join,

(laughter)

about as interesting as

watching someone do trigonometry exercises. But

when

I

classical

now.

heard these Russians,

music

It's

lives for

not, "Isn't

songs again."

It

it

them.

I

suddenly realized that It

means something

comforting to hear these nice

wasn't comforting.

It

was

abrasive.

It

was tough and powerful.

get

whole books on electronic music that talk about Varese, Stockhausen, and so forth but never mention Jimi Hendrix. Well, surely Jimi Hendrix must be one

THE INFLUENCE OF MTV Audience Member: What is the impact of commercial television on music, including MTV?

WINTER

41

MTV

has had a funny impact on music because peo-

ple started constructing records rather visually.

noticed

when

it

"Hold on,

like:

I've

We

this bit!

have

Let's

it

But

twice."

I

dealing with music,

it's

yond the

the punk it's dealing with safety pins The breakdown in interest comes with the videos themselves, where you have absolutely huge budgets and absolutely minute intelligence. And the results are clear, you know? On the other hand, a lot of the Surrealist and Dadafilm techniques have been incorporated and included into the everyday language of vidsion, or

.

.

.

thing.

eo.

Yeah.

absolutely agree with you.

I

and Maya Deren, and the

stuff,

made

various other people who've this century,

becomes

that ever

if

lary of film watching,

won't be through obscure

and

all

avant-garde film in

part of the

art

vocabuIt

have never believed

out limitations.

art

absolutely

isn't

bound up

you can take a guerilla approach was quite fascinated by military

think that artist.

I

a long while.

tween the

I

gave a

traditional

One

guerilla army.

was

that study

gency

and

was...

talk

I

rilla

battle,

bump

in the

ground

place to hide.

is

is

army

this

ly

And

that,

that they

42

my

Every hole

is

I

think,

is

what makes

this in

my

a place

artists interesting.

these three

-

were

my

Not

with

that

to

my

could support

It's

So

it

mud

father

games

earliest

And

as well.

jump up and down on -

I

considered

I've

it.

a suc-

it

been thinking

games, and

I

haven't real-

done

all I've

sort of depressing to think that every idea

is

really

"Making special places"

is

The

half.

about enjoying installations,

limita-

environ-

ments or making places speas with

Music for

Airports and the con-

cept of ambient sic.

mu-

"Rethinking sys-

tems"

using video

is

monitors for

lights,

or using tape recorders to

make non-

repeating music, that sort of thing.

alization

When

dawned,

there's a thread

attack."

can specify ideal conditions but that they can

REALITY HACKERS

so the train would take

rails

you've ever had, you had by age four and a

cial,

a

this to

use

the

played any other games since. That's

tions.

going to get bogged down.

I'll

struc-

few books up here and there and

make

"mud technology" one

artist

advantage.

if it

since.

I

things to

to

would ask my Dad

about

being an artist, you can be a where you walk in and say, "I've got to have this and that and that's not good enough, plus want fifty thousand dollars." Or you can be a guerilla artist and say "Well this situation is sort of complicated and I've never been in one like this before, and somehow I'm going to try to turn all of these regular

I

Now

in the

is

used to build these different

I

the most gradual possible route to the ground.

cess.

realized from

Every spot of bad weather

like that.

I'd pile a

was

And

an opportunity. Every

a place to hide.

where the regular army Applying

is

Like

tures.

to being

was an emergency. For the gue-

army, every emergency

I was designing houses from The second one was "rethinking systems". These were not the names I gave them at the time, you understand. I had a train set, and instead of making it into a loop and having the thing

chasms, things

the age of about seven.

strategy for

ground, every deviation from the right time of day or

season for the

middle of them, or they would be suspended across

then

army, every emer-

an emergency. Every lump

ning through them, or trees growing up through the

second roof and cover

I

about the difference be-

of the things that

like to

neces-

Western European army and the

that, for a traditional

would

in limi-

better with-

can sometimes be extremely interesting. So

tations

an

from limitations

Art freed

sarily interesting,

work

I

These places always have strange corners and labyrinths and secret rooms. They had streams runlive in.

was another way of using a train set. And the third one I call "mud technology." This game involved me digging a hole and collecting a number of sticks that were not long enough to span it, and then weaving a roof which I would cover with mud. And I'd weave a

cinema.

that artists

tried to

I

signing houses. Thinking of places

the idea

THE GUERILLA ARTIST I

list

running around,

the

be through pop videos.

will

it

Dada

of the

If all

futurists,

on the

to give a formal lecture

work, so

Art School to

inative

it

dealing with televi-

my

AND RECAPITULATIONS

had

I

push it back bewhat you might call the first imagenterprises I could remember. The first one on I call "making special places." That meant de-

evolution of

is

always absorbing other things. Suddenly,

it's

Recently,

don't

The nature of pop music

find that uninteresting.

isn't just

CAPITULATIONS

They say things could do a great thing

I'm in the studio.

with the video here.

that

deal with rugged field conditions.

I

this re-

was

sort of jubilant thinking

connecting everything

I've

and on the other hand thought "Christ! had a few new ideas!" (laughter) I

"God,

ever done,"

It's

time

I

'it

This

is

Not

WW'*

HWu

a Watch

\

Tesla Technology Inspires Teslar Protection By George Millett I was hearing? phone was telling me I could wear a small device on my left wrist that would protect me from environmental pollution caused by the invisible radiation from microwaves, television sets, computer terminals, remote control switches, cellular phones, power lines, etc. Electromag-

Could

I

believe what

The voice on

the

PERSONAL FORCEFIELD Randall

at

Witman, Ph.D., of

Prometheus Research Technology was speaking. "It's called a TESLAR watch," he said. "It creates a forcefield

CASUAL

$79.00

extremely low frequencies (ELF). He for the U.S. Navy. My new adventure in the world of

and magnetic phenomenon

where we cannot

fering in these cases

pinpoint the real causes of disease. think

new

era of medicine. This could be the

was underway.

greatest breakthrough in preventative

Ilonka, a professional designer and business executrix, said she had studied

medicine of our time." According to Dr. Puharich, "The TESLAR makes it possible for the body

the

works of Tesla and could see the and benefits of his ex-

potential dangers

to resonate at its

frequency. The

Last issue, in the interview with Andrija Puharich, you were introduced to Uri Geller

and Extreme Low Frequency (ELF) waves. a bubble or a cocoon around a per-

son, that interferes with harmful

waves

of energy coming at us from every direction. Then it amplifies the natural rhyth-

mic cycles of the body that lets it function at its normal condition of health and well-being. It's been tested, proven, patent applied for, and now on the market." The TESLAR is named in honor of Nikola Tesla, the European born American electrical genius and inventor who lived from 1856 to 1943. Tesla explored the phenomenal world of electrical and magnetic instruments. He claimed the Tesla Magnifying Transmitter

(TMT) as his

greatest invention.

and conductivity technology used to produce the TESLAR is based on the Tesla discoveries.

INVESTIGATION BEGINS Soon the president of the company manufactures TESLAR products, Ilonka Harezi, and a vice-president, Courtland Reeves, paid me a visit. A Physical Scientist, Dr. Eldon Byrd, Ph.D., was with them to answer my questions. Byrd conducts research in the field of interactive biological processes that

periments with ELF. She worked with Dr. Andrija Puharich, M.D., LL.D., a contemporary authority on Tesla.

own

natural 8

TESLAR

the shielded person

up

Hz

selectively

Hz

signals of

to 4 times."

Puharich currently works as an

inter-

national medical consultant to leaders in

government, industry, universities and private foundations.

ONE EXPLANATION Byrd's explanation of how the TESLAR works is a bit mind-boggling. "Maybe it works," he says, "on principles of dielectric behavior of biologi-

Puharich had invented a "shielding device" to counteract the harmful effects of ELF. He said the shield would protect one from negative biological and

cal systems in conjunction with non-

psychological effects of emissions com-

pulse modulated microwaves do indeed

ing from electromagnetic energy sys-

influence various physiological and be-

tems. Ilonka helped to put the shield into

havioral processes in cells, tissues, animals and humans. Cells apparently can act as sensitive detectors (receptors) of ELF signals."

a bracelet and

was

later responsible for

developing the 'chip' which was incorporated into the shielding device the

—

TESLAR. Amjad Zureikat, M.D. of Chicago, is studying the

TESLAR for continued use

in preventive medicine. Zureikat told

me, "The

TESLAR

is

solitons (waves) in proteins. Research has

it

also appears

be an effective adjunct in the treatment of other illnesses like hypertento

sion, arthritis, leukemia, cancer, etc.

medicine

we have many

unex-

plained illnesses. Chances are, one of the reasons for this

or feel the causes

we cannot see which may be ELF. is

then 15,000

membranes and shown that ELF

TESLARS

have

been marketed in the United States Canada and Europe since its introduction in 1986.

Order your

TESLAR

watch from:

apparently help-

ing cardiac patients and

In

linear excitation that can give rise to

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The Master of Melody: AliAkbar Khan By Ali

F a u

Akbar Khan

s

is

t i

r

a y

& B

r

i

a n

Wa

in his field.

a 25-stringed

lute.

His instrument, the sarod,

His father, Allauddin Khan,

is

is

re-

in India as the musician-saint of the first half

this century.

Ali

1

consummate master of music,

a

without peer

garded

n B

of

Akbar Khan, known as "Khansahib"

and friends, learned vocal and instrumental music under the tireless guidance of his father/ guru for more than twenty years. He teaches the whole range of the music, from literature and techto his students

nique to performance, sic in

at his Ali

Akbar College of Mu-

San Rafael, California; Basel, Switzerland; and

Calcutta, India.

pounded of musical

He

is

a

unique phenomenon com-

and circumstances. His the culmination of an ancient civila-

tradition, talent

skill is

tion's

most refined

44

REALITY HACKERS

art.

1

/Sound Photosynthesis

a c e

what myths are made of: Before was genetically directed toward music. His instrument for a lifetime career was chosen by his father. As a child his companions were Khansahib's

he was born,

life is

his

future

other musical students. (Concurrently with Khansahib, Ravi Shankar studied

sitar

with Khansahib's father.)

Khansahib was educated with the princes and princesses in the palace

where

teemed court musician

his father

to the

was

the es-

Maharaja of Maihar.

Early professional concerts for Khansahib

meant

Combining conAllauddin's teaching, and his

stern, fatherly, on-stage instruction.

stant rigorous practice,

own

inate ability,

he evolved into a musician of une-

qualed self-mastery. When,

become

at last, the invitation to

the chief court musician for a very rich

and

talented Maharaja

was offered

Khan, he

to Allauddin

proper effect therefore,

full

You have

of perfection.

to

passed what was considered the job of a life-time on

think of music touching your brain and heart.

to his only son.

ways start with the simple scales and ragas and I always begin with the fixed composition. Like a child who first learns to draw by tracing a picture, slowly, slowly, it helps to learn by following the examples of

At that time, in India, only royalty was permitted

Khansahib became the teacher

to hear classical music.

and court musician After

many

the Palace

to the

King and the Royal Family.

was named

in

He went

sense of freedom.

where he experienced

the teacher.

in

Khansahib's honor. The dis-

solution of the Raj gave both India

new

room

years with the King, the concert

and

Ali

Akbar

and

No,

it is

not like

ally. It is just

When

their paths crossed,

Yehudi Menuhin recog-

nized Ali Akbar Khan as "the greatest musician in the world," and arranged joint concerts in

seum of Modern

Since those

Art in 1955.

concerts and recordings,

New

Mudomes-

York's

first

Khansahib has made

like a religion.

is

Cali-

to reach to

music, and the music

love the children, love yourself, and give

world, not only to humans, but

this

as well.

of the court of the Mogul Emperor Akbar the Great of

back over 4,000

said to

be nad-siddha, one

who

The music

abundance of opportunities

calculatedly eliciting emotions.

is it about so important

AKBAR KHAN:

mind so you can learn any kind of music, any style, more easily. It is a universal language which makes you free like a bird, you can fly. I haven't found any other kind of music which opens so much. So after learning this music you can go further in the other styles?" The student becomes familiar with the sound, all kinds

ALI

.

.

This music opens your

.

of melodies, rhythm, the timing of the music, the seasons,

moods, and times of the day associated with the

switch to

—

you can turn your "on" and you're ready to compose music on

different ragas

'til

it

is

like

"Lord Shiva

composed

.

of music in the system.,

to learn?"

distinct

"

says Khansahib.

A

raga

arrangement of notes each different from

an emotional impact on the

listener.

There are phases

tempo changes within the performance of the raga The season, time of day, weather and mood desired, decide the raga that is most appropriate to the moment. The "nine juices" or rasas of

that are classical.

are sentiments expressed in the

every composition

mours;

i.e.

is

In Indian music,

arts.

dominated by one or more hu-

courage, joy, pathos, and devotion.

inappropriate raga

is

"If

not achieved and there

teacher giving the techniques in the proper way,

cal all

knowledge

move

chords and fingers in the right way, and kinds of exercises to help with

few

years.

you

play,

Singing

is

that.

It

their vo-

we

up

in the student's

mind and

Khansahib closes the conversation by warmly

takes time; a

most important, because, while

you are singing through the instrument you are singing inside. You must learn how pure note, pure pitch. Each note must give the .

built

body."

give

.

is

.

is

bad luck. Notes can correct doctor makes medicine. With the proper is

How does a beginning student learn the techthey must learn to be in tune, to

the

listened to or played, the effect

effects like a

First,

a

is

all

other ragas, organized in the modal system to have

the spot.

niques to open to the music?

for

male ragas The rishis, or wise men, brought the knowledge to humans and composed six raginis/ wives for each raga and all the children and grandchildren, numbering 75,000 ragsas, comprise the body six

is

to

and ornamentation in the ascending and descending scales allowing the profound effect of subtle nuances

The study of the magic of sound through scientific, ethnic, mystical, and practical applications drew us to

North Indian Classical music that

more love

the creatures

There are 22 basic microtones,

years.

has the complete mastery over sound.

REALITY HACKERS: Khansahib, what

all

based on an oral tradition reaching

is

12 notes, creating an

Khansahib's door.

A way

a yoga.

is

soul and mind, and drive out all the evils. This way you can love your neighbors, love the whole universe,

home. The Ali Akbar College of Music was founded in 1968 and traces its ancestry back through the l6th century to Mian Tan Sen, the chief musician

Tan Sen was

Nothing to do with religion actu-

that.

God. Through music you can purify your

fornia his

Agra.

study of

How do you feel

about this?

out "on the road"

locations.

tic

Some people say that the school and the the music

a

a great variety of audiences

al-

I

viting interested

es

people

and see how

it

to the College, to

works. The best

ence the power of the tradition

actually,

Akbar Khancert,

to sing

tune

in,

sit

is

to

way go

watch

in-

class-

to experi-

to

an

Ali

as close to the action as possible,

tune up and open yourself for the joy

ride.

WINTER

45

Sun Ra's Magical

Kingdom By Ira Steingroot Ever since he formed his

Arkestra in Chicago

first

Sun Ra has been at the leading edge of experiment in the world of jazz. Over the in the early Fifties,

years, freakish solos

and unusual instrumental combifull band drum choirs, to-

nations were succeeded by tal

I never took opium, but

strange

known

cities,

.

.

.

space,

weird landscapes, un-

horn cacophony,

Moog

synthesizer solos

full

of

noise elements, costumes, light shows, dance and theatre.

All this visual

splendor was set against an

eruption of swing material by Ra's old mentor, Fletch-

monsters, hideous ceremonies,

Oriental mysteries of life, death, torment, were daily

and

— or rather nightly

commonplaces

to

me

before I

er Henderson, or perhaps against a half-hour chant of

an old Irving Berlin novelty tune. strange, then

Spaceship

If this

sounds

you haven't met the Captain of the

yet,

have you?

In case you haven't heard, this Spaceship Earth is on a course that will connect the past and future in Sun Ra's Cosmic Equation. Ouroboros. The snake that swallows its tail. Black American music has taken set

was six years Today

— H.

it

is

old.

the same.

a long trip.

P. Lovecraft

While seeming to divest

itself

of African

it was actuWest African source, but to a concept of performance that ties pre- and postcivilized music together. This is the garden Sun Ra

outer garments in favor of European garb, ally returning

not only to

its

has been tending for the past thirty-five years. Within this

simultaneously primitive and

futuristic

music,

all

experience —

scat vocals, tap, Harlem band riffs, call and response, the raw emotion of the blues and the quirky melodies of bebop are summoned up.

parts of the jazz

stride piano, big

—

In non- Western cultures, the arts aren't separated

from one another or from

and

religion.

46

REALITY HACKERS

politics,

education, science,

of the strengths of jazz has been

its

whole culture, probably America's first counter-culture. The Arkestra creates a total theatre, a reflection of a

Photo by Tim Hildebrand

One

complete world with larger implications than usually expect from

mere music. Duke

Afterwards, he went out

at

proached

kind of

best equipped to

fill

link

and Sun Ra seems

total theatre

Duke played

the role that

for his

between Ellington and Sun Ra is Theloniwho mixed humor and

ous Monk, another pianist

Monk

mystery, rumor and history. right,

two

is

one, and black

niscent of the Gnostic

is

to those

Ra de-

papyri.

an ambassador

from outer space and an angel. Much of

is

is

white, statements remi-

clares himself another order of being,

universe

wrong

said that

Oxyrhynchus

seem downright demented

this

whose

may

atomistic

and magic, who have the stars and to one star in

stripped of mystery

forgotten our relation to

and generated the

stage

create.

generation.

The

on

kind of transcendent musical experience he alone can

the Cotton Club must have ap-

performances this

we

Ellington's

Reality Hackers: Obviously, music itself

is very important to you. But there are other considerations in your mythology, elements having to do with outer space, with Africa, Black Culture and jazz traditions, and the spiritual elements of music. What is the spiritual context within which you create your music? Sun Ra: I'd prefer to use the word spirit, rather than

And

spiritual.

I'm dealing with

eternal

spirit,

spirit.

Things that never had a beginning or an end and never will.

It

siblities.

just

It's

is.

been here

all

Total pos-

along.

The people on

I'm dealing with that.

this

planet have evolved to the point of realizing the im-

particular.

Jazz purists tend to dislike extra-musical elements

They want to push it towards a kind of precious chamber music. Yet Sun Ra's work can be simultaneously popular and avant-garde, entertaining and daring. More than this, it can be apotropaic, even in jazz.

Total possibilities. I'm dealing with that. God is too small a term

healing.

Working with a remarkable aggregate of musicians John Gilmore and Marshall Allen (both of whom have been with him for that includes brilliant saxophonists

over three decades), Sun Ra makes music that leaves

you

feeling emotionally

and

spiritually

cleansed after a

Still,

Louis Armstrong and

small a term.

is

it

the essential spark of the

power

is

keeping

is

certainly

Plato

knew

changes affections, intentions, gestures, notions, ac-

and dispositions

tions,

delight in music."

.

.

.

Over the

The elements themselves

many

years,

you're eternal, that

If

a beginning, never

I'm dealing with that type of being.

writers

have

Even in the Sixties, when you were as central to the changes that were taking place as Coltrane, Ornette Coleman and Cecil Taylor, you tended to get short shrift from the critics.

Well,

I'm a different kind of being, you see?

man

says they're an angel or

someone who

from other dimensions.

It's

holistic,

producing

its

effect not

through

to really give

isolated solos or parts, but through the total experi-

place, they could

ence of a Sun Ra performance. Skeptics search his

lieve,

music for referentials and are deaf

My

interview with Sun Ra took place in his dressKaiser Convention Center in Oakland

ing

room

just

before an Arkestra benefit performance for Kon-

at the

cepts Cultural Gallery in Oakland, California.

spoke

in a soft,

calm voice throughout,

full

He

of Missis-

and his own innocence tempered by and neglect. Throughout our conversa-

I

be not

is

It

If

not ready for me.

I

different.

And

The Russians got germs and

But America's got the world's music

himself in the dressing

room

mirror.

right.

Animals

to

is

they're right, too.

They're

at

me

Russians say the nation that has the world's music

going to rule the world.

years of hurt

he looked

It

They need new music. The

sippi musicality

tion,

have something

had before.

wouldn't hurt them to spend a billion dollars for

something

first

they didn't be-

doesn't concern me.

to offer the planet that they never

try

who

says they're

hard for them. In the

believing.

wouldn't blame them.

The world

to the reverential.

hard

It's

proper respect to anyone

use against Sun Ra. These attacks are pointless, since is

too

terribly ignored.

for a

work

is

In the early days of playing this music, you were

latched onto isolated statements or musical phrases to

his

had an end.

God

alive.

one of the forof it and Agrippa explained, "Musical harmony is a most powerful conceiver. It allures the celestial influences and This mysterious

gotten functions of music.

eternal being.

means you never had

performance. That's the kind of joy you get from

music that Sun Ra, among others,

any

possibility of

fight for their territory.

all that.

— namely

I

jazz.

don't have a

WINTER

terri-

47

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tory here, so here.

I

don't

to fight for

don't belong

I

it.

know what happened but something am here. just want to be a musi-

happened why

my

cian, play

need

don't

I

I

Have you read in the occult sciences and mystical literature or is your knowledge learned internally?

I

music, and do beautiful things, see nice

It's

from personal experiences with a being

who

has

taught me.

trees.

kingdom here. People think certain start coming to be. Sickness and death and all that. It's not proper. What they're talking about could become a reality. So if they believe they die and go to hell, undoubtedly they do. But it ain't real. It's all fixed up according to their imaginaIt's

a magic

thoughts and they

Not a

human being?

Yeah,

it's

non-human. And he taught

me

kinds of

all

things about Jewish mysticism, Egyptian, everything. It's

a matter of putting

it

together and using

it

properly.

Have you always been known as Sun Ra? In a sense, yes.

tion.

When did you become known as Sun Ra publicly? When did you feel that other dimensions of reality

From

the time that

things like

was

I

was

I

three years old.

— images and scenes and part of this planet.

dream, that

it

wasn't

real.

I

And

I

feelings.

remember I

never

suffering ...

I

a

You've got

day

was standing on the

I

man

When was

sheep.

I

in Egypt,

and here come

corner,

with about three hundred sheep, and every

you bring

if

I

said that I'd

name "Herman"

this

spelled "Armand."

it's

down

it

change

to

'

my

was

And

name

grandfather's

you've got

"Zun

right there, the ther's

name,

played

is

that's

them

things.

Ever since

a subteenager, I've

force that

was

trying to humiliate

my spirit. Where does this

me, trying to break

comes out of the

they say

is

people and

trouble book.

Ra."

used as a scenario to hurt

It's

very powerful.

world, but the people the

who

have

wrong way because they

It it

.

sick.

It's

was given

violin.

too.

So, really,

if it's

.

.

a

they're using

don't understand.

made

I

was named

after

REALITY

grandfa-

Black Herman.

He was one of the He was living durwas

Black,

you don't know anything about him. That's what my mother named me, after him. Probably I've got some of his attributes. You name a child after a certain be-

some kind of vibrational thing right there. I was named after Black Herman so I'm always dealing ing,

it's

tree. It's

got leaves

just

HACKED

Words' what's doing

You've got to have numerology. You've got phonetics.

You've got to have

all

this.

to

have

these things and

then the world will straighten out. They worship the

Son of God but they don't understand.

In French,

it wrong. They think it's "the son." They say the word was made flesh. It's really about sound and it wasn't made flesh, it was made fresh All these things

got

.

the creator told

words

that

me

in

Alabama. I'm dealing with

can prove themselves

themselves to be correct.

You were born

like a tree.

50

out of

it

Noth-

happens unless it come out of that book. You have to judge the tree by the fruit. The book is just It's

my

I

Son's equal to "sound," so, "sound of God." They've

to the

ing

like a tree.

See,

That's the "Sun Ra"

go back to him. He His name was "Wesley Alexander."

mine

it's

I'm a wordologist.

It

people and make them It's

back-

it

That's

Why did they name you "Herman?"

come from?

Bible.

God's word. kill

just

with black.

force

comes out of the Book, the Source Book. That's the Bible. That's what men say is God's word. It comes from God's word, what It

turn it.

"Alexander", "Zand-Ra."

this "Ra" right there.

greatest magicians that ever lived.

tell

you

what "Herman" means. If you turn it back, you got "namreh." Reh is an old name of "Ra." So, it's the same thing, it's just that I use it. My great-

creator.

music, I'm trying to

name.

a

way

had to fight against a force that is doing its very best to keep people from hearing me, from knowing me. I had this solid battle with this I

If

Arman" and

ing the time of Houdini but because he In

my

right there, but in the

ward, you've got "name Ra."

the people, for the people, of the creator, for the crea-

by the

day and called

one

he turned, they went. These sheep weren't asking where he was going, just following the shepherd. Man ain't got no freedom. He's just like a sheep or something. I know this is a government of the people, for the people and by the people, but I'd be more delighted if they said the government of the leaders, for the leaders, and by the leaders of the people, by tor,

nowhere,

French language,

just

me one

name "Herman?"

Wasn't your given

say,

just like

the creator spoke to

Just out of

couldn't connect.

People

when that.

felt

was

that all this

felt

It's

me

were impinging on your own?

in

Alabama?

—

that

can prove

where

That's

I

arrived

— Birmingham, Alabama.

ambassador of death, and the only way they can

I

grew up in the Tabernacle Baptist Church. But I truly I really believe my fawas an Alien. And my father last time remember him, ther was not a man. The was in his arms, and I don't think of him as being a man. He was another kind of spirit, a dark one. I was

—

I

a

baby

I

is

they got to get permission from death to

from the ruler of

mother? I was really

felt like

this planet.

who know

by the creator of the universe

raised

guided

me

what

know, even the music and all about Jewish hismythology. I was taught that by the

I

never

I

by your mother and your grand-

raised

step by step.

That's the reason

I

live It's

They cannot make it without permission this planet, which is death.

quite simple.

in his arms.

You were

live.

a

dream

I

was

that

felt

I

...

I

part of

all this

was

connect.

just couldn't

tory, Egyptian,

creator.

Do you feel that you have What are you doing in your music? Well,

thing rest

played for Black people because they needed

I

Only

help.

and they

didn't listen.

Then

it

spilled out to the

of the world who's really never accepted

eywise.

They look

want

to

me

at

me mon-

as a Black person, a negro,

something and they haven't connected

a nigger or I

But then, they asleep or some-

for them.

do

yet.

things that are relevant to this planet in

I'm supposed to see

the music.

if

the music can help

sciousness? I'm even ready to love, using

What should you be

ple so

here.

I

don't want

If

they're with

let

the rest of the nation have this planet.

it.

I

came from somewhere

from someplace so splendid for

it.

And

I

In ancient days,

came no words

else.

that there are

I

knew relate to your ideas about Saturn? the Roman Empire had their treasure

always

How does that house

me, they can prepare

it.

temple which was the temple of Saturn.

in a

Rome in early days was called Saturnian. Saturday is named after the seventh day. The Jews worship on the seventh day, so they

were worshipping on the day

of Saturn. The six-pointed star represents the sixth planet from the sun.

And

the six-pointed star repre-

In alchemy, black

is

the color associated with

Saturn. Black

is

with the

same way purple and My flag is purple and black. My flag is the flag of death, and

my

flag.

represent His Majesty Death to this planet.

I

I'm the

of peo-

and happy. for the father of all the swing bands,

learned, basically, from Fletch Henderson, 'cause

of the people in the

wanted me

to play like other

me

to play like this;

'till

he

left

this

Chicago.

all

enemies. They

piano players. But

what I'm doing, so I'm playing with Fletcher

my

band were

said, "No, Fletcher likes

way."

He

I

liked

he

I

likes

played

what

was

I

doing.

There has been a steady growth in the number of people who appreciate your work. Well, the music goes two ways. It enlightens the minds of can

my

and it darkens the minds of my two-way thing, then. All my friends and hear something wonderful, and

friends

a

It's

really feel

they can be

just

"That music

isn't

it's

my

And

all

my

enemies

say,

anything."

their loss.

can

I'm

making them

friends, I've turned

everything. I

so happy.

their loss.

For

and

black represents death. got

I

Yes,

black. Black

spirits

play for them they're completely de-

I

Fletcher Henderson, in the late Forties at the Club de Lisa in Chicago, if I'm not mistaken.

Tower of

blue represents Saturn, the

I've

lighted

the color associated with Saturn, associated is

when

You worked

It's

Babel, which

Attaching myself to the

creating.

enemies.

sents Saturn.

band.

—

busy

to leave and

in this

But I'm not a man, I'm an infinite being. My band gets better and better. Every time they take someone out, it gets better 'cause I'm always changing. Now if I was like Jimmy Lunceford his arranger left and he was through, but not me. I'm always

5 billion people.

with Black music, Black Africa and Black art? My plans are to take some black people to outer space with me, if they're my friends. I have no plans for them here on this planet. I don't belong to it. I didn't

men

using?

Angels!

How does outer space and its blackness tie up

come from

a group of musicians your kind of vision or con-

that you're training in

I

don't have a pot to piss

talk to the world.

some marvelous 'cause music

lose things

down money,

is

I

can

things that

in.

talk to the

.

.

.

fame, and

But basically

world about

you wouldn't believe

a language.

WINTER

51

general enquiry that

called

is

harmonic

We

chant or harmonic music.

associate

the beginnings of this music with Tibet

and Mongolia. While singing

a regular

fundamental tone, a singer can produce a co-present harmonic or overtonal or even several at the

comes

tradition

chiefly

—

Asian centers

same

partial,

This

time.

from three Central

Tibet, T'uva,

and

Mongolia. In these places people very specific choices about

how

made

to

work

with harmonics. Over years of inspired

work with

Oriental techniques,

we made

more complete formulation of the whole field. In 2972-73, as a film maker, I was discoveries that have led us to a

An

T TTrlj-iCtg

interview with David nyi\CO

listening to sacred

exclusively.

By Faustin Bray

quality in

for that

David Hykes and the Harmonic Choir are internationally renowned for their music and mastery field Hykes has

wanted what in

a

and named

unified, developed,

record

music that enriched the film, Meetings With

I

was making.

I

it

electronically, at it

using a device

first,

make

permits you to

a sound,

and change its pitch, all at the same time. one person's voice, I created a choir

in

New

When showed I

York, accompanied by

the film

this electronic "choir,"

someone likened it to Tibetan sacred chant notes. was a moment of shock, hearing recordings of the

odyssey.

and Brian Wallace of Sound David Hykes

sought

it,

tracks

using multi-track equipment.

Remarkable Men, based on Gurdjieffs spiritual

Photosynthesis invited

sound

thought of as a prismatically refracted

I

Starting with

't

Faustin Bray

I

music almost

perhaps unconsciously, look

to,

called a harmonizer,

Harmonic Chant: contemplative music based on a universal musical sound, the harmonic series. For those who think they don know David Hykes, it was his

sound.

began

I

It

Tibetans and the Mongolians producing those sounds.

to discuss the

I

completely changed

what music was

Western musical interpretation of harmonic singing.

my own activities, my sense of my sense of how a person

and

for,

could serve.

REALITY HACKERS: is

Interest in

harmonic singing

building dramatically. Has the time arrived for

music? DAVID HYKES: We've been working since 1975. I'm surprised that it's already 1988, and this is our first tour

this exotic

Have you had different people involved with you, or has the group stayed together since its

me when that

touch with

in I

all

the people

is

an intensity

to persist;

with

it's

in the

fair

amount of

music

technically quite

Well, of course there are

terms

52

listening

many

people

Perhaps the

developed are useful to describe the

REALITY HACKERS

wider sense,

work rather closely with the traditional places where the music was practiced. For example, we've done several projects with two Tibetan monasteries that practice a sub-harmonic chant. I also went to Mongolia

to

have

its

direct contact with that tradition.

series we're

origins;

—

a musical universe, it

is

now

working with

from the beginning if

it

remains

has been an

you

will.

the genetic material in

It's

in

all

musical sounds.

For me, the extraordinary high of the Tibetan and

demanding.

histories.

in a

actually for.

everybody's voice;

time.

that requires

is

in

What places or settings do you enjoy singing in, or does location make a difference?

inclusive art

Give us some history: where are the roots for this type of sacred music? I've

what

true to

founded the group. The music requires

people work together a

There

who were

an evolutionary kind of current

our musical practice and perhaps,

The harmonic

inception? still

is

We

in California. For most of the group's lifetime, we've been based in New York, perhaps because this kind of music is more needed there.

I'm

The chant

field

of

Mongolian

traditions

was

a reminder that this

acoustical principlr could be

being distorted. to follow a

On

worked

the other hand,

with, without it's

very important

growth process with the same kind of

this theory?

dedication that the traditional singers have.

hope

I

as

it

have

to

for them.

is

mention

I

group gains popularity, dissemination of quality.

we

If

much

music be as

this

I

wonder how

the wider

influence

this material will

systems, instead of playing in churches

need much

less

original intent.

Of our the

its

audio support,

we

received quasi-harmonic teachings. The hunger for

technique

basic

where we

paramount

is

work of

mhb tm^^mm

open

tone...

Abbey was a Cistercian monastery where monks kept a vow of silence.

series.

the same as the The space has a

living quality, as

though the stone

listens to

is

any sound

that

commissioned by to bring sacred art

"B^"

from

three traditions, that

Christianity, tent.

Judaism and

As a focus

— some unifying

And

indeed,

words

common

vibration.

I

to

to all

war

how

a question of

found "Hallelujah".

naive way,

have had

a puzzle.

we want

in a

it

to study for

It's

difficult

values —

because,

a

in a

I

is one of the whole person, the whole

think the voice

think there

is

monastery

we

is

the silent half of creation that

It's

This outward stream, that

with.

lack of schematic or formulative

it's

helpful to maintain esoteric

This kind of

values while leading people to an authentic tradition.

area.

Too

subtle,

often people are not really searching; they're just

trying out another technique.

harmonics, so to

me

it's

It's

a thrill to sing the

quite understandable that

people would tend to stop there, to technique.

the technique

is

mastered and one realizes

although one sings harmonics, there

profound

effect.

use the practice

own

effort

Do you

settle for

But the really interesting part comes after

is

give

Then, itself

like

isn't

any good

art

as a lens through

that

necessarily a

or

craft,

you

which your

workshops where participants

actually sing?

And

is

there a practical side to

be

.

.

.

work

what Gurdjieff

getting to

all

have

it

how

to listen,

is

is

we

is

are not in touch

quite resonant in a

a thrilling thing.

There

knowledge

in this

extraordinarily relative

called the wish

can help the wish spread

.

.

.

in the

is

a

and

the wish to

body.

With the ingestion of psilocybin mushrooms or ayahuasca, celestial sounds from one's internal workings are frequently reported. Perhaps we're included in the cosmic symphony when sensitized to that degree. Have you ever experienced anything resembling these sounds internally?

You mean

being expressed.

in

And

very conditioned to normal speech.

group of people singing,

it,

We

are very conditioned about

and our voice

before they could even apply to the Gyuto to practice. see

By the way,

—

blocks around listening and relating to the voice,

The way

I

same

a listening that has the

the base of the pyramid.

is

because our

in

weekend. The Tibetans

twenty years

think the complete

this natural first step is rather difficult.

stand for discrimination of different qualities in a It's

I

this experience.

the neighborhood, in the school, in the church. that

real stand for

I

open heart through which is free for

There should be more choirs everywhere

depth.

to share this discovery

openly while also making a given area.

the singing

person must have

body, and

bring back that

Let's

feeling of the

^^^^~~

vibrations that speaks for the

kept reverberating.

it

whatever.

That's quite right.

for this

none of them would go

over

It's

singing ... in the shower or

everyone. project tried

Any

here in a different way.

a visual arts

tried to find sacred

I

at the

made.

is

Islam together under one

broad goal,

various other senses, that we're

same time

The Tent of Meeting. The

project called

makes us aware, through the partial...

even several

Harmonic Meetings was

That's

can one go

Any kind of singing really does open up the breathing and

harmonic

or overtonal

Perhaps the acoustical proportion of

How

unconscientious^?

can produce

a CO-preSent

harmonic

towards consciousness

regular fundamental

In the 12th century the

to a higher energy.

impossible.

Provence region of Southern

harmonic

other workshops propose

singing, students will automatically

singing a

Harmonic Meetings, were both made in L'Abbaye du Thoronet,

the architecture

Some

listening.

that with the technique of

three released recordings,

Many

life.

are reluctant to invest the time necessary for the real

could completely

the third,

France.

minds; they have

in people's

very fixed ideas about what they want in

Hearing Solar Winds, and

first,

in the

I

play large "holes" requiring giant sound

change the

A problem with the number of workshops around now is that many people have Yes, of course.

because as the

that

all

help to us

as

if

overhearing something?

Yes. all

Let

me answer

this

by way of a book

I

read recently.

winter

53

Bohm

David

My

writes of music as a manifestation of the

theory

He says that when you listen to music, the present moment of listening blends with your recent impressions. It's a sort of timestream. And in

conditioned listening,

another part of his book he talks about his vision of

therefore

implicit order.

which

creation as the Big Bang,

I

proposed renaming

was an ocean of energies of

wave

all

lengths,

possible frequencies, including frequencies

than current sciences can see or predict.

finer

can

minus

thirty-three centimeters,

and

we

can observe distances of ten to the minus seventeen

Bohm's view these are just The universe is not empty. It's looks empty because we can't perceive

centimeters, but in David

grosser frequencies. quite

full.

It

what's there.

In this pre-creation state, the

was

in a state of chaotic vibration,

energies

ocean of

and

for

series.

with that school? The Steiner people's achievement

—

All these

levels of

sufficient creative

and materialization of objects happened with the vibration of "the word",

Yes: the language

That

which

is

universe In fact, So,

it's

good

a is it

random

is

made the

accident, as

on

we

tend to think.

a cellular level,

there

would be these ranges of vibrations that we begin to hear when we are quiet enough or when our state of mind has been transformed. I mean, we are that. Of course, that's not the state that that's

why we need

to

we

always

live in;

work.

You spend a lot of time harmonizing within yourself in sound.

How harmonious are you in

your everyday

life?

Oh, I'm a mess,

just like

everybody

else.

I

have two

young kids., yelling and screaming day-in and day-out. Of course, my wife Michelle has been a member of the music group for years, so

my that

regular

life.

embodies

not a solution.

I

it's

not separated from

have very intensive musical work

a real contemplative dimension. It's

questioning one

But

an energy which can deepen the

may

RFAIITY HACKFRS

to unify the field, bringing

already have, or wish to have.

one

is

where the singer maintains a steady I

use a

lot in

compositions with the group; where each singer could

and share the same harmonic, or same note and sing different harmonics, with

it's

all

possibilities in

Level

two

is

between.

where the singer moves melodically at the same time in

and the harmonic moves along parallel.

was

by the Mongolian Hoomi, The Mongolian and Tibetan music, largely influenced by China, makes almost exclusively pentatonic choices. The singer maintains the fundamental note and sings melodies from that fundamental note's harmonic series. What interests us is a balanced co-presence between the note, what we would ordinarily call the note, and the other harmonic sound. There is no audible gap in the scale of listening. There is a flow between the fundamental frequency and the harmonics. Level four has the harmonic staying the same, and the notes changing, as opposed to level three where the notes stay the same and the harmonics change. Level five allows the harmonic to move in one Level three

inspired

or "throat", singing.

direction,

S4

formulated the idea of six

note and a steady harmonic. This

sing the

the expression of a harmonious process.

quite reasonable that

and

sing a different note

energy,

Therefore the

definition of music.

not a

in agriculture

approaches.

there be a music of

movement of

a harmonic

is,

We

harmonic chant

Level

may

the spheres, but that, in a certain way, music spheres.

is

our adaptations and transformations of those

essentially? that not only

is

together an awareness of traditional approaches and

shape the universe.

means

which

Hans Jenny, who was a pupil of Steiner, meant a tremendous amount to me. He lived in the Steiner Community at Dornach near Basel in Switzerland. He was an M.D., a painter, and a physicist, working in visualizing sound vibrations in physical media, liquid, particles, and all sorts of things. went to Switzerland and got permission to continue his work using the sounds of the harmonic chant. This work has been a big part of a multi-media opera that I've been working on for several years, called "In Light of Sound". The piece includes live translation of the harmonic sound into visual energy.

It

listening

Have you had any connection

produced a cresting wave of

Right.

new

free.

energies began to harmonize the frequencies and

intensity to

an energy of

calls for

something

I

some reason it began to come into a kind of order what I would call harmonic order. Bohm says that when frequencies align or summate in that way, it's along the lines of the harmonic

It's

language of vibrations and

products derived from organic sources. The work of

predict the finest degree of matter being something like ten to the

in the

Steiner's ideas.

all

much

We

have no habits about

harmonic chant.

being said to us it

we

What you're saying is reminiscent of Rudolf

In his view, before the creation there

the Big Ring.

listening to the

everyday

that in contrast to

is

and the note

in another.

Level six is best represented by "Hallelujah" on Harmonic Meetings, which was based on the sub-harmonic chant of the Gyuto Monks who sing fundamental tones and then refract them an octave

downward. So cycles,

the actual tone

is

done

producing harmonics from

fundamental.

"Kyrie," the solo

that

at

about sixty

sub-harmonic

on Hearing Solar

Winds, part one, provides a good demonstration of levels,

except level

all

six.

The recordings can be found through the Harmonic Arts Society. They are located at the Cathedral of St. John The Divine, 1047 Amsterdam Avenue, N.Y.C., New York, 10025.

PHILIP GLASS

K

JANICE GITECK

Tuesday, September 13,

8pm

Thursday, November 10,

For information about Harmonic Arts

Modern opera pioneer

Former Bav Area composer

discusses 1000 Airplanes

spired by studies of spirituality

on

and healing introduces her

New York

activities,

write to the

address or to Harmonic Arts in Paris

Rue Roger Verlomme,

c/o BOA. 7

:

Paris 75003, France, or call: (212)

the Roof.

8pm in

most recent works

222-2138.

SARAH HOPKINS

was recorded by SOUND PHOTOSYNTHESIS, P.O. Box 2111, Mill Valley, 94942. Write

Thursday, September 2

This interview

free catalogue of books, magazines, audio

for a

ance

and video

artist

dency

cassettes.

,

LAWRENCE

8pm

Australian composer/perform

at

explores her

I)

BUTCH

MORRIS

resi

Thursday, December 15,

the Exploratorium

8pm

Composer/arranger/cometist describes the music scene in

New

LEO ORNSTEIN

York and his

latest piece.

Current Trends in Racism in

MARTHA ANNE

\

ERBIT

Thursday, October 20, Avant-garde composer

span the century

Martha Anne

s

Modern America

8pm

works

With pianist

Verbit

W; ^7-PM :

We Have the Best

Macintosh •"

"

-'.

vV''*

-

:.'

Glass appears in the Palace of Fine Arts

Special

Theatre. All other events are in the

McBean

Software.

W

"''"'

'

$

'

"


v o

rings.

with access

more secure,

rings.

v 2

transmission pathways could be the protection bits on a file (such as a mailbox) which both viruses can access, acting as a data channel. Vg can transmit data it now has access to (such

as password

files

or confidential data) for use by

system heap, wherein viruses

Mac

may

V2

-

lurk (see figure 6).

whipped up from the system BIOS (IBM Reference Manuals) and the Macintosh viruses can be

concession to the 'open'

toolkit, released as a limited

architecture philosophy. ture, also

Systems

ters.

The

'closed'

system architec-

present in both machines, complicates matcalls are 'black

boxes' and great sections

of public domain or 'shareware' authors to eliminate the competition.

Hunter/killer viruses are being used

to seek Microsoft product

erase them.

and Lotus data

files

Microsoft and Lotus are targets

and

due

to

unpopular pursuit of near-monopoly power,

their

which

greatly hinders innovation within the

computer

industry.

of both machines are undocumented, allowing technically

savvy programmers to create undetectable virus-

es that exploit this obfuscation for their tion.

80286 and 80386 architecture

own

will also allow

viruses to remain undetected through the virtual-

machine

capabilities of the chips.

If

software were to

run in the 'protected' mode, viruses would be

more

DOS

difficult to

implement on the IBM-PC

cannot be run

in the 'protected'

SEARCH AND DESTROY Hunter/killer viruses are used as a guerrilla

protec-

much

line,

but

mode. Operat-

on

weap-

to express the displeasure of their creators with a

'closed shop'.

A

disgruntled employee of Electronic

Data Systems (EDS) wrote a virus intended to wipe out the in-house software. This 'scores' virus, intend-

ed

to

EDS

damage EDS,

in fact

did

little

reports are to be believed.

or

Many

no damage, other

if

have

sites

to create viruses, but closed

been hurt, however— Apple, IBM, defense contractorseven Stephen Wolfram's Mathetnatica was used as a

ty

vector, causing

open enough to allow virus designers enough to cause a 'securithrough obfuscation' for the viral code and prevent

ing systems are

Viruses can in industrial

battle

commit

acts of vandalism, or

engage

espionage or military incursions. The

between corporations

to the use of viruses as

damage

at

the product's beta-test

Security consultants representing

easy detection of infection.

for

market share has led

an espionage

puter software manufacturers

may

tool.

Large com-

target the software

tractually obligated to talk a

any damage has values are

occurred:

at stake.

sites.

companies are con-

hard line— to deny that corporate image and stock

Manipulation of stocks for profit

through the release of viruses and the information they are doing

damage

is

entirely possible

and would

WINTER

73

Figure 8

I

Active viru3tnodule-DEC

1

IBMmodule

1

PRIMEmodule

This code

executing on the host computer.

is

These sections

code are stored as data, encapsulated from the module which

of

is

executing.

HPmodule

1

When

the virus infects another computer,

ing the proper

module

first

and

it

undergoes a topological transformation, spoolmodules as data.

insulating the remaining

For instance, the polymorphous configuration shown above (executing on a DEC system) HP module into the active position and then port the rest of the modules using the active module as a gateway.

would spool the

This 1

Active viru3

module-HP

ability

allows sophisticated viruses to cross barriers

assumed

able to stop them,

whether between micro's, minis or mainframes.

1 DECmodule 1

IBMmodule

PRIMEmodule

be extremely

difficult for

SEC

to pursue.

corporations or governments enters a

new dimension

with the use of viruses. Clearly, the next profitable

computer crime

Blackmail of

fare arena.

mands

the

The Pentagon's decontamination drill comdestruction of disks presumed infected, and

No

wave of

the

literal

use of

sile

computers (or SDI systems) are safe when a virus

will involve the

vi-

bulldozing of hard drives.

nation's mis-

ruses or tapeworms.

could turn the swords into plowshares.

MILITARY AND COUNTER-MILITARY

to destroy records selectively or wholesale.

Chaos would follow Although military viruses might seem to be realm of science

mented. strip

ruses

Israeli

fiction,

in the

computer systems governing the Gaza

which destroyed

birth records, population con-

operations plans—the information necessary

of civilian computers with viruses

designed to be activated on a future occasion has obvious usefulness to military organizations.

The

Swift

Telex International Funds Transfer computers, Missile Control computers (both U.S. and Soviet), cryptogra-

phy computers, telecommunications computers tronic Switching Systems)

gets of opportunity.

all

74

first

In the event of a

first

tar-

strike or

enemy must be

logical step in the electronic

REALITY HACKERS

(Elec-

provide vulnerable

invasion, a virus to 'soften up' the

viewed as the

The

likeli-

almost a certainty.

Viruses are not necessarily designed only for age.

A tapeworm

tration, taking

war-

is

dam-

the next level of computer pene-

advantage of computer virus theory and

programming techniques generated by artificial intelliA tapeworm is a program structure with a head, a body, and a tail. The head contains penetration programming and a pattern matcher, the body is an expandable encapsulated area designated to contain the data used by the head and the data acquired using the pattern matcher, and the tail is the success qualifier which directs a change in action for the tapeworm. A tapeworm is highly useful for a 'covert channel' attack. It can be introduced into a target computer and linked lamprey-style to a commonly used program (mail or spool demon) through an acgence research.

region. infiltration

is

HERE THERE BE TAPEWORMS

vi-

to maintain the suppression of the inhabitants of the

The

of such a penetration

computers

they have already been imple-

occupation have been successfully attacked by

trol data,

hood

targetting the IRS

Figure 9 A

3 by 3 matrix of processors have a difficult problem acting in parallel - global communication (between non-adjacent processors) ties up processors which should be working on their sections of programming. This problem gets much worse as the matrix increases.

Viruses could inhabit each processor, growing and dying off as needed on a local level, in neural network fashion. Locality is defined by connectivity.

Autonomous processors

a

with locality for

neural network defined by connectivity (symbolic through processor addresses used by communication processors). Viruses replicate to form nodes (inhabit processors) as necessary. Topological connectivity is not needed.

Communication processors - inhabited by tapeworms sent to the local processor.

LZZI Optical

pathway - messages (tapeworms) are transmited

in

both directions.

compressed

(could be arrayed as a

spiral to

optimize to the advantages of lightspeed

communication pathways)

count without privileges. The tapeworm

most

ally cross a security level,

cution by a super-user. point, transmit data

likely

The tapeworm

back

its

exe-

can, at this

that recognizes the itself to

conform

transforming

its

computer

infecting;

it

adjusts

to the specs of the system

it

rides,

it

is

once unexecutable data

into the active

module on the new

to

^^^

the public-access tape-

worm, which will store it. The semaphore between them would be a file (such

^^^^

computers made by

is

host.

Such a virus can spread

A tapeworm

as a mail record), with the

to

differ-

ent manufacturers or with different processors (see

highly useful for a 'covert

figure 8).

^

channel' attack

protection bits used as a single-byte data channel

eventu-

will

through

by

GROWING YOUR OWN

^^™~~

the transmitting virus.

VIRUSES

Thus, computer security

For non-technical van-

who want

mechanisms (such as those in the Multics model) can actually be used to further the ends of the virus (see

dals

figure 7).

nothing to a computer hacker). The creator of a virus

written

by

a

to

cause chaos, a

viral toolkit

has been

group of West Germans (distance means

manufacturers' systems are accessible to attack by pol-

has only a few major choices to make-how and where will it merge with files and the operating system, which trigger will cause activation, and what kind of havoc will be wrought— will it ignite monitors, spon-

ymorphous

taneously abort laserprinting, or mutate graphics? De-

THE POLYMORPHS Computer networks viruses.

that are collections of various

Viruses of this type take advan-

tage of a transparent fact of data storage:

stored alike, whether

it's

programming,

all

text,

or anything else storeable.

A polymorphous

a perverse adaptability.

active

Its

data

is

tection

must be considered: the more elaborate a

graphics,

rus mission, the larger

virus has

be

module runs code

1

it

must be, and the easier

it

vi-

will

to detect.

A

small virus

is

a less detectable virus~a needle in

WINTER

75

GIVE ME A COOKIE...

OR

and not betray The PLATO

ELSE!

work contained a novel and

'friendly' virus, called

Whenever a user engaged

Cookie.

programs targeted by

this virus), at

me

the message, "Give

net-

in

intervals

a cookie!" would appear. Im-

mediately typing "cookie" would banish the virus for a

appease

while, but failing to

appetite would

its

lock-out from the work, or deletion of

Cookie

later

put "Give

random

migrated to printer drivers where

me

a cookie!"

the system. This minor

plemented on

DEC

into the

cause

text. it

presence by an unlimited growth

made by

All function calls

pattern.

a virus

can use a

depth of indirect reference, making a scan for com-

text-entry (the

random

their

mon

and code should never change, preventing checksums and file length checks calls useless.

from finding

formatted output from

It is

size

entirely possible to write a virus

use bootstrap hooks to load

that will

won by

viral

and

anti-viral

common

cat

and mouse

programs

viruses, since they are

avoid the

from

itself in

The game of

'unformatted' disk areas.

between

would

it.

Its

will usually be custom written and can

traps.

annoyance has also been im-

systems.

ARE YOU HAVING AN OUT-OF-ANTIBODY EXPERIENCE? which simply execute a one-toone comparison on a system are simply useless. They need a 'clean' system as a control, which cannot be assumed to be available. A system 'snapshot' used to compare for changes is worthless-it is negated by any change in the system, is as large as the system itself (megabytes in most cases), and must become memory-resident and thereby itself vulnerable to tampering. In fact, all commercial anti-viral programs are useless, in time. As viruses are customized and can be written to evade searches by antibodies, so anti-viral programming must be custom written. Concerned users should create their own code; such decentralized and varied techniques can outmaneuver viruses designed to slip through the usual cracks, to evade 'standard' search patterns. Consider the hybrid cloned wheat Anti-viral agents

a

hay stack of uninterpretable code. Larger viruses are

harder to hide in code, their 'salami' techniques are easier to spot, patterns of

code are more

likely to

be

matchable, checksums are harder to fool or pad out.

The maxim

goes:

small viruses are stoppable, larger

viruses are detectable.

to

Of

course, size

relative—

is

undetectable viruses on microcomputers need

'small'

be shorter than a few hundred bytes, while on

mini's

and mainframes the viruses can be thousands of

bytes long, a needle in a

worms,

puters, but gain

available

on

much

have

for instance,

Tape-

larger haystack.

little utility

for

microcom-

immense power with the resources

larger systems.

LITTLE TRIGGERS Time-triggered viruses such as the "Friday the 13th" virus are easily detected

by scanning

crop.

for clock

chip access or for the pattern matcher's comparison

no and graphics can be identified with a variety of utilities; classical messenger viruses are mercilessly spotlighted. De-worming cycle checks

Homogeneity makes

for a standardized product,

but a single (biological) virus could blast the entire crop.

Genetic diversity, more than

just a

good

idea...

In fact, a properly designed virus will carry

string.

text string, since text

PURGING YOUR SYSTEM

can get you; they

The key to stopping viruses is two-fold. A virus can't do any harm unless it has control of the processor. Also, it can't damage a disk if it's blocked, either by a write protect (hard partitioning for hard drives) or by the absence of important system subroutines such

just

advance the time

ware speeds and wait

for the viruses to

ply bypassing the activation date (April will

make

A

pop 1st,

out.

Sim-

for sure)

as formatting or deleting

these viral triggers worthless.

Viral triggers

subtle.

setting at soft-

can be smarter.

virus can always wait:

of accesses to a

file

A

virus

can be

for a certain

number

or disk; for specific characters or

commands from the interface devices; for a target software house product or data file to be loaded; for a single

random byte on a disk to change value; amount of disk space to be used.

for a

The

utilities.

you can take to stop viruses is to remove file management calls from the operating system and isolate them on a disk for use only on an external drive.

first

step

Write-protect this disk so a virus can't infect

Always coldboot the computer-turn the power back on before and

after use.

it.

and This prevents memoryoff

certain

resident viruses from accessing the routines.

THE ELEGANT PARASITE

one disk is now your main maintenance disk, thoroughly examine it for viruses. Viruses must either tar-

Subtle viruses can be limiting, to strike

76

programmed

to

be

self-

only certain targets in certain ways

REALITY HACKERS

get this disk specifically, or carry their routines, thus increasing their size

and

own

Since this

disk access

vulnerability to

with computational power, and could be

a search for such routines.

To keep

a virus

from gaining control of your pro-

cessor, use a simple level of encryption.

Read/write

self-

organizing in a neural network fashion (the viruses replicate

and

die in accord with the

need

for proces-

functions of the operating system can be rewritten to

sor control), they should be exploited as simply anoth-

encompass a decrypt/encrypt function using a onetime pad or fast knapsack trapdoor-type cipher. This prompts for the key, or takes the key from a file whose name is changed at each load with the filename prompted for, rendering lam-

er tool of computational theory.

prey-type 'salami' viruses useless. a stored

and encrypted

by a

fied

virus,

load time.

it

will

A virus be

sophisticated virus could at-

ration will tion.

been negative due they can do,

A

subtle.

this

on

I

While a

9).

viruses has

damage

to the

see them as the next

generation of programming, designed

can always LIKE HAVING BEES IN YOUR HEAD...BUT THERE THEY ARE! The desire to create viruses has

wait...

elabo-

^i mm

virus to detec-

been caused

Virus-breeders can be placed

between place:

open the

communica-

pathways (see figure

great deal of the focus

can

directly ap-

for parallel decentralized processing.

virus

tempt to simulate a decryption this

tion

can be smarter.

the program executable

prompt, but, once again,

more

plicable towards optical

making it an unexecutable section of programming which will crash on

A

chitecture, but are

Viral triggers

at

again while encrypting the virus,

entry.

with modern

modi-

file is

be obvious

will work Von Neumann bus ar-

These techniques

goal/destination-oriented.

—^^^

If

The decryption function

would make

Communication between viruses/processors would be achieved by tapeworms, which are inherently packet-switched and

rock and that hard

largely

by an environ-

mental change in the software/

hardware industry. While the software industry has

small undetectable viruses can't counter-

maneuver, and larger wilier viruses become detecta-

moved away from

ble.

opening of hardware and the operating systems has

'copy protection', a corresponding

not followed. The computer industry

THE KINDLY ONES Viruses can be written to

'tail

chase'

known

vi-

ruses and deactivate them, thus removing the necessity for constant

checking with customized

anti-viral

'closed'

systems with

A

final

word: computer viruses do

unwillingness of an unauthorized user to abdicate

search for a bug,

ability to

program which has the

disallow certain functions from the remote

usefulness

active.

It

exist

and stop them,

as they

them

have already infected compil-

in-house software tools, and archived

ers,

and are

will take a great deal of luck to find

The

files.

potential effects of military viruses are staggering.

In-

ternational funds transfers are in jeopardy, missile

and

code-breaking computers won't function

when

they

receive their orders, and projects like SDI will never (millions of lines of let

code are impossible to

alone a virus). The industry and

other potential targets are at the stage of 'damage control':

attempting to minimize the effects

when

the vi-

ruses are triggered.

site itself.

Most importantly, viruses and

little

'open' architecture.

work

I

DOS's and

standardized, well-documented operating systems with

hope they do not take) with telecommunications. A user calling a computer could be sent a virus with a time coded onetime pad cipher which will handle all communications traffic between the computer and the remote site. After the session is completed, the virus erases itself and any storage utilized. The security of such a technique lies in the encrypted communications channel, and the (and copy protection, a direction

ROM

(and hence marketability), or allowing diverse, non-

programs. Viruses are utilizable for computer security

control to a potentially hostile

being

forced to choose between implementing entirely

There are beneficial uses for computer viruses as well.

now

is

viral

Ignoring the problem won't

theory (with

make

it

go away.

In

game

overlaps into cellular automata) have direct applica-

essence, the creators of viruses can declare the

tion to the field of artificial intelligence, especially

over, with themselves as the winners.

be used as the control mechanism and computational engine for massively parallel com-

puter industry will suffer enormous losses, or comput-

since they could

puters such as the Connection Machine.

As viruses

ers

and software

will

open back up,

Either the

com-

a major benefit to

all.

are object-oriented autonomously-operating systems

WINTER

77

(

my

Give

letters

regards to the esteemed R. U. Sirius and

keep the lasagna

continued from page 8)

flying over Berkeley!

Robert Anton Wilson

nu-wave media: Power

to the

Los Angeles

People and Freedom of Con-

We would be very happy to give you any covPR we can to promote the intrusion of more such

sciousness!

erage and uplifting

media

Hackers,

About Durk and Sandy

into the local reality.

Hail Eris!

Warm

crewmembers beamed,

Regards,

Paul White for Maggie's Bellingen,

NSW,

just

saw

a

copy of Reality Hackers.

It

Bay Area sent

zine existed.

up

in

A

it,

friend

or even told

from

me

that

it

to

me

proof we're living in the Global Village,

.

.

.

picked

One more

it

the

expect us to believe

really

walk the

earth,

Durk Pearson

even

if

they do live

(or Sandy, for that

brain with sufficient shovel-loads of

powder (even accompanied by gooDurk and Sandy appear to be

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Wm. In answer to your intelligent questions; 1) we get to being a descendant of Crawdaddy is Peter Stafford, who co-authors our Psychedelic Scenarios column. Peter was editor of Crawdaddy for a couple ofyears in Thanks,

Dear

Sirius or

much

Needless

only recently encountered your magazine.

I

to say,

The

Madamu,

was floored by RH

I

so, that occupational

and quality

#5's content

thought viruses compel

— so me

to

Questions: 1) Are your publications descended from

Crawdaddy!

movement? ety?

4)

How

2)

are

Are you,

3)

Does your

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to the

"New Age"

post-modern Fabian Soci-

in fact, a

philo-policy exclude the establishment of

is

a

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like "Drugs", is

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3)

I

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closest

How about

non-coercive glo-

bal organisms?

you

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11

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know

that we'll soon be esta-

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the esteemed R. A. Wilson.

—R.U.

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79

hacker profiles (continued from page

A

Ira Steingroot:

7)

jazz critic since 1973, Ira claims that jazz

is

Voodoo in its highest form. He has written articles for Downbeat and numerous album liner notes, and is currently contributor to Calendar and The Daily Californian.

Western occult

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He

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Ira is also

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