Poetry Magazines - The best collection of poetry magazines online - Simon Armitage

received sigh came again unknown 15 minute sequence receiving everything inside out searching without searching. no theory of consciousness which identifies being in such and such a state of consciousness with being in some corresponding neurophysiological state and which maintains that the modes of consciousness involved in the occurrence of thoughts, feelings or wishes cannot be considered as constituting a separate class of entities or happenings, no rare mental and physical event merely correlated in any particular way. mentalistic or physicalistic terms in fact describe one and the same state. the identity claimed is empirical or contingent, not logical; statements about mental events are not synonymous with nor analysable into statements about neurophysiological states. ego then reason started making music just plain vague, but variety of comment. listening to a tape make up; delighting in segments; clashing inbetween. seemingly random/ unexpected. to cause euphonic-euphoria. cutting things up in cassettte play, becoming sophisticated domestic soundmachine. toy with any noise. different sized textures speed create escapism again. a sense of humour and the way experimented on the radio. sound cuts; found use of loops reassuring. aversion to using stolen rhythms. convention influenced with a lot of revision cutting sound. sawas cumupitid. motivation mother luck was dry to come act issster antimage because for it to be together with it was all done embarrassingly which has led to like people being described as factor X started in mcmlxxxiii as antimusak, and totally/seemingly pointless. it is an idea, not a band, random pieces of music and compiled what ever. original; sometimes. You need a sense of humour to really appreciate the tapes. the concept of play is very important. now wait for the right to come in. consisted of fifteen letters procrastinating. factor X is like pop music turned backwords and remanipulated turned on its head. simple feedback and radio sounds always returning. the way it is together. using everyday sounds recreated onto a different situation. animal sounds, magnus magnusson. bursts of silence punctuated with words. its amazing how it all comes together. images, symbols. shaped, toned syntax. adjusting and readjusting. we receive information about our environment by way of five senses; taste, touch, smell, sight and sound. there is little doubt that sight and sound play a major part in everyday life. yet how often do we take these for granted? sound is so commonplace that many people miss the wonders of stereophonix. the effect is realism. as we hear the same thing every day, it seems quite natural to the listener. why should the ear be amazed when the sound follows the picture? after all it is quite normal for the sound of a persons voice to follow them across a room. what is sound? like many simple questions, the answer often provides difficulties. sound is a longitudinal air vibration that affects the ear. let us take an object which is vibrating. the motion of the object affects the air immediately surrounding it, causing it to vibrate. this, in turn, affects air further from the source to be set in motion. a sound wave has been produced which travels outwards from the source in a longitudinal wave form. to visualise a sound wave let us imagine that we have thrown a stone into a pool of water. as the stone hits the surface of the water, a series of concentric circles are formed, radiating outwards in all directions. the spaces between the ripples represent the spaces between the sound waves. the stone is replaced by the cone of a loudspeaker which is our vibrating body (fig. 2a). the loudspeaker cone vibrates backwards and forwards as electrical impulses activate the mechanism. each forward movement of the cone produces a wave of pronouncement. too high, too far, too soon; the first time I met 1 was told the big wave was on its way. "this society built around money and consumption it doesn't work." it was said. "and people are learning it. what do you turn to then? its not nature, because there's not enough nature about. its 15 its the thing that links you to the universe." I assumed them bonkers. especially that of the skunk and its obituary concepts forgetting why word. people could not suggest any way of recovering the lost amount, three of them could not take the not. nothing but empty phrases and the like of which he knew nothing at all about vacuum. tally took nothing and but your louder no what coffer-dam yuck, date from that and that which is near or present; just referred to or about to be of posters. add valid ingredients to lavish the sound possibilities, metacentre symphony of mismatching indeterminate noise. in the state, among no-ism. 0=0 £ the last moments square with no preconceptions. metamorphosis in perspective. take and remake, layer, include the unincludable. the everyday with the weird; to make the unexpected. twist in mind, to conceive the unmanageable betwixt polypinch, laughter, voice and smooth tone. Did you know that the house was called "shangri-la" shaun. the best thing was not to reply but just to waiver they asked me how. the intake was wide altered; partially changed; various; diverse. inebrient outside, xaintrilles, screamed. the factor X stylistic alignments at this stage are not fixed, the personal and social attitude which lay behind the art, and which the art often exhibited, is quite definite. factor X is clearly and provocatively antibourgeois. there is nothing novel in this, of course. 

relationship of the body to the space it occupies. amongst others, factor X 1983 - ?) who presents this sequential process as a process continuum. a small open city. carrot head shredded. people have tried to gather, from beforword, signs of what could have formed factor X. everything has contributed to the myth; and thus has helped to obscure for ever any chance of getting close to one of the most disconcertingbut genuine art philosophies, and is exceptionally aware of problem actuality, both poan-storically and in daily elementals, and - which explains nearly all the eccentricities of life - acutely sensitive to the social crisis of the moment. there are individuals and no individuals; individualism acts in the realisation/ factor X soughts after casting back death of flow, self-rule with no-rule. thoughts for future actions. stepping foot watching where it drops. is necessary to become a symbol of absolute significance, living purely in others. to vanish to express its awareness. conscious of fragility. space and the awareness of such. fire of the air; there is great fire energy - emotions and desires. unless controlled by great intelligence, persistence of purpose, and great will, it is not favourable. advance fluctuating abeyance, diversify on still. there accordingly as to result is no past or future as time is unknown, our time is meaningless. all change is important, to flow. the structure of consequentialism. no one can hold that everything, of whatever category, that has value, has it in virtue of its eminences. if that were so, one would just go on for ever, and there would be and obviously hopeless regress. that regress would be hopeless even if one takes the view, which is not a farcical view, that although men set themselves ends and work towards them, it is very often not really the supposed end, but the effort towards it on which they set value - that they choose somewhere to arrive, in order to travel. even on that view, not everything would have consequential value; what would have non-consequential value would in fact be travelling, even though most people think of travelling as having consequential value, and something else - the destination - the non-consequential value. Symbol (simbol) n any object, design, act etc. conventionally accepted as representing some person, abstract idea or quality etc; letter, figure, sign etc used to express a sound, a mathematical quantity or process, a chemical element etc; (psyche) indirect representation of unconscious material. a somebody a nobody. a movie in slow motion. six tenths of aspiration. lore bordering outrage which incriminates. the madden crowd counter scintillating functionary nonessentials and portray the wind catastrophic. stationmaster of mull a quagmire in facetious with locomotion. inter=cept/pose/vene until everywhere is unblinking. a gregarious nod to panegyric statant. I X=unknown) knowing the unknown to be unknowable. live me be my elephant tree. the c60 tape entitled directions was created from questioning and an inter-relation view, this was started by the determinants myrio, sym and ergo. the start of the first side the inside awakening, reaching, wondering. the unborn at 15, bursts out naked knowing instinct. new sounds shapes. grasping dropping grasping. the tape can be seen as a run through many of the factor X determinants. the second side which is dedicated to Maria Cox, known only in short view and hearsay. this work is akin to a journey away from yourself searching, and returning to yourself, this could seem as if no progress had been made. but the realisation of ones self is an integral part of it all, everything is on root. its if it is seen. this can not be escaped. the root is back to its instigator. so many things can be seen as seemingly pointless. its the direction you view a question from which determines the answer. this piece aspires to raise the thought to the radical inception. 

factor X activities are; Mail-Art, recording audio sounds, determinants, producing badges, assembling booklets, performance art. Possible future output/activities; videos, paperback book, films, exhibitions, stageshows, magazines, recipes, clothes....there is no real limit. 

factor X performances; there have been three so far the first was at Totnes in June. titled SHARE. the performance involving a tape soundtrack, movement, voice improvisation to a theme and with reference to text and paint. a man standing on a sheet, moving muttering dance to sounds, wailing down a microphone. then woman comes on the scene and starts painting man. audience watch in disbelief, amusement. for fifteen minutes. the second performance was at Ilfracombe iix SEPTEMBER. titled neostropos, this was a dance performance to two pieces of music OPPRESSION and FREEDOM. dancers guitar improvisation to the themes, pan masks. the third. titled TOKEN JESTURE xiv SEPTEMBER it involved an open movement improvisation on a theme, woman hands out booklets, man rolling on the floor, jumping and hitting the floor being wrapped in a blanket, being covered in stickytape, second man putting on slides lighting incense sticks ignoring the man moving on the floor in an almost epileptic way. like he was struggling to be born. the soundtrack a high-pitched creeching interchanging loop, interrupted by live sounds made with wire circuit board which the man on the floor plays with. this lasted for 23 minutes. the soundtracks for neostropos and TOKEN JESTURE is avail¬able from TEARS COMPILATION of Paris on a tape titled one of the unknown factors at play (TEAR 318).