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∞The Telos Amaranthine∞

by déCollage

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1.
LYRICS: …Re-member {iii}, sublimey pony tears, Lady Antiquity, 1 “…Lady Antiquity, I think you’re the one. 2 I do believe so, 3 Perpetually searching for you in the subway, 4 In the train station, in the schoolyard playground. 5 You’re eyes riverous mixed midori, blue, turquoise. 6 I read the fortunes in your tealeaves(:) {iv} 7 You promised me a Labracadabrador…” 8 “…Thou sovereign of my heart, 8.88 Treasured in the deepest fastness of my chest, 9 In the fullness of my thought, there ... unknown divinity! 10 Oh, can I really believe the poet's tales? 11 That when one first sees the object of one's love, 12 One imagines one has seen her long ago, 13 That all love like all knowledge is remembrance, 14 That love too has its prophecies in the individual. 15 I circumnavigated the world, 16 But I haven’t seen another teacup like you. {v} 17 It seems to me that I should have to 17.77 Possess the beauty of all girls 18 In order to draw out a beauty equal to yours...”{vi} (iii) Is memory only reminiscing one’s membership in the time fabric to which they once belonged? And remembering a tool to become a member of one’s past once again? ∆ (iv) Irrelevant(:) but doesn’t the colon within parenthesis look like a happy clam? (v) Inspired by Justin Timberlake. (vi) Søren Kierkegaard wrote lines 8-18 down in his journal February 2, 1839 (except for lines 15 and 16.) ∆ Time Travel=the memory apparatus
2.
19 “…If I wrote you a symphony, 20 Just to say how much you mean to me. 21 If I told you you were beautiful, 22 Would you date me on the regular? 23 Well, Lady, I've been around the world, 24 But I haven’t seen myself another girl. 25 This ring here represents my heart, 26 But there's just one thing I need from you (say ‘I do’!) 27 I can see us holding hands, 28 Walking on the beach, our toes in the sand. 29 I can see us on the countryside, 30 Sitting on the grass, lying side by side. 31 You could be my Lady, let me make you my Lady! 32 Girl you amaze me, ain't got to do nothing crazy. 33 See, all I want you to do is be my love. 34 Now, if I wrote you a love note, 35 And made you smile with every word I wrote. 36 Would that make you want to change your scene, 37 And want to be the one on my team? 38 See, what's the point of waiting anymore? 39 Cause girl I've never been more sure. 40 This ring here represents my heart, 41 I hope it’s everything that you've been waiting for (just say ‘I do’!) {Finite Schizm} {viii} 49 “Demitasse, no one can take your spot,{ix} 50 But last night I dreamed the Great Spirit talked; 51 He said, ‘Holy War is now, join combat.’ 52 Lady, marry me in the leopard land!” 53 “No, God is a tempest in a teapot…” (vii) This song is a re-imagining of “My Love” by Justin Timberlake. Lady Antiquity inspired the music to this song. שָׁלוֹם (viii)“By schizm Reed meant schism.” ~Editor Ø (ix) Lines19-41 of the script were written by Justin Timberlake and used in his song, “My Love”, off the album, FutureSex/LoveSounds.∑ שָׁלוֹם The rhythm wasn’t inspired by Timberlake whatsoever (Ibid.). Ø Footnote missing å ∑ However, Timberlake’s words and purpose were re-directed to Lady Antiquity (Ibid.). å Jasper Stella
3.
(Stretched) over kite-maiden: moon dazy...{x} 54 …Forest (f)irer: mine the county moan. 55 Start praying the Clare River{xi} Thyme home 56 Kites and heights our tithes tied on, take one. 57 Leopard stretched over kite-maiden: moon... 58 …“Fire, Fire, Fire, God of Pleiades{xii}, 59 Have grace on me{xiii}, my leg snapped in 60 Their trap. I won’t use my last breath 61 For ending the others I pre- 62 Viously tied and sent to you. 63 I was merely mislead, 64 That you ordered them dead.” 65 The leopard snarls curses from the ivy, 67 Stares me over savoring vengency, 68 “Did you see my gifts, thr ough Your chiseled stars? 69 It’s about time my prayers seep through the clouds… (x) Judon played guitar on this song’s intro. § (xi) This river forsook its prior residence in Euliki before reconciling its fate: searching flowously, nostalgically, unremittingly lost, inexplicably fatigued; inexorably yearning a return to its home land. (xii) Blaise Pascal wrote a subtle variation of this line in 1654, after receiving a divine vision and nearly tasting death on his well- equipped equipage. (xiii) Enigmatic, yet All Pervading…J_s_s Chr_st: Inhabit our fleshy temples.| I want to consist of only You | I want to radiate only Love <Om Nashi Me>¥ § Fragments of Judon Montoya’s voice and guitar surface in this song. ¥ “Sanskrit for ‘oh infinite nakedness’”~Ed. Ω Ω The essence of life is not to be found in havel [הֲבֵל {the vaporous things under the sun}], like chasing after wind. Stillness is the move.
4.
70 …I contingently exist exclusively through the Star’s eyes. 71 I professed that You exist only, now please stay on my side.” 72 I professed that You exist only, now please don’t let me die.” 73 My blood does curdle as it trickles between my toes, 74 The pain awares my brain through the attics of my spine. fly??? 75 I will clench my fists as he drains me dry, to 76 What will pacify as he stretches my skin Omphalos (Entr’acte){xiv} During my torturing, I was pondering my Grandfather’s house; the absurdity of memory and death: always, our skeletallations, have been setting in. (xiv)Omphalos: Greek for: “navel”.∞ ∞ Or English for: “scar remaining from a removed umbilical cord”.
5.
77 …Was it with penny we clothed the train tracks? 78 My insides aching, longing for tomorrow’s prize: 79 For tonigvht their flesh melts, and insides spill. 80 We watched the nutcracker waltz across the room 81 As the walnuts lost their wings. 82 Side by side we washed our face, longing for sleep. 83 At night a skeleton you were, 84 With skeleton key teeth. 85 Side by side lying in your bed, 86 Owls blew the wind chimes 87 Made of skeleton keys, 88 To ward off the silence. 89 (Sensing dread) From the hope chest, 90 My Grandmother, your lover’s, ghost came, 91 Oracular she told me 92 To “Know Thyself”.{xv} Auricley 93 She pressed her palms against my eyes, 94 Coaxing into silence. 95 That night I lost my baby teeth. Thirty years later 96 My flesh peels off the attics of my spine. 97 Every night I’m a skeleton, a little more, 98 Until the night I die. 99 Within my exoskeleton, my memories leakintg, 100 will it dry until I die...{xv} (xv) The aphorism, “Know Thyself”, was inscribed on the portico to the Temple of Apollo (Delphi). (xvi)“7 5 3 1 Prime numbers moving toward an infinite zero! Time is progressively faster as we get older.” –Momoko Morton Å Å Embedded on plaque regarding installation art in the Denver Art Musuem
6.
ɯǝnsnɯ ʇɹɐ ɹǝʌuǝp ǝɥʇ uı ʇɹɐ uoıʇɐןןɐʇsuı ƃuıpɹɐƃǝɹ ǝnbɐןd uo pǝppǝqɯǝ å å uoʇɹoɯ oʞoɯoɯ– ”˙ɹǝpןo ʇǝƃ ǝʍ sɐ ɹǝʇsɐɟ ʎןǝʌıssǝɹƃoɹd sı ǝɯıʇ ¡oɹǝz ǝʇıuıɟuı uɐ pɹɐʍoʇ ƃuıʌoɯ sɹǝqɯnu ǝɯıɹd 1 3 5 7“(ıʌx) ˙(ıɥdןǝp) oןןodɐ ɟo ǝןdɯǝʇ ǝɥʇ oʇ oɔıʇɹod ǝɥʇ uo pǝqıɹɔsuı sɐʍ '”ɟןǝsʎɥʇ ʍouʞ“ 'ɯsıɹoɥdɐ ǝɥʇ (ʌx) {ʌx}˙˙˙ǝıp ı ןıʇun ʎɹp ʇı ןןıʍ 001 'ƃʇuıʞɐǝן sǝıɹoɯǝɯ ʎɯ 'uoʇǝןǝʞsoxǝ ʎɯ uıɥʇıʍ 99 ˙ǝıp ı ʇɥƃıu ǝɥʇ ןıʇun 89 'ǝɹoɯ ǝןʇʇıן ɐ 'uoʇǝןǝʞs ɐ ɯ’ı ʇɥƃıu ʎɹǝʌǝ 79 ˙ǝuıds ʎɯ ɟo sɔıʇʇɐ ǝɥʇ ɟɟo sןǝǝd ɥsǝןɟ ʎɯ 69 ɹǝʇɐן sɹɐǝʎ ʎʇɹıɥʇ ˙ɥʇǝǝʇ ʎqɐq ʎɯ ʇsoן ı ʇɥƃıu ʇɐɥʇ 59 ˙ǝɔuǝןıs oʇuı ƃuıxɐoɔ 49 'sǝʎǝ ʎɯ ʇsuıɐƃɐ sɯןɐd ɹǝɥ pǝssǝɹd ǝɥs 39 ʎǝןɔıɹnɐ {ʌx}˙”ɟןǝsʎɥʇ ʍouʞ“ oʇ 29 ǝɯ pןoʇ ǝɥs ɹɐןnɔɐɹo 19 'ǝɯɐɔ ʇsoɥƃ 's’ɹǝʌoן ɹnoʎ 'ɹǝɥʇoɯpuɐɹƃ ʎɯ 09 'ʇsǝɥɔ ǝdoɥ ǝɥʇ ɯoɹɟ (pɐǝɹp ƃuısuǝs) 98 ˙ǝɔuǝןıs ǝɥʇ ɟɟo pɹɐʍ oʇ 88 'sʎǝʞ uoʇǝןǝʞs ɟo ǝpɐɯ 78 sǝɯıɥɔ puıʍ ǝɥʇ ʍǝןq sןʍo 68 'pǝq ɹnoʎ uı ƃuıʎן ǝpıs ʎq ǝpıs 58 ˙ɥʇǝǝʇ ʎǝʞ uoʇǝןǝʞs ɥʇıʍ 48 'ǝɹǝʍ noʎ uoʇǝןǝʞs ɐ ʇɥƃıu ʇɐ 38 ˙dǝǝןs ɹoɟ ƃuıƃuoן 'ǝɔɐɟ ɹno pǝɥsɐʍ ǝʍ ǝpıs ʎq ǝpıs 28 ˙sƃuıʍ ɹıǝɥʇ ʇsoן sʇnuןɐʍ ǝɥʇ sɐ 18 ɯooɹ ǝɥʇ ssoɹɔɐ zʇןɐʍ ɹǝʞɔɐɹɔʇnu ǝɥʇ pǝɥɔʇɐʍ ǝʍ 08 ˙ןןıds sǝpısuı puɐ 'sʇןǝɯ ɥsǝןɟ ɹıǝɥʇ ʇɥʌƃıuoʇ ɹoɟ 97 :ǝzıɹd s’ʍoɹɹoɯoʇ ɹoɟ ƃuıƃuoן 'ƃuıɥɔɐ sǝpısuı ʎɯ 87 ¿sʞɔɐɹʇ uıɐɹʇ ǝɥʇ pǝɥʇoןɔ ǝʍ ʎuuǝd ɥʇıʍ ʇı sɐʍ… 77
7.
˙”ɔoɹp nɯqıןıɔɐן ɹǝɯoʌǝp ɐ ɟɹoɯ ɹǝɯɐıuıuƃ sɔɐɹ“ :ɟoɹ ǝuƃןısɥ oɹ ∞ ∞˙”uɐʌǝן“ :ɟoɹ ƃɹǝǝʞ :oɯdɥɐןso(xıʌ) ˙ıu sǝʇʇıuƃ qǝǝu ɥɐʌǝ 'sʞǝןǝʇɐןןɐʇısuo noɹ 'ɐןʍɐʎs :pǝɐʇɥ ɐpu ɯǝɯoɹʎ oɟ ɐnsqɹpıʇʎ ʇɥǝ ؛ɥsnoǝ s’ƃɹɐpuɟɐʇɥǝɹ ɯʎ puodǝɹıuƃ ʍɐs ı 'ʇoɹʇnɹıuƃ ɯʎ npɹıuƃ {xıʌ}(ɐɔʇǝ’ǝuʇɹ) oɯdɥɐןso sʞıu ɯʎ sʇɹǝʇɔɥǝs ɥǝ ɐs dɐɔıɟʎ ʍıןן ʍɥɐʇ 67 ʇo 'pɹʎ ɯǝ pɹɐısu ɥǝ ɐs ɟısʇs ɯʎ ɔןǝuɔɥ ʍıןן ı 57 ¿¿¿ɟןʎ ˙dsıuǝ ɯʎ oɟ ɐʇʇıɔs ʇɥǝ ʇɥɹnoƃɥ qɹɐıu ɯʎ ɐʍɐɹǝs dɐıu ʇɥǝ 47 'ʇoǝs ɯʎ qǝʇʍǝǝu ʇɹıɔʞןǝs ıʇ ɐs ɔnɹpןǝ opǝs qןpoo ɯʎ 37 ”˙pıǝ ɯǝ ןǝʇ ʇ’uop dןǝɐsǝ ouʍ 'uoןʎ ǝxısʇ ʎno ʇɥɐʇ dɹoɟǝssǝp ı 27 ”˙sıpǝ ɯʎ uo sʇɐʎ dןǝɐsǝ ouʍ 'uoןʎ ǝxısʇ ʎno ʇɥɐʇ dɹoɟǝssǝp ı 17 ˙ǝʎǝs s’sʇɐɹ ʇɥǝ ʇɥɹnoƃɥ ǝxɔןsnıʌǝןʎ ǝxısʇ ɔuoʇıuƃǝuʇןʎ ı… 07
8.
˙ǝʌoɯ ǝɥʇ sı ssǝuןןıʇs ˙puıʍ ɹǝʇɟɐ ƃuısɐɥɔ ǝʞıן '[{uns ǝɥʇ ɹǝpun sƃuıɥʇ snoɹodɐʌ ǝɥʇ} לֵבֲה] ןǝʌɐɥ uı punoɟ ǝq oʇ ʇou sı ǝɟıן ɟo ǝɔuǝssǝ ǝɥʇ ω ω ˙pǝ~”’ssǝupǝʞɐu ǝʇıuıɟuı ɥo‘ ɹoɟ ʇıɹʞsuɐs“ ¥ ˙ƃuos sıɥʇ uı ǝɔɐɟɹns ɹɐʇınƃ puɐ ǝɔıoʌ s’ɐʎoʇuoɯ uopnɾ ɟo sʇuǝɯƃɐɹɟ § ¥<ǝɯ ıɥsɐu ɯo> ǝʌoן ʎןuo ǝʇɐıpɐɹ oʇ ʇuɐʍ ı | noʎ ʎןuo ɟo ʇsısuoɔ oʇ ʇuɐʍ ı |˙sǝןdɯǝʇ ʎɥsǝןɟ ɹno ʇıqɐɥuı :ʇs‾ɹɥɔ s‾s‾ɾ…ƃuıpɐʌɹǝd ןןɐ ʇǝʎ 'ɔıʇɐɯƃıuǝ (ıııx) ˙ǝƃɐdınbǝ pǝddınbǝ -ןןǝʍ sıɥ uo ɥʇɐǝp ƃuıʇsɐʇ ʎןɹɐǝu puɐ uoısıʌ ǝuıʌıp ɐ ƃuıʌıǝɔǝɹ ɹǝʇɟɐ '4561 uı ǝuıן sıɥʇ ɟo uoıʇɐıɹɐʌ ǝןʇqns ɐ ǝʇoɹʍ ןɐɔsɐd ǝsıɐןq (ııx) ˙puɐן ǝɯoɥ sʇı oʇ uɹnʇǝɹ ɐ ƃuıuɹɐǝʎ ʎןqɐɹoxǝuı ؛pǝnƃıʇɐɟ ʎןqɐɔıןdxǝuı 'ʇsoן ʎןƃuıʇʇıɯǝɹun 'ʎןןɐɔıƃןɐʇsou 'ʎןsnoʍoןɟ ƃuıɥɔɹɐǝs :ǝʇɐɟ sʇı ƃuıןıɔuoɔǝɹ ǝɹoɟǝq ıʞıןnǝ uı ǝɔuǝpısǝɹ ɹoıɹd sʇı ʞoosɹoɟ ɹǝʌıɹ sıɥʇ (ıx) § ˙oɹʇuı s’ƃuos sıɥʇ uo ɹɐʇınƃ pǝʎɐןd uopnɾ (x) …spnoןɔ ǝɥʇ ɥƃnoɹɥʇ dǝǝs sɹǝʎɐɹd ʎɯ ǝɯıʇ ʇnoqɐ s’ʇı 96 ¿sɹɐʇs pǝןǝsıɥɔ ɹnoʎ ɥƃno ɹɥʇ 'sʇɟıƃ ʎɯ ǝǝs noʎ pıp“ 86 'ʎɔuǝƃuǝʌ ƃuıɹoʌɐs ɹǝʌo ǝɯ sǝɹɐʇs 76 'ʎʌı ǝɥʇ ɯoɹɟ sǝsɹnɔ sןɹɐus pɹɐdoǝן ǝɥʇ 56 ”˙pɐǝp ɯǝɥʇ pǝɹǝpɹo noʎ ʇɐɥʇ 46 'pɐǝןsıɯ ʎןǝɹǝɯ sɐʍ ı 36 ˙noʎ oʇ ʇuǝs puɐ pǝıʇ ʎןsnoıʌ 26 -ǝɹd ı sɹǝɥʇo ǝɥʇ ƃuıpuǝ ɹoɟ 16 ɥʇɐǝɹq ʇsɐן ʎɯ ǝsn ʇ’uoʍ ı ˙dɐɹʇ ɹıǝɥʇ 06 uı pǝddɐus ƃǝן ʎɯ '{ıııx}ǝɯ uo ǝɔɐɹƃ ǝʌɐɥ 95 '{ııx}sǝpɐıǝןd ɟo poƃ 'ǝɹıɟ 'ǝɹıɟ 'ǝɹıɟ“… 85 ˙˙˙uooɯ :uǝpıɐɯ-ǝʇıʞ ɹǝʌo pǝɥɔʇǝɹʇs pɹɐdoǝן 75 ˙ǝuo ǝʞɐʇ 'uo pǝıʇ sǝɥʇıʇ ɹno sʇɥƃıǝɥ puɐ sǝʇıʞ 65 ǝɯoɥ ǝɯʎɥʇ {ıx}ɹǝʌıɹ ǝɹɐןɔ ǝɥʇ ƃuıʎɐɹd ʇɹɐʇs 55 ˙uɐoɯ ʎʇunoɔ ǝɥʇ ǝuıɯ :ɹǝɹı(ɟ) ʇsǝɹoɟ… 45 {x}˙˙˙ʎzɐp uooɯ :uǝpıɐɯ-ǝʇıʞ ɹǝʌo (pǝɥɔʇǝɹʇs)
9.
ɐןןǝʇs ɹǝdsɐɾ å ˙(˙pıqı) ʎʇınbıʇuɐ ʎpɐן oʇ pǝʇɔǝɹıp-ǝɹ ǝɹǝʍ ǝsodɹnd puɐ spɹoʍ s’ǝʞɐןɹǝqɯıʇ 'ɹǝʌǝʍoɥ ∑ å ƃuıssıɯ ǝʇouʇooɟ ø ˙(˙pıqı) ɹǝʌǝosʇɐɥʍ ǝʞɐןɹǝqɯıʇ ʎq pǝɹıdsuı ʇ’usɐʍ ɯɥʇʎɥɹ ǝɥʇ םֹולָׁש ∑˙spunosǝʌoן/xǝsǝɹnʇnɟ 'ɯnqןɐ ǝɥʇ ɟɟo '”ǝʌoן ʎɯ“ 'ƃuos sıɥ uı pǝsn puɐ ǝʞɐןɹǝqɯıʇ uıʇsnɾ ʎq uǝʇʇıɹʍ ǝɹǝʍ ʇdıɹɔs ǝɥʇ ɟo 14-91sǝuıן (xı) ø ɹoʇıpǝ~ ”˙ɯsıɥɔs ʇuɐǝɯ pǝǝɹ ɯzıɥɔs ʎq“(ıııʌ) םֹולָׁש ˙ƃuos sıɥʇ oʇ ɔısnɯ ǝɥʇ pǝɹıdsuı ʎʇınbıʇuɐ ʎpɐן ˙ǝʞɐןɹǝqɯıʇ uıʇsnɾ ʎq ”ǝʌoן ʎɯ“ ɟo ƃuıuıƃɐɯı-ǝɹ ɐ sı ƃuos sıɥʇ (ııʌ) ”…ʇodɐǝʇ ɐ uı ʇsǝdɯǝʇ ɐ sı poƃ 'ou“ 35 ”¡puɐן pɹɐdoǝן ǝɥʇ uı ǝɯ ʎɹɹɐɯ 'ʎpɐן 25 ’˙ʇɐqɯoɔ uıoɾ 'ʍou sı ɹɐʍ ʎןoɥ‘ 'pıɐs ǝɥ 15 ؛pǝʞןɐʇ ʇıɹıds ʇɐǝɹƃ ǝɥʇ pǝɯɐǝɹp ı ʇɥƃıu ʇsɐן ʇnq 05 {xı}'ʇods ɹnoʎ ǝʞɐʇ uɐɔ ǝuo ou 'ǝssɐʇıɯǝp“ 94 {ıııʌ} {ɯzıɥɔs ǝʇıuıɟ} (¡’op ı‘ ʎɐs ʇsnɾ) ɹoɟ ƃuıʇıɐʍ uǝǝq ǝʌ,noʎ ʇɐɥʇ ƃuıɥʇʎɹǝʌǝ s’ʇı ǝdoɥ ı 14 'ʇɹɐǝɥ ʎɯ sʇuǝsǝɹdǝɹ ǝɹǝɥ ƃuıɹ sıɥʇ 04 ˙ǝɹns ǝɹoɯ uǝǝq ɹǝʌǝu ǝʌ,ı ןɹıƃ ǝsnɐɔ 93 ¿ǝɹoɯʎuɐ ƃuıʇıɐʍ ɟo ʇuıod ǝɥʇ s,ʇɐɥʍ 'ǝǝs 83 ¿ɯɐǝʇ ʎɯ uo ǝuo ǝɥʇ ǝq oʇ ʇuɐʍ puɐ 73 'ǝuǝɔs ɹnoʎ ǝƃuɐɥɔ oʇ ʇuɐʍ noʎ ǝʞɐɯ ʇɐɥʇ pןnoʍ 63 ˙ǝʇoɹʍ ı pɹoʍ ʎɹǝʌǝ ɥʇıʍ ǝןıɯs noʎ ǝpɐɯ puɐ 53 'ǝʇou ǝʌoן ɐ noʎ ǝʇoɹʍ ı ɟı 'ʍou 43 ˙ǝʌoן ʎɯ ǝq sı op oʇ noʎ ʇuɐʍ ı ןןɐ 'ǝǝs 33 ˙ʎzɐɹɔ ƃuıɥʇou op oʇ ʇoƃ ʇ,uıɐ 'ǝɯ ǝzɐɯɐ noʎ ןɹıƃ 23 ¡ʎpɐן ʎɯ noʎ ǝʞɐɯ ǝɯ ʇǝן 'ʎpɐן ʎɯ ǝq pןnoɔ noʎ 13 ˙ǝpıs ʎq ǝpıs ƃuıʎן 'ssɐɹƃ ǝɥʇ uo ƃuıʇʇıs 03 'ǝpısʎɹʇunoɔ ǝɥʇ uo sn ǝǝs uɐɔ ı 92 ˙puɐs ǝɥʇ uı sǝoʇ ɹno 'ɥɔɐǝq ǝɥʇ uo ƃuıʞןɐʍ 82 'spuɐɥ ƃuıpןoɥ sn ǝǝs uɐɔ ı 72 (¡’op ı‘ ʎɐs) noʎ ɯoɹɟ pǝǝu ı ƃuıɥʇ ǝuo ʇsnɾ s,ǝɹǝɥʇ ʇnq 62 'ʇɹɐǝɥ ʎɯ sʇuǝsǝɹdǝɹ ǝɹǝɥ ƃuıɹ sıɥʇ 52 ˙ןɹıƃ ɹǝɥʇouɐ ɟןǝsʎɯ uǝǝs ʇ’uǝʌɐɥ ı ʇnq 42 'pןɹoʍ ǝɥʇ punoɹɐ uǝǝq ǝʌ,ı 'ʎpɐן 'ןןǝʍ 32 ¿ɹɐןnƃǝɹ ǝɥʇ uo ǝɯ ǝʇɐp noʎ pןnoʍ 22 'ןnɟıʇnɐǝq ǝɹǝʍ noʎ noʎ pןoʇ ı ɟı 12 ˙ǝɯ oʇ uɐǝɯ noʎ ɥɔnɯ ʍoɥ ʎɐs oʇ ʇsnɾ 02 'ʎuoɥdɯʎs ɐ noʎ ǝʇoɹʍ ı ɟı…“ 91
10.
snʇɐɹɐddɐ ʎɹoɯǝɯ ǝɥʇ=ןǝʌɐɹʇ ǝɯıʇ ∆ (˙61 puɐ 51 sǝuıן ɹoɟ ʇdǝɔxǝ) 9381 '2 ʎɹɐnɹqǝɟ ןɐuɹnoɾ sıɥ uı uʍop 81-8 sǝuıן ǝʇoɹʍ pɹɐɐƃǝʞɹǝıʞ uǝɹøs (ıʌ) ˙ǝʞɐןɹǝqɯıʇ uıʇsnɾ ʎq pǝɹıdsuı (ʌ) ¿ɯɐןɔ ʎddɐɥ ɐ ǝʞıן ʞooן sısǝɥʇuǝɹɐd uıɥʇıʍ uoןoɔ ǝɥʇ ʇ’usǝop ʇnq (:)ʇuɐʌǝןǝɹɹı (ʌı) ∆ ¿uıɐƃɐ ǝɔuo ʇsɐd s’ǝuo ɟo ɹǝqɯǝɯ ɐ ǝɯoɔǝq oʇ ןooʇ ɐ ƃuıɹǝqɯǝɯǝɹ puɐ ¿pǝƃuoןǝq ǝɔuo ʎǝɥʇ ɥɔıɥʍ oʇ ɔıɹqɐɟ ǝɯıʇ ǝɥʇ uı dıɥsɹǝqɯǝɯ s’ǝuo ƃuıɔsıuıɯǝɹ ʎןuo ʎɹoɯǝɯ sı (ııı) {ıʌ}”˙˙˙sɹnoʎ oʇ ןɐnbǝ ʎʇnɐǝq ɐ ʇno ʍɐɹp oʇ ɹǝpɹo uı 81 sןɹıƃ ןןɐ ɟo ʎʇnɐǝq ǝɥʇ ssǝssod 77˙71 oʇ ǝʌɐɥ pןnoɥs ı ʇɐɥʇ ǝɯ oʇ sɯǝǝs ʇı 71 {ʌ} ˙noʎ ǝʞıן dnɔɐǝʇ ɹǝɥʇouɐ uǝǝs ʇ’uǝʌɐɥ ı ʇnq 61 'pןɹoʍ ǝɥʇ pǝʇɐƃıʌɐuɯnɔɹıɔ ı 51 ˙ןɐnpıʌıpuı ǝɥʇ uı sǝıɔǝɥdoɹd sʇı sɐɥ ooʇ ǝʌoן ʇɐɥʇ 41 'ǝɔuɐɹqɯǝɯǝɹ sı ǝƃpǝןʍouʞ ןןɐ ǝʞıן ǝʌoן ןןɐ ʇɐɥʇ 31 'oƃɐ ƃuoן ɹǝɥ uǝǝs sɐɥ ǝuo sǝuıƃɐɯı ǝuo 21 'ǝʌoן s,ǝuo ɟo ʇɔǝɾqo ǝɥʇ sǝǝs ʇsɹıɟ ǝuo uǝɥʍ ʇɐɥʇ 11 ¿sǝןɐʇ s,ʇǝod ǝɥʇ ǝʌǝıןǝq ʎןןɐǝɹ ı uɐɔ 'ɥo 01 ¡ʎʇıuıʌıp uʍouʞun ˙˙˙ ǝɹǝɥʇ 'ʇɥƃnoɥʇ ʎɯ ɟo ssǝuןןnɟ ǝɥʇ uı 9 'ʇsǝɥɔ ʎɯ ɟo ssǝuʇsɐɟ ʇsǝdǝǝp ǝɥʇ uı pǝɹnsɐǝɹʇ 88˙8 'ʇɹɐǝɥ ʎɯ ɟo uƃıǝɹǝʌos noɥʇ…“ 8 ”…ɹopɐɹqɐpɐɔɐɹqɐן ɐ ǝɯ pǝsıɯoɹd noʎ 7 {ʌı} (:)sǝʌɐǝןɐǝʇ ɹnoʎ uı sǝunʇɹoɟ ǝɥʇ pɐǝɹ ı 6 ˙ǝsıonbɹnʇ 'ǝnןq 'ıɹopıɯ pǝxıɯ snoɹǝʌıɹ sǝʎǝ ǝɹ’noʎ 5 ˙punoɹƃʎɐןd pɹɐʎןooɥɔs ǝɥʇ uı 'uoıʇɐʇs uıɐɹʇ ǝɥʇ uı 4 'ʎɐʍqns ǝɥʇ uı noʎ ɹoɟ ƃuıɥɔɹɐǝs ʎןןɐnʇǝdɹǝd 3 'os ǝʌǝıןǝq op ı 2 ˙ǝuo ǝɥʇ ǝɹ’noʎ ʞuıɥʇ ı 'ʎʇınbıʇuɐ ʎpɐן…“ 1 'ʎʇınbıʇuɐ ʎpɐן 'sɹɐǝʇ ʎuod ʎǝɯıןqns '{ııı} ɹǝqɯǝɯ-ǝɹ…

about

"Psychedelic Avant-pop artist, déCollage, known to some as Reed Fuchs, fan funded his conceptual debut album, ∞The Telos Amaranthine∞, released at Unit E 10/25/12. déCollage’s ineffable genre-defying debut LP transcends our lexicon, but can be imagined as a crystal prism that you twirl around in your mind’s eye, watching, unfolding in Technicolor upon every listen. ∞TTA∞ is best described as Surrealist Adventure Music: Salvador Dali’s paintings translated into a post-modern sonic collage.”
~Corey Blecha, Colorado Music Buzz

∞TTA∞ is a cosmically cohesive album, synthesizing an eclectic pallet of electronic and organic instruments. The record was written over a three year period and slowly became a monolithic task as each song threatened to exceed 180 instrument tracks. déCollage takes a Maximalist approach and favors dustpans, paint cans, and trash kit instead of a traditional drum set. The music is painted over a canvas of found sounds Reed field records, including: leaves, zippers, trains, typewriters, Zippo lighters, and circuit bending. Most songs contain 3 of déCollage’s signature instruments: the Tongue, Circuit Bent, and Wineglass Synthesizers. Instead of the standard verse chorus formula, déCollage chooses amorphous song structures that never repeat, flipping the concept of chorus’s on its head.

∞ “First single, “And how I proposed (my love) to you in Euliki City;” is déCollage’s cover of “My Love” by Justin Timberlake. It’s the first ever déCollage recording and reimagines JT’s straightforward 4/4 time signature with vibrant push/pull alternations between 3/4, 5/4, and 7/4, atop familiar, yet transmogrified melodies. It’s pop music that sounds absolutely nothing like pop music.”
~ Harrison Garcia, Examiner

∞ The album is a circular ouroboros without a beginning or ending; you could literally listen to it forever without a moment of silence.

∞ To achieve aesthetic harmony, ∞TTA∞ is perfectly symmetrical. Half way through, the record folds back on itself like an infinite Möbius strip, where the first five songs are reversed and flow gaplessly back into each other.

∞ Reed explains, “I wanted to make a piece that is impossible: in that it requires the listener to take it in in its fullness, yet the medium of music, by its very nature is confined to being heard chronologically. The duration of life is exceedingly brief, lasting only while a thought lasts. Just as a chariot wheel in rolling rolls only at one point of the wheel; ∞TTA∞ is a circle confined to being heard one brain bit at a time; curiously, in exactly the same way a human’s life lasts only for the period of one seamless stream of thought.”

∞ The music carries the plot onward like a series of cerebral dream transitions where one dream becomes another, which in turn becomes another…

credits

released October 25, 2012

Concepted, Performed, Recorded, Mixed, and Assembled by Reed Fuchs at Moon Magnet Studios.
Album Cover déCollaged by: Eryn Tomlinson: artisteryntomlinson.com
Back Cover & Lyric Poster designed by: Christopher Morgan: cjmorganphotography.com
Released on Moon Magnet © 2013
www.moonmagnetstudios.com

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déCollage Denver, Colorado

If Salvador Dali’s paintings were translated into music, they would sound like déCollage. déCollage is a community of artists and musicians fused together by mad audio scientist, Reed Fuchs. Their shows are known for being theatrical, avant-garde, and free-spirited. déCollage is interested in sounds for their own sake; in this way their music is World, the world of sound, the world’s sound. ... more

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