[NetBehaviour] r for the tree upswing

[Alan Sondheim]

r for the tree upswing


r for l tree  where it might n ok for ex physi k for exmple."
ription  tion to n ny, you might think h seems omplete - n omplete - n n h
  n-imensione  in the s imensione me of trees  h mens there n es, n
  geo ll this esi tion, tht of the semiotiis the twist per se  the twist t
not nnihil- , nnihil- ut inform e-time is presene l gr s well  it is
le, methe twist is me urvture  in philosophisure of lo ture  in philosophi
  tlk of , lk of n energy-momentum s if one n energy-momentum oul se s
everything up into zero or one  the

re ut never ree h the zero point  there ies slow,

mentl nts of ment ginst noise, tuning  lw inst noise, tuning    is never
the sys pl   is never the sme ys me g s tuning   ,  ,  , ut neither is it
  import ognition of the inheren erutting  the "myth of eternking,
hes the temporl or m  l or y the time one re sptie eing-humn, it l s omes
  fiels of insom s of insription, however ins, ription, however n efine  in
nities, inet le ipher- mong the hum e nothing left for us to o "

ontin nuomplete in nuity  they're up , whi ity  they're up h sons, ut
foofw zure, vi horeogrphy, zure, vieogrphy, phy n/ phy  turing foofw
  swy o y ily movement  weight of reles, penis  = hum les, penis  =
ionysin ritutes the n rituls to o ls to y to everything from er, others
  extensions ries of the ttoos, shveo rs, uts, h uts, ruises  ir, s ruises
ls the oging, illness, sp ility  ging, illness, spy's tot ging, illness,
spsms  lity/vulner sms

ription horeogr ies  ring simil llel strutures with l oper tures with
tions  p e

    sie, r y move towru s self-reflexivity e m ers' movements  i.e. ' the
utening, et. , their own mus . , nother form of self- les remem nother
\ n lyst for rous\ rousl   l  t ers' eret nipples, penis - l   t nipples,
spsms  lity/vulner < horeogrphi > horeogrphi rition horeogr ity on wepp
  s z into lf step
lf step  /e lowere on re iny fternoon, y,

out the ook  there st time. i ook  there re no thrust ssk her re no thrust 
senes

  there  like th ere
  there  like th ere
  out fter them

fter them  n ppening on the hnnel

to h ng the nme on  everything ng the n me on  everything me on
lize sn h emti gener sent  epistemology is virl, l,
ept ommon - o nson t not e-time there
  wet her p re sokeeiling's , lls on  i think the ltter, nothing rm tter,
  thingies rn wling. n e hereffluvi   the whimpering  the mewling  the
howling  ries out to rying  the murmuring  ut most of ut most of ut most

of ll the howling  the mewling  the ll the howling  the mewling  the

ll the howling  the mewling  the the ll  is in my slivn liv
  thingies rn herr   the whimpering  the mewling  the howling  the rying
the rying  the
rying  the he ut most of ll the howling  the mewling  the whimpering n ll
the howling  the mewling  the whimpering n

ll  ll

  into existene  loth shoul e

  you know tht  every oe t  every oens, n hr you know th ors its hile ren,
on  rm tter, nothing oult strophe, not s orrosion. long live the
ie tomorrow. is yours  fu
murmuring  ut most of ll the howling  the mewling  the whimpering ll  is
effluvi e he whimpering nrying  most of ll  on wet flesh, it's spetre  n
tre
ept for revivl groups  it's the rumhorn or
l groups  it's the rumhorn or is going out of existen rumhorn or e, ex

onf lly
iousness re . ut tht mz kes it interesting e
rhr for voi rmonihrom   1
  h tune hrhrmoni lveless hromtune h hromtirh r for uku r for
uku
r for voie uku
  uku r for voi ppens when _this_ stiks n ks
  for wht ...   t ...
t ...   ... ... for wht i ... for wh t i sk you ...   t i sk you ...   sk
you ...
... for wht ...
t ...   ... for wh
  the results n n1

things t s towrlly the worl s howling pin
in  s tow
if ry musi wing-room of the eighteenth-entury  entury
entury  7 we're still living in the
in  p

mily where i m > i see this refle ompoop"  n on't nee you to hn
stumle towving your le towrre s vs i stum ksh  sving  not founksh  s ving
not foun ving  not foun

ry musi the remn l offering s if w   not foun
  the frme-ron te is 100 fps. n l 'temporl orers' in thrust
  of the projetefr e  there re thrust, nking in silent thrust, not to nking/un
  events. l-worl ere e m ny spees  ere s  y
  into ke v ount .
  into ll of these re supple  the speetor
  of thrust in the projetor ry, tor ll of these tion  the spee of originltere
  up or slow own, le spee own, s  i.e. n vry set in e s well.

        hies, the film
night, upswing