Notations are a sidestep from the self - to form something that in absence states existence of the human artifact, evidence - away from it, without its history, without its problems or even its essence. It is a simulated survival. It is a footstep of being, and archive. It is past that was a presence. It is a mark, a desire, like the product that is a child, an attempt to formulate beauty in some sad failure that is never present, only that - in its making - mortality of humans, fleeting life, the giving way to...
here is something - relating to more specifics of the God aspect I spoke broadly of earlier.

the Unreason Switch; a detachable multipurpose addition

Unreason -as a power or force - is perhaps one of the most powerful influence in motivation and in the process of accomplishment. To BEGIN itself is daunting at times - to envision what might follow, perhaps envisioning is negative influence at times, as it involves predictability and speculation of what will occur before the fact or process- and is a negative determinant possibly - to prejudge response to future circumstance we can not really know. Lower Consciousness is a desirable condition - to be in the moment as it suspends speculation of possible futures-...
So, BEGINNING is problematic. Even with Lower Consciousness in place, we still may experience a difficulty in starting because - it is difficult to suspend our belief that time unfolds as it has in the past, there it is steady and will remain the same - even as we try to disbelieve in its consistency.  Belief - as motivator - in the future as unfolding present events - is the other side of belief, the positive side -. Belief in constancy where constancy represents a cage rather than possibility unfolding - is a subtle difference internally, but a great difference in overall motivational fields. We must parse these things- with a sharp knife - that is a blade of unreason, and commitment - to - something. This something may be many things, but most will be ineffective against an overwhelming mass of influence of conditioning and result past experience, as we have seen self fulfilling presumption to be the rule. There is truly a narrow band width of what will be effective as a blade with which to parse. I think, it may be best narrowed down to a single powerful influence. The influence of Unreason, specifically, belief in God. I use the model of an monotheistic belief, because it is simple, and because it is innately mine. Unreason. God. Belief. Suspending reason and rational argument. Abutting the evidence that is absent of explained with the consistent to dismissal - of research and scientific method - not as return to a previous state of ignorance regarding predictability of physical properties- indeed, we find some of these are sound - but - not believing it them, as belief - but, thinking then that we know what will guide certain visible manifestations, and no more. The veneer. And, also, being aware that even within method, repeated observation will never make absolute. A question often asked in the history of religious speculation/ theology has been - is God governed by the physics he created as the creator of all things? Can God travel faster than the speed of light, etc.  Many sides that ask the same thing. Is there absolute? Only absolute is perhaps that we must allow for there to be difference and for rules and laws to not apply at all. This is the blade of Unreason, this is God. Before I go on - I ask rhetorically - why is God the chosen blade? Because - answer without rhetoric -  God represents most fantastically a huge "impossibility." It is thus the greatest leap of faith - belief - I can imagine, and thus, the greatest potential power - if this disbelief, if this received "reason" can be suspended. It is by far - the most powerful blade- I can imagine. Because, it means - if it is so, that a creator exists, than, all things less than that impossibility- become easily imaginable. Far far, the most powerful. Blade.  Oddly then, I come to this first and only required Unreason - through my own form of reasoning, in pursuing the goal - of moving forward, from  the BEGINNING. And examining this force from several of its boundaries, then.
    God. To personify. What a thing, when we can barely understand what form of construct even the human personality is. Yet, in his image, if we introduce texts where that occurs - if we understand ourselves, truly, or somewhat, then we may have a hint of a divine composition of character- of course - outside of time - where we are - by text - altered, by the fall. As we dwell so much in the physical realm, where physics seem to guide as cages or rules or law, we can only see a very small portion within ourselves of what might be manifest in God. So it must also be true of text regarding God, that they all bear the limit of human, physical experience, and physics which is our boundary to cause/ effect based understand. To experience or understand beyond this realm, we must be able to believe that there is a God - which is outside of these limits - which must be only a small part of God's manifestation -as creator- who after all- must have made construction - from outside - of what did not yet at first exist - is which is all of OUR experience. So, we must imagine, in a way not confined by physic - of something outside of physic - and not picturing this, (as we can not with our reason) we must install an UNREASON within us - and, belief, and faith - in this, the first- mover.
    The creations of mind- which may have so much in double meaning not governed by the physical limits of the presentational manifestation - a second manifestation of meaning as interpretation of what we see- may be allowed to exist in a parallel to the God. While we believe in God, and this gives faith to manifestation which moves out of the limitations of mind, and the extremely (tip of tongue effect here in real time as I write looking for word in "mind" ) not - tramatized... or biased... yes, here-... intellectually stigmatized perceptive processes of our own conditioned bodies- ( ironic word too) and as God is our model, perhaps we believe too, that mind manifestations of interpretation and meaning may also have an element of "reality" - by virtue of our primary example, as the real existence of God - makes all else again, possible. It is a switch - that allows the introduction of - a whole additional circuit. And, even the possibility of the suspension of the physic for us as well - as God created physic before physic was.  God is the blade.
    The power of prayer for example, as a means of access to this power, is a creative motivator. To think so much away from our own needs especially, to pray for others or another, to suspend our own desires while seeing the needs of others - defies the fixed reality of material worlds, where we are motivated purely by personal well being and gain, as it is the working rule of the physic in regards to inanimate and animate material both.  To pray for, as most prayer should be, as a communication to another with God as mediation - as communication, with the mediator existing as an EFFECTIVE overseer who may be partitioned to in behalf of another - to communicate both a message and an effect of this wish as well - sort of life buying flowers for someone and having them sent by florist - but,  no such exchange involved of course - no cost - to believe in that communication - first and foremost, the most important part of it, that one have faith it is effective, within the mediator's plan, and while partitioning, respecting the soundness of that plan as it has a bearing on such prayers being "answered"... imbues freedom. It gives relief to the barer of the prayer - to let the prayer go - outside oneself, where it is no longer a wish one holds and builds ineffectively inside oneself , but which is sent away- and the condition of its generation internally, within the bearer, is softened, is  given relief for sympathetic suffering, which we might imagine is part of a plan in which prayer is part, as the need to pray- to externalize these giving and sympathetic wishes - is also an innate part - that goes to the boundary of the physic which is the limit of our part of reality - and enters into an eternal place we know little of. This wrench may fix itself at this boundary - the space from which this prayer came - is open to further generation - a generation of praise, or offering - through the physical - to the eternal, which we may imagine has this opening we have made - and left ajar - our wrench - placed into the gap  - the wrench of our sincerity and our positive, affirmative powers - of belief - and, this generation of praise and offering - may be the art we make, the creation of the parallel to the first, which was outside of physic and the laws in which we exist, but, from which we may be free, by virtue of our - virtue, through belief. There is more to reality than the tidbit we know. We can connect through faith and belief, to it.
    Is Jesus a gate, as is prayer? He taught the disciples to pray, after all- and seems by both text evidence and by virtue of its own reason - to be an important part of faith, belief, and prayer in terms of function, and mechanism. He taught prayer. He was a gate himself, to the material and internal world of humans as they are bound by and working in the limit of the physic.   He was an essence of the other unseen realms of extended reality we do not see, manifest in our own small space.
    This was his "mission" - in a sense, he was  a bridge - in human form - between the God - as living - perhaps - in some large part of existence, outside of our small physic - to our own small corner - in which God dwells, but, who we cannot see in entirely - Jesus was a bridge - to the larger part - of God, to his thought, to his principles that rule overall a larger - the larger - realm - and which apply to our in part - but which also apply to the larger physic - and which in ours, gives to us unreason - unlikeliness - seeming impossibility- because of our limited part - of swelling. If we consider unreason in this way - as something we have some evidence for in transmission through and across the bridge- of Jesus, we have something that weighs in on the side of conventional reason - evidence, that
this unreason - of which it is in our freedom with belief to explore, to comment on/ with, to create with/ from as a parallel body of creation and speculation, even - has a history - has its own set of conditions and physic as well - and not entirely or even so much part - of our blind reaction to it through belief-  principles that through this bridge are perhaps given as parallel manifestation - things that may in fact be more easily realized in or small space- in an "our physic" mediated form - but which draw from the larger body of principles - of which we can have no sensory and experience based understanding. So, evidence, to apply to our belief and faith - that there is more - through this bootstrap of a limited transmission - over the course of a very short life- and departure, also given as part of the plan, which is outside of our experience - this evidence then, is a kind of gift - for the "faithful" - and - for those - who are less faithful, who need something which is in there world, to grasp - as a means of belief in what cannot be comprehended -. Indeed, Jesus often spoke in terms of parables, and likenesses to his listener's own common experiences - as a means to transmit his evidence and sensibility of the larger, outside physic. It is perhaps important that we consider this material, committed to us in his short lifetime and never written by him, and as transmitted after the fact through written language of followers - who we are told wrote through inspiration as to content, but who were also limited by available tools of intellect, of personal reference points, and the tools of experience - to put into common worlds - it is a brilliant - divine - move - to adjust - to our limited abilities- these greater things- yes, evidence of an exterior universe of possible physic -. So, though we are stumbling in our use of materials and physic limits as we explore our freedoms of belief and faith through
human offering and creation, we have some - guideposts- delivered in crudely human, though sometimes also in beautifully human poetical words to describe -. It is important to consider that possibly, much after the fact writing, after the gospels - should not be considered as seriously - the commentaries, and the various edifices of interpretation, of ritual, and of religious/ church structures themselves - as these are less directly guided by the orally spoken word of Jesus as dictation to a small number of people - and, thus, as with the diluted qualities of art that steer away from simplicity and atomic clarity of reductionism (and my SURformalism, Lower Consciousness, Instrumentism, and Notation principles) there is likely much error that does not do service to the principles of an expanded physic/ word of God, and may cause confusion as to finding the way to directly accessing through faith and belief - and, the limited text we have that hints at the way; such dilutions can generate confused work to add to the pile of off the mark works and thoughts - that will not satisfy - the purpose, or instill in those practitioners - creators and explorers - and those in need of faith, too- the bliss that is part of the experience when universal principles are touched upon - hindering too then, the good they give, the life affirming, the inspiration to a giving nature, and to the healing - they can give as well.  So - we must be careful - to stay fixed, with the evidence we are given, and be satisfied - with the qualitative limit of it - and try not to expand on the principles themselves- but, explore them as they are, such as they have been given, and then, with the freedom pure faith and belief allow, respond also directly to the experience of that, which will never steer away from the principles, as attempts to embellish the limited materials - unfortunately will, to the detriment of all, and to the detriment of the respect, in the eyes of those others with the common experience, for faith and belief in universal principles/ God in our smaller space. So, as with art that is not in some sense reductive, beware the dirt that muddles the water.  It is a truth, that pure belief and faith are so simple, they are also so widely freeing. They allow for infinite creation where they are in place, and where God- is the blade.
The principles he embodies parse the elements we work with in creation, by virtue of our exploratory sense - as heightened by the motivation and bliss belief/God instills in us - . Our elements are chosen - by reduction - and, by availability of materials that are in atomic/ elemental form - to use as our examples of the principles that rule over all - in this OUR sense it may appear arbitrary then, when one be chosen as material over another, but, this is where belief and faith- as pure mechanisms - will guide us - to a pure connection to the materials, to appropriate choices of materials for specific explorations/ expressions of creation, and for honest assessment, which with good choice, will never be impure, or misdirected to false expression, because of the purity of intention, and because all matter in reduced forms present workable materials for universal principles, hence, local materials and material accessibility will not present a problem for proper use or creation. Ideas will be chosen that are appropriate to them, as they dictate, consistent with consistency of physic in our world, and within its capacity to function as part of the wider, invisible and unreasonable (from our rational, method perspective) principles. In keeping with these wide freedoms, there will be no - error.
    Notation within this - is beautifully explained, as response, as mechanism, as reaction, as art. It is an offering, it is a expression of the pure possibility that moves beyond the actual act and into the mental space at the time of notation generation - that is another parallel to the material. In compulsive state, it is an ecstasy  - it is a bliss - a rolling over itself - and no hand can compose the bliss it dictates sufficiently fast - thus, it is always rolling over itself, falling outward onto the page... compulsive notation is bliss. It is desire to understand while dismissing understanding for purity of a direct contact with the first creative force - this expression - of God.

God - is the far margin, the limit - of expanded belief. It is unreason, impossibility, unlikelihood - because of faith required to accept it as possible, that God - is. Now, if one can believe, and have this faith, it calibrates the belief in what is possible - to a very wide range and margin. Because, as God is the largest possible seeming impossibility, all other things are far down or below it in impossibility - lesser impossibilities seem much less impossible, and even, quite possible, though unlikely. And, with this calibration, we can perform seeming impossible things that are lesser on this scale, because, our perspective has been widened. And, we can easily see- those things that are in fact clearly possibilities - because of this widened margin - things that seemed difficult or through past negative experience with attempts, or from negative received systems of what is possible, would simply not be attempted, for fear of failure, fear of wasting time, and for fear of an uneconomic use of time. After all, what is the point? If we accept something through a kind of faith though, we are also accepting that we do not need to be in complete knowledge of purpose, results, and meaning. We accept, based on faith, as part of the larger acceptance, of the expanding scale of possibilities into the range of impossibility, where we must and do accept something PURELY by faith and faith alone. And where for some, religion may seem an uncomfortable cage, a belief and a faith then can be the most freeing tool and motivation to explore all manner of newness. God is a calibration of our perspective. It begins there, with faith, that we may be free, and completely free, to experiment with an infinite range of possibilities by virtue of this calibration.

Self Regulated performance

Find a way to successfully tape 2 bottles of bottled water to the right hand, so that fingers are around the necks of the bottles - and are firmly attached by tape - . Open cap on one, drink deeply from. Begin action with left hand - as yet, undesignated. While performing with the left hand, drink periodically and deeply from bottles fixed onto right hand. Need to urinate will terminate the actions performed by the left hand, and performance will be over, as both hands are attached to body, which is affected by actions of both hands.

Transcending a Possible/Impossible Dichotomy

Perhaps
best way to move away from feeling of impossibility is to move away from the dichotomy entirely, of possible/impossible. Perhaps, to move to an unexplored condition or state, where limits and rules guiding function do not exist, so, nothing is assumed. Then boundaries, if they will exist here, can be explored in an unbiased, non predetermined way - not in a state of ignorance, but, one of - innocence.
    Perhaps in approaching this state- which on entry we must assume is outside where we have previously been - we consider the transfer to it, of the optimistic frame of mind that allowed the leap - an optimistic state - that does not judge in terms of success or failure of attempts to do - the pessimistic mind set, of "learning" a narrow path of effectiveness based on predicted results, and results coming near prediction or desire - may be left at the door. So to not immediately form the same limitations of the established states/ conditions - rather, to form a presence in the new state where the binding approach we escape is not confining our movements and actions within it.  Here then, we have opportunities endlessly,  not first and second chances, but, endless- to express the directives of motivation and desire, detached from effectiveness - dependent rather on the purity of intention, the purity of a sense of knowing based on rightness, and not on the false method of exploring our reality with cause and effect through satisfaction, of progressions that are formulated to dismiss broader possibility - from the possible/impossible dichotomy.
To sidestep this formation does not lead us into a chaos, but rather, into an area of the innate - not preprogrammed, but, into a region of the natural considerations of what we live in - as defined by forces external to us, but, not fabricated, human ones. The considerations, which we do not know beforehand, because we have abandoned our so called effective knowledge with the falsehoods - is left for us to discover one fact at a time, in their natural occurrence, in a setting that is free from biased attachments and false associations. There is left only - the innate.
Within the innate falls biological imperatives for the living, and physic properties that governs all matter. Action becomes effective or null based on the parameters in place within the innate conditions.

Prayer Clocks

These pieces - which have a general notation system to guide variations of specific performances - are designed to create an additional state to our daily operational one - in which a state of undistracted and focused prayer may be entered. The conceit is based on bodily fatigue - the body becomes tired - effort is spent to maintain the action at hand - and - AFTER the point of exhaustion, the "second wind" state is found - often, suddenly - where breathing becomes steady and regular again, and effort becomes transparent - and, occupying the body - as the mind becomes separated, and, is freed. To do this, i use a method of action and image that is then the bi-product, the obvious part of the performance - while the inward state - of prayer - is indicated by the titling of the piece - and, based on facial reading and body state, this prayer state - may be visible, as an alternative state, as that other state is made obvious to some who are observant by these body condition changes. The content of these prayers is of course invisible, and that part of the performance can only be experienced by the performer, and, perhaps, the recipient or object of these prayers. Here is how it is conducted.

I/performer stands in a central location in the performing space with sufficient space around in all directions for the action. Performer takes a long wooden dowel - it may be thick - for deeper tones it will make as sound, also requiring greater effort - or, thinner, for a higher "wind" tone - less effort, but, a trade off - for the sound- in either case, the performance is only a segment of an infinite time in which this would be ideally performed in - heavier dowel perhaps allows a sooner entry into the state because of more immediate fatigue - while thinner dowel - makes a more gradual achievement of the state - this forms a duration aspect to that part of the performance - as a liquid, unseparated "movement" if you will, that blends into the next movement, which is the desired state. The dowel, if for a longer duration, and there is fear of losing grip on the dowel and having it fly dangerously away - may be strapped or taped firmly onto the hand, with the hand gripping one end of the dowel.   The performer then follows a guiding diagram, which will dictate turns of the body, rotations- by degrees determined by score. Degree turns have a "fine" limit - of 45 degrees - for purposes of clarity - to small degrees would be a subtlety lost in the course action the follows, which requires great effort, and which, at least in the first part of the effort, require a focus on movement detail that would take away from the overall concentration required. So, 45 degrees is the small size limit. The large end of the degree of rotation between action is 180 degrees - , and of course, in the middle, 90 degrees may be observed as an option. This is "local" time frame of the "prayer clock" - that is like human creation of time, while the time of the overall rotation - is indeterminate - or, endless- potentially - like, the unknown limit of a human life, which is out of our hands, and can not be predicted. So, with degree moves decided, the performer, equipped with dowel strapped to hand, faces one direction to start - the perform then swing the dowel out in front of self - from one direction - limit of reach - to the other - limit of reach - in front of the self. With a slow meter, the performer then turns the body by set degrees- let us say, by 90 degrees- to face the relative right side from starting position, which keeping position/location - at the standing center. The performer swings again, the, turns. And swings again - and so on, each time, swing the dowel AS HARD AS THEY POSSIBLY CAN. There is maximum effort, each time, no matter the fatigue - so that each effort is at the border of what is locally possible- for the performer to perform - and, thus, maximally "sincere." Eventually, fatigue will set in. Them exhaustion - which must be gone beyond - maintaining the maximum effort with each swing - and, steady, regular turning times, and, swing times, to guide in an effort to achieve required concentration - partly dependent on certain regularities - that occupy the body - regularity that, once the state is achieved, retain attention of the body - in part, through the regularity - variation of timing in local occupation while create a window through which the fatigue can return, or, for body awareness to return.
So, the turning and swinging - goes on. The state is achieved at some point - regular breathing comes, fatigue feeling disappears - mind is freed. Prayer begins - a focused concentration on image -i find, is best - to think in image terms - instead of verbiage, which is sufficiently broken in its regularity that this too can create a window for the return of body fatigue - so, the specific use of the mind state achieved is also important. The image should be decided beforehand. This will keep the mind from being "used" by the performer, which i found, "use" requires some level of body occupation - and, pulls the mind or, more accurately perhaps, the spirit - back to the body. Specifically, by image, i mean - it may be not just a picture or object, but it may be a series, or the visualization of scenarios and events. To dwell on, as it were, that are known to the mind, and spirit - and, will not require engagement of judgement or logical thinking - spirit - the mind may invent, and imagine, along with these images, but, the spirit will guide it - it will comes, as a flow, and be effortless - will can be engaged - to visualize - will, as presence - but, it should be of a transparent kind - and, natural. It must- come. If used to prayer state, it will come on its own, which is best - force may then be applied to create the intensity - to match the plateau that the body has reached - of the spirit. I found recently - this may go on - for a very long time - i imagine it - indefinitely - in the past, the Prayer Clock has been part of another performance sequence - i reached the maximum state - for fifteen minutes- eventually, fatigue returned - and the prayer ended - though the fact is, i was under time constraint. Recently, I just did the Prayer Clock alone, by itself. I used a medium heavy dowel, so fatigue was achieved - and then, exhaustion - i continued, and suddenly, at once, fatigue was gone, breathing, effortless and steady. I continued to turn and swing regularly. I brought on the image - a prayer - for and about someone, and desire - i was able to continue for an hour with no feel of fatigue or needing to stop. My spirit was separate from my body. I eventually ended, because of time constraint. A small amount of fatigue came then, but surprisingly little. My breathing remained effortless and steady after the first shock of stopping, of reattachment to myself. I could have gone on for much longer, though i do not yet know the limit. I found, when i unwrapped the tape fixing the dowel to my hand - that the dowel was soaked with my blood. I had skinned much of my hand. Perhaps, a covering could be put on the skin beforehand - to limit damage - i was unaware of course that the damage was being done. I will soon i expect perform the Prayer Clock again, in a setting of open duration - as a public performance - i think, energy of public may add something - to the effort - i think, witnesses wish to see the thing continue - because, i found in conversation, that the effort seemed miraculous - and, the audience was frozen -watching - and, i think, wanted this continuance - to be witnesses to a miraculous thing - also, as a demonstration, i think it important - to show - something impossible, or, at the boundaries of a human limit - may be performed - and, going past difficulty - into a kind of ease - suggesting the possibility that such a thing may be performed by many, by any. In part, that is my message, to show (not to elevate myself, but to illustrate as Jesus did) how to pray in a certain, powerful (and effective, i feel) way.

The notation consists of this - a circle is used - to describe rotation degree. It is a notation devise i use to indicate in other pieces, location of an event in a series or sequence - but here, serves a second purpose of being a literal symbol for rotation degree. The circle has a line within it, a radius line - from the center, rising vertically, to the edge of the circle and stopping. This is the home or beginning position of the performing, the first location in the sequence of rotations. The swing sign is a short vertical line with a horizontal line that comes from its right hand side and continues in the right direction, falling into a curve downward at its end, representing the end of the swing - . The circle for the rotation after the first position, if determined degree moves is 90 degree increments, will then be the circle with the radius at 90 degrees to the right. There is a 45 degree position too of course - as that is one of the increments we can use. The next circle in a 90 degree increment is then a radius vertically downward, then, radius horizontal, to the left, and then, back to vertical, home position. That describes in a literal notation the rotation scheme.
    It is important that there be no special preparation for these pieces. To exercise, or to make up a program to build stamina - would be counter productive - it would calibrate the experience such that desired states and change would be lessened in completeness, or rarified. Only preparations that should be made would be for audience safety and for bodily damage during the piece, such as winding the hand with material so the skin doesn't rip off.
    This piece is composed of "soft movements." They consist of distinct states which are like movements in their distinction, but, which blend into each other - or, arise and change abruptly, but, with no pause as typically would distinguish one movement from another.
    Important to work with and develop from this and other pieces is a mental distinction between resolve and ego.  How to be true to values and purpose, while suspending judgement and the centrality of a self? Action may examine this.
...and, how to synthesize the seeming coincidences - and miracles- that may be a result of any such focused prayer ; should result be anticipated, and, when occurring, incorporated? Does this conflict with the notion of newness, of forgetfulness as part of Lower Consciousness, or, is it perhaps a feeding into the innate qualities that are the base operation/ atomic level of all that occurs as action and intent?

Inserted text after a rehearsal of dowel swing ensemble -

So - the solo prayers - are directed toward a woman who i care for deeply on the other side of the world - who i struggled to join through art communications until I can join her physically and for my life - this is the bare source - and - i found, from previous experience through a "Prayer Clock" that prayer might be affective when done in such a concentrated and focused way - so , I devise a prayer ensemble, for the punching through the atmospheric envelop of greater, number amplified prayer power - this practice, 4 individuals, and, together- swinging dowels for such wind and concentration - and next, perhaps up to nine who have joined the group - it could be - massive and powerful - three and four - presented such varied combinations, durations, punctuation and combinations as to boggle the mind presented with such seeming simplicity - and, that individuals can fall into such introspective concentrations - while in a group - i have high hopes for affective power of such an effort, expanded even to larger group - and power.  Vocabulary - each person - followed their own path - to make the way to swing their own. It was truly - remarkable - the variation- and the personal stamp - this goes toward and feeds the overall or unified concentration - in number - to push through - while varied in technique and choice of dowels (individual also, and varied size changed pitch (through width) and duration( through length) made it much more orchestral, with enough timbre difference to give a fatness across the field of sound qualities and distinctions - yes, the prayer- was indeed amplified - even as individuals pursued their own motivations - still, I sent my thought prayer- and - in the end, a long trance swinging on my part - to direct it all - to the object of my prayer - my love, my devotion, my angel of Formosa, whose sensitivity can feel such ripples as i send - as influence of love, to her thoughts and mind in the course of her contemplations of her day - and movement of her own states of being - which ripple with the weather and the light of sun and moon, and passing time, and the contemplation of her own life, and of God. This, and other streams of focus - bind us - not as possessions, but as- presence - and, as inspiration - i find- i am drawn out of myself, to recruit the strength, power, and expertise and variation of others- to further the tool i use to send - my prayers - and while respecting others motivations and own purposes in participation, yet, i draw this multiplied energy together to the purpose - i send the prayer - for one deserving, for one who is good, who i understand, and with respect for all the parts, humbly draw away the power before it dissipates -and pray - with this as walls the numbers build and fling away- to protect and harbor my pure and humble prayer - for safety, transmission of love, and hope -  to my angel, my love, of Formosa. All my prayer and work and thought inside the world directs itself - to this committed focus - which sharpens the blade of my art, which draws it new when new is needed, which creates to feed the air between which dulls from repetition of the means - which imitates the flow of life by changing art and ways expressed - and thought, so all will grow, and nothing wither - as a weed of  warm out expression. All must be renewed! Power drawn from every source, where art and drive is born, born like the future of our child, the beauty of our crossing flesh across the world across the races, beauty of the drifted skins and philosophies that divide us, united in love, unified in flesh of loves' bud, a child, with asian eyes and lighter skin or blue eyes, and the tone of her ivory cheek - and hair - like darkest night, or light as Thor's - become(ing) bridges over drifts of ice and water breaking lives apart and isolating lovers from the dawn of speaking and of picture making, from the written time we know - and wandering, and minds so far away they thought - how distant can we make- our thoughts- to make of us - ourselves- apart -  i pray, to pull two close, who time drew far away ancestral - who would never know the other but that art, expression drew to each the other near, and saw, and know - and thought to make, and love, and generate, and now, to speak across the way, to her the future and to her the mother of out child and children like something had been down written but was not, but clearly was an oversight of written history, as a destiny never was so clear, this love, this meant to be, the distance symbolizing all the break that pulls to love between a man and to a woman and the bridge they join to make a child, the way- to heal- and, that is pray, upon a prayer, upon a pray, which starts with this, a desperate performing prayer across the way across the world to pull, to pull, to pull, in close to love, and to transmit, to give, and care and make, a unity a symbol and a sign for all of life.

Lowered and Dropped Stone Orchestrations And Arrangements

This form has a literal notation  - a horizontal line to depict a dowel held horizontally - vertical lines from the horizontal one, going downward, to represent the strings, and short horizontal lines at their ends - two - close together - to represent attached stones - the farther apart the two horizontal lines are - the larger the attached stone is. The lengths of the strings may all be the same. That illustrates a unison orchestration of stones. The dowel is lowered from a position in front of the performer until the stones reach the floor, in unison, and bump it - to sound. This may be done several times - there is a short horizontal line drawn on some or all of the vertical lines that intersects them. This is a "cut" line - the strings will be cut at different times when the dowel is raised, and stones are above the floor. This will create a sequence - of dipped-to-floor soundings, and stones that drop onto floor, individually, after the string attached to that stone is cut. Beside each vertical line is drawn a circle with the radius drawn at 45 degree increments from center to edge of circle - this circle form here is used to dictate an order of the sequence - of cutting the strings- from first position - vertical radius - to 45 degree rotation (in time and sequence) to the right, to 90 degrees to right, to 180, etc. A sequence and numbering simple system with reference time and order naturally in a reference to progression. With these elements in place, we have a score for dipping and cutting that dictates arrangement. Horizontal lines, where the floor would be - indicate the number of times the apparatus is dipped. The horizontal lines are "stacked" a small distance from each other, to indicate the number of times the apparatus is lowered.  The vertical lines can be of different lengths as well. This means that when the apparatus is lowered, some stones, which are on like lengths of string with others, will sound together, while, as the apparatus is continued in lowering, other sets of like length strings on stones will sound together as a set - after the first. This is a further orchestration and arrangement. All of these notation aspects may be assembled  in variation to allow for many variations of the broad compositional form, as many as can be conceived, allowing for infinite variations and compositions, as with any true compositional system of notation. Aspects of these compositions are akin to Dragging Scores where string length and orchestration is determined by physical and circumstantial values.