Have Pig Want Gun #4
Frog Peak Newsletter

Have Pig Want Gun is an occasional newsletter from Frog Peak Music (a composers' collective), with announcements of new items from Frog Peak and writings by Frog Peak artists. Please send us an email if you no longer wish to receive this posting. [See explanation of title at the end.]
*  FP Visionary Theorists SALE:  Rosenboom, Tenney
*  Scores  by Asplund, Corner, Goode, Kettle,  Monk Feldman,
      Polansky, Reid, Schick, Tenney
*  CDs from Nagorcka, Stabler,  Wilkinson

"  how do you know that, by Chris Mann

In celebration of Frog Peak's committment to American visionary theorists,
we are offering a SPECIAL SALE on two influential texts by two of the most important living
theorists, David Rosenboom and James Tenney:
* James Tenney, "Meta + Hodos and META Meta + Hodos"
      Tenney's major work from 1961, Meta + Hodos has been recognized as
one of the most  important and influential theoretical treatises of the past
thirty years. It is an early attempt to redefine the language of musical
form in light of the experimentation of composers like Varese,
Webern, and Cage. META Meta + Hodos, written in 1975, is an extremely
concise restatement of the ideas of the previous work, incorpor-ating
new ideas from information theory, perception and cognition research,
as well as Tenney's own work in musical form. Both classic works are
presented together in one special edition. This new second edition
includes many corrections and emendations by the author.

* David Rosenboom, "Biofeedback and the Arts."
   Rare second edition of this groundbreaking 1975 publication covering work
done by major  artists and researchers in the field of biofeedback and the arts,
and neurological information processing related to aesthetic experience.
Only available through Frog Peak Music.
>>META Meta + Hodos ---&--- Biofeedback. REG $40. SALE $30.<<
Here is a selection of some of the new scores by fp members. For
complete listings, see the individual  artist pages at

* Christian Asplund
   Symphony #2. For viola. Asp49. REG $15. SALE $10.
   Symphony #5. For wind ensemble. Asp56. REG $25. SALE $15.
* Philip Corner
   Dick Higgins' 1000 Symphonies #177. Cor 194a. REG $15. SALE $10.
   Dick Higgins' 1000 Symphonies #163. Cor 194b. REG $15. SALE $10.
* Daniel Goode
   Caller's Music. For any ensemble. Goo19. REG $15. SALE $10.
   Say Your Piece. For chorus and organ. Goo22 (score & parts). REG $25. SALE
* Rupert Kettle
    Imaginary Variations Nr. 1. For percussion sextet.  Ket04 (score &
      parts). REG $25. SALE $15.
   3 Pieces/Percussionists. Ket 05. REG  $15. SALE $10.
* Barbara Monk Feldman
   The Love Shards of Sappho. For clarinet in Bb, piano, violin, soprano
      and percussion (II).  Fel 09 (score & parts). REG $25. SALE $15.
   The Northern Shore (Trio Version). For piano, percussion and violin.
      Fel12 (score & parts). REG $25. SALE $15.
* Larry Polansky
   k-toods. For piano four hands (or two pianos). Pol61. REG $15. SALE $10.
* Wendy Reid
   Tree Piece #46. For violin & percussion. Rei14.  REG $15. SALE $10.
* Paul Schick
   AYO. For any 12 musicians. Schi01 (score & parts). REG. $25. SALE $15.
   CHI. For string quartet. Schi03.  REG. $15. SALE $10.
* James Tenney
   Ergodos III. For two pianos. Ten52. REG $15. SALE $10.

* Ron Nagorcka
   Devils of the Night. With Robert Williams. Nag10. REG $15. SALE $10.
* Gerhard Stabler
   Palast des Schweigens: Kassandra-Studien. Sta25. REG $15. SALE $10.
   Gerhard Stabler/Mayumi Miyata. Sta26. REG $15. SALE $10.
   Gerhard Stabler:  fallen, fallen.... Sta28. REG $15. SALE $10.
   Strike the ear: Chamber Music. Sta30. REG $15. SALE $10.
   The Complete Piano Music. Sta31. REG $15. SALE $10.
* Clive Wilkinson
   Scrumped. Pieces for Gamelan. Wil23. REG $15. SALE $10.
   excassette missile. Wil24. REG $15. SALE $10.
   azitwaz. Wil25. REG $15. SALE $10.


how do you know that
by Chris  Mann
(for the united states, trade is a dollar-selling pyramid scheme
where the function of exchange is to defer risk on to the other party
(the state being, of course, simple surplus value):)

on the figure-ground placid random recruitment of the past: do the
symptoms get more cash? and, which part of the strategy do you sell,
the elaborate feedback-hunting that is the market, the (punctuated)
bit that fits? (an object is that gives you insight into what you
want (where understanding is that defence mechanism that allows you
to defend (A) the tautology from its best intent, And (B).
(decoration, then, is that confuses 'stinctions 'tween the given and
the poss (and what is given to the model is of course no gift))), so?
you mean hysteria just a technology of the local?

a cop that adapts (if a positivist could be wrong, she would (if it
works its obsolete)) is what, a cop? sure, and red is just a change:
action is the dimension (stuff but the bank-rate of what was there, a
romantic finder's fee (the two or three degrees that irritate the
dust but just enough)), the phase-space future of 'saywhat?' grouped
around a blow both off of of and squat, that doesn' pay: my stance
the circumstance on H: quaint,
habit: the past but a failed not-yet with Its (to decide, to
refrigerate the facts) own string, the diagnostic (well, fuck me)

what (the medium accounts then only to the switch), the sentimental
fait A compli, the restored, the redeemed, and nice (the melancholic
rights (agency, for example (a scepticism that's shy but one
dimension (a word has the luxury of pain if and only if (the fetish
of choice (on being an analogy of ignorance))))), the toy?

design, dark matter with an itch: everything a (moody) fractal of
everything else so stuffs our concept of the thing that its
positively heroic (a graven image exempt from tax) (use (the alibi)
is a medium. it is a happy medium, a petable event (to know, and
other mutations (amps) of yes):)

(as a citizen of DNA (a metaphor just a cannibal with pretence), a
number is that circulates as catalyst (or lisp), the tenant-as-credit
pitch (cough to turn the mirror off) and other partial lists (the
semi half-life of the nod): my it (the thing in heat) the quit, the
proxy dog):

and of all possible states, the violent is the most economical (the
subject but a late attempt (for which any This can not be That
(reason, that form of existence that requires me))) and, if
information is the energy required to measure it, it fails thereby be
true (context (noise) employs stress (more is here called evidence)),
memory the topological defect.

subtle. once. or, some: logic pimps for choice, a where i is the site
that, like, requIres (and barters what for news?) like abstract, you
know, as in drama (on the horizons of a joke and other acts aphasic
cowardice): what qualms, the dose?

compulsive failure, sufficient as a self is mediocre bib for an idea
(left, left right out): that it resolves is almost bad enough,
experience with no ex, but (though if time ain no (unit) metaphor for
stuff, can nothing be left out?)

existence is cathartic for the object, or it's not. the patient, the
person with one idea, the bot that stracts stress frOm the past (a
nod that's easy on the eyes (procrastinates (the it that's
placeholder for the want))), the data-(what knows what Its gunna
say)-is-depressed effect that utters on the (lil' loll and the
indolents, the coma slouch:) lusk. as in touched.

being the subject of production, learning is cathartic (price, the
attempted cure (salvation is that form of knowledge that Invents
proof (and, coz truth ineligible as subject, metaphysics is the
science of the debt)), the very self of not-yet) on a thing.

the pathology of being known, the self, the impossible set of Up and
other low-tech swarms, the It bit To Be let out like some spare
algebra ws left, a google acid webcam turned on by what wEren't said,
a knowledge pimp, a neural pain, a list (the paranoid (nouns but just
hypnotics where the sugar been licked off)) in bed:

the similarity that makes a difference, fiction (sure, sheep is a
medium (a shit medium counting sixtyherz bedspring modulators in
their sleep, a class action 'gainst the news (the survival mech
(oops, quantum for no) of being then foundout))):

knowledge, avoidance therapy for the criminally insane (and though
matter a low res echo of the buck, the dollar breeds a heirarchy of
users where only those local to the treasury get to vote), an
economic syndrome, catalyst and suit:

administered by the US, the buck is lost on me (media, the
lack-of-subject Effect (where tinnitus is the medium, content is the
result (the talkies (we have sums of making you talk)))), the old
phenomenological sing-along, the poll:

doing some cyber applique on the object by renting out the audient
and turning it to beg-the-question party one-on-one (the minimalist
but sentimental), adultery with intent (the dead have simplified the
plot), the rhymes transparent as a cop:

experience is pathetic (if tautologies all is pink, how much
red-shift mix a therapeutic ink?), smudge the nowfree noun (slow,
slow, quick quick, slow) to the eugenics of next week (the clone, the
delayed aesthetic twin), snuff enough for too:

kill the fuckin ref, the prosthetic bloody dimension of intent: When,
is a tax, the larynx of romance (the very name of value is the
p'lice), the productive circulation of the weak. (it is the nAture of
prOfit to conserve information, and action (that which sAves
(sublimation in a pack)), maps capital as computational and therefore
(though, maybe) one:)

victimise the this, the borrowed experience (it warms the ads
(serialisation-they-say doubles a use (the viewer remains a simple
fetish (the drama of no idea at a time))), my friend the end.
typical. the pessimist list, the matter butter (the derivatives of
which is fucked (wants to recite the object by jerking off the
price)): wet. to let.

all names measure duration. except two ninetyfive which measures
distance, wants to know where the value has bEen (movement is
production (with the string)) (the past, an object with a cross, is
thus a rule of war): ninetofive all a measure can then mean.

the past is not a self. unless of course its known. as in, had.
'who?' is bad enough, a late or later 'sumption, the unconsciousness
(domain fallacy) the fact, too many truthreduced to make a halfway
decent thAt: no one charges narrative with a conflict of interest any

to use the subject as its cure, a homeopathic 'terpret rEpress, to
guild the trauma by making it a stage, a diagnostic (stupidity is a
medium (the only trouble reading blindspots that you always lose the
place), a house-trained mem, a an-explained, a

as music proves the past, is violence proof of sanity, the subject a
machine distributes market value to the poor: the temp, the pause,
the my-bum-the-drug, time is that liberated from the coagulates of
more, that old act capital (i mean not all pets is senile, some just
muggin for the wall):

analysis, capital for work, does time, comes between the measuring
and that, the doe-ray-me neurotic shop, and stops: my what the lot
(it take Um to fit up future (stuff is a reasonable explanation (the
adequate event)), though guilt hardly what you'd call a risk).

common. as in i is a name. cOme On, its only at the sAme tIme. a
sweet ech' coz (the conditions of the event may name the same though
the odds is pretty slim an okay version of the (time, the attempt to
make context portable) space would get about). and what makes You a
rentable insight, that you dO or dUnno what you dId?

description lurks in some past-tense hovel dAnk, and though the def
don't fit that well, the prop itself is On (at least mIne rhymes (and
if you can't afford the time, at least please rEnt the relevance)).

here of course fails to be experience (though ten fourtyfive a
perfectly adequate proper name (as an early attempt at ethics, the
noun was no particular success (reason minces backwards on high heels
so is ugly with the shot (it was modelled on the hit:))), it but the
gnostic shop of choice:

data rock (the doityourself zero where one constantly bemoans some
mock knockknock mnemonic pun like too), the (counterfeit (prose)) box
set: next. (a joke has no ecology, is why:) my plot (fat (it flatters
logic)) the rest.

some blahblah some and the art of being fucked (the pluperfect, the
disappointed hum), the dud automata, the old impoverished karmic song
phenomena (three chords and truth will get you to the bus):

complexity expEcts ever cheaper (and failure Is the measure of
simplicity (value is generic to that which minds negation (the
product otherwise only shows synthEtic profit (is ecological in those
dimensions in which one doesn't live)))): fact is, facts only live
below the poverty line.

use, the syndicated past, only looks like capital (capital, the local
failure of the market) when its fucked (the task is a medium only in
the absence of she who does it): my tit the quit. or, intent (memory
is only profit when far enough away) on value, the (weighted) box
were rent:

how much silence does it take to buy a can of coke? enough for five?
that's the fuckin job (a (collapsed) fact is transparent to its use
only if it might be not) up close (hypocrites on toast) as though
transaction were the jam.

a politic numb number, one, we is needed more than we do them and
that's called narrative, and two i told you so (function is what it
forgets), autistic facts and fatter string: guess. guess what? i

dear sir, i'd like, to, you know, like, stYle (that that don't
confuse the those that do decides): you call thAt a leaky recursion?
i mean One but a short dimension of the It (the attractor syntax
(like it only comes in ones(?)) (computability is only stupidly
reversible (unless (set) it plagiarises stOps

the past effect, in conjunction with the rule that says the past a
once-only type affair, a function or solution of or to, an agent to
or of, affected as any other self the bot gets off (if the average
paradox is three by four, which sum is the altruist?):

consciousness, slow murder, haunts equation (on being the result (a
null subject (too busy to seriously exist)), a fatigued dissceptic
lag (deferred pause-n-all) redemption-as-reference setting up (the
boundary conditions of boredom) a store):

the attempted explanation, the object, the ('ronic) noun with
flowers, that in-excess-or-deficit-to the present, the make-mine
simile, the (scaleless) latency, or price (luck, the negotiation of
stuff by interrupts, is then (hostage) both),

the event, the that which its not, tucks up: said, as beverage. a
stress. the gift of want, a pic, a bid with tic suggests the saying
stay in bed to sort (the fun) the two-for-one from something else,
the better left of says.

'what' is the self of logic. and though it suggests itself a key (and
narrative a useful code) it not near so gnostic as say a 'not' (a
stutter tests a reading, a this-vowel-here, this stress? it
conjugates. in three four): spot.

the subject, the unconscious of language (music just the (It yoga)
unconsciousness of words), 'peats after me: i buy you buy it buys a
sonnet of the understood, and coz the surface of a collapsed meaning,
the me, is big enough for two, who buys.

understanding, the polite blush (avoids the evil eye by 'lucinating
blinks (probably a wave, a see y late)) (i mean, only then did the i
become confessional (to fend off fascination, second sight was used,
then exorcised, feelies on a phantom field)):

apathetic proof, the pun on the, the kitchen v(h): and coz language
is the argument 'gainst the self, its given to the (schiz threat)
past, the technique of victimhood. ubiquitous the result, runs off at
the mouth (a subject is that has claims to suicide):

(on the sanity of shit:) smothered in blotchy (exchange rate) irony,
the good enough (the sign an 'tempted 'noculation 'gainst what might
be said, adverbial prophylactic for gettin fucked)): the subliminal
(turn-take syntax) pause instead

the facts (residuals on a break, a puff and coke) don't wait. anyway
not for subjects. repression (negation with a dressing), a noun is
one of those invitations. the nausea that's left, is me.

attention economics, the ABC corporate displacement activity, an
unstable cyber narcissist readymade uninterested in cure, a medium
with fries, at least tries (of the two cows, one says moo, the other
you bastard i was gunna say that).

that which survives the past is suspect. that which employs the past
is dangerous (on the art of agreement): work, action On stuff, is the
populist medium of choice, time the pure measure of its noise. ah,

if experience were less like memory, what'd be the point? intent? you
mean the exploitation of sight by the object? (being more or less
than itself (the shame of the self), it floats) (what is it about one
that looks the same? (i mean cops have a peculiarly short shelf

the metaphysics of overlap, a pharmacopoeia of blunt stuff and little
string: of the executed (what, we should apologise for inviting them
to work?), it is true that some were just plain unlucky, shouldn't
have been at work in the first place

unconsciously but not invisibly christian, the facts no longer bleed
on queue, they just like confess: (and the politics of undecideabilty
(as though bank was no horizon, knowledge but localised revenge:))
(ode to the business of being right:)

on the immaturity of nouns: so it turns out, of the
investigated for subversion, not one has been charged. wish i had a
boss like that. angels of the eff be eye.

a noun is a tax. a deflationary regressive tax. two nouns is a
profit. and as a form, a media of surveillance, profit has a bunch of
advantages: aesthetics, for example. (and mirror teach you how to do
your teeth.)

experience deduces deduction. that's why its famous. it panders. (the
rational, the attempt to devolve responsibility, to decorate the
pause (emptiness, a dumb compassion for the past) (the threat is only

existence, piss poor logic (i mean a hypocrite looks (vector) normal,
right? (so, which part of the fact is adequate, its romAnce? (black
hole maths with an address?))): my boss the loss (as though):
chi-kEn, in pee for (oh) pAnts,

on why guilt looks like knowledge (like ( ) 'ld be def better if
weren't so fuckin cute (anxiety, the technology of nowt 'ticularly
int'resting, likes to smirk)): (being-an-after-hours-event) finds its
own way home as if home weren't such a friggin fluke.

reason is to same as same is to medium: plus plus carry the one. and
though not-yet but a style, it clear betrays the state (i (the
undecideable) mean otherwise One 'ld be enough, the perfect drug (the
tech but redundancy of place) tautology of bust):

dyslexia, ecstasy, a pluperfEct of Then, admits to double parking on
the kick: no black box coz, difference not some altruistic biscuit
with sugar taken off, it just (on the you of use:) spIt proof, prose
mere a symptom-distribution type machine, a singularity twitch.

understanding impoverishes intent. indeed makes such a martyr of the
thing (the drug the thing) that And (one of the (incredulous) clearer
names of proof) is (impatient comma) hocked (my watch the cross): how
do you knOw that?

HPWG is named for a listing in
"It's Classified, " a weekly paper
in the Upper Valley of New
Hampshire and Vermont. The
exact text:

fed pig ready Nov.-Dec. approx.
200 lbs. dressed, will butcher, cut
and wrap or whatever. would like
good bolt or lever, heavy caliber
scope or mounts, depends. 802-

We apologize if this message is an intrusion or duplication.
Email us with REMOVE in the subject to be taken off this list.
Frog Peak Music (a composers' collective)
Box 1052, Lebanon, NH 03766 USA
phone/fax: 603 643 9037