The Last Stoup, Issue 10, April 1993

Mason’s Stoup 10

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In Between

but dilly-dallying
over the hills
the miles of vines
the corners of which I’m cognizant
but just barely
the dead barn owl with one wing flapping in the breeze of a car just gone by
the cows
cute but stinky
and thankfully organic
the jibber-jabber on the radio
the cool rush of air from the window on the far side of the truck
the miles
the miles
they rush at me and under me and into infinity beyond the back bumper
and then the sun pushing up and into
the sky in the mirrors brightens and lightens and makes itself known
and when I look up at the mountain range that stands between me and the massive expanse of Pacific
the fog just barely spilling over

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Source Code

unbending on breaking into a series of handshakes and deals
contracts written into existence post facto
words situated to fit the situation just as the unfolding takes place
(is this equal and opposite?)
more than making a fuss over
this documentation
more than just a casual observation

the parties involved take parts neither are quite sure of
the definitions of which lay unfinished in a heap somewhere
notes scribbled, things referred to as “paperwork”
ellipses taking the place of, or implying meaning where any has yet to settle despite the appearance of agreement or sense of propriety

this is where bleak formality is layered in
where the comfort of conformity trumps the ideas of action
where the questions, in all the forms they’re known to adopt
whether posture or postulation, blossom into a thing more important than that for which they strive
– the answer is the terminal, the question, the journey

between that which is developing
the cause and effect
the nuance
the roles implemented
the desire to imagine
to backfill and anticipate that which is not apparent, becomes the beauty of the action taken
makes connections
makes that upon which we endeavor a voyage instead of mere motion.

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Mason’s Stoup 9 – Fall 1992

Mason’s Stoup 9

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Mason’s Stoup 7 [the vernal explosion]

Mason's Stoup 7 [the Vernal Explosion] by tarbox69 on Scribd

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from Mason’s Stoup 7, May 1992 –
and here we are, nearly 20 years later – how were the predictions?

As time passes, the human condition evolves to a more abstract dimension. Applying this concept of time to an historical perspective, we see that society is gradually moving towards a hyper-realization of its older order, towards an abstract integration of the past to formulate a new and abstracted order.

This acceleration of the abstracted reality into the present is an obvious process with an obvious end. Throughout history, the human species has evolved to higher and higher integrations of the abstract consciousness. Consider the development of algebra, the subsequent development of calculus, and the eventual conception of General Relativity. The movement of communication technology to a hyper-realistic state has allowed the human mind to transgress the limitations of the physical, such as the concrete boundaries of distance, and gain an effectual transcendence of time and space. Your telephone can access any other telephone on the planet. In Europe in the Middle Ages, well over ninety percent of the populace did not leave a ten mile radius in their lifetimes. To predict the next destination of communication, this function of the movement of technology may be extrapolated, whereby the arrival destination manifests itself in an ethereal state.

Likewise, the movement of artistic intent and composition has followed the routes of abstraction. The communication of art has gradually progressed into a highly abstract epoch. This movement is visible when one considers the discovery of the vanishing point and perspective, then the flirtations with time and individual perception known as impressionism, and penultimately, the immersion of art into the realms of abstract expressionism, minimalism, and the modernisms.

Musical efforts have also rapidly approached the abstract hyper-reality of post-modernistic development in the twentieth century. The electrification of primitive expressional instruments further moved the arts of 1ogical expression, inherently an abstract form, towards the ultimate heights of abstract reality. Electricity could universalize the expression, whereby more of the population could become part of the thought, and whereby the thought could pervade the reality to an unprecedented extent. The acquirement of electronic fluency brought about the advent of recording technology, whereby, like the invention of the written language, and later the printing press, the art form could usurp time.

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