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Direkto

by Coppice Halifax

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1.
Direkto 56:13

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UR SLATE / SECTION II - 17463.space/ur_slate_sec2.png

UR SLATE / DISTRANS TELEKOMM REPORT - 17463.space/ur.txt

2021.02 OBSERVATION REPORT: Just barely into February and already there's so much to write about. For starters, the Slate seemed to burst into motion after January's piezoelectric recordings were conducted - as if some internal mechanism had been triggered, the Slate began to produce several dozen different vibrations at very specific frequencies, and more, it began to amplify those vibrations to the point that the piezos could record it in realtime, no post-processing or pitch alteration necessary. This could mean so many things! To begin with, does this mean that the Slate is aware of us? At least, in some kind of positionally aware way? Has my interaction with it either activated some aspect of its true purpose, or is this new behavior a reaction to that? An answer to a question? Or perhaps it is asking a question now? In any case, there definitely seems to be a relationship present, as strange as that sounds on paper, and it IS strange, very strange. I can't help but sense the implication that I ought to tread very carefully from here on, that whatever I do or say or perhaps even think, the Slate will...respond?

So, moving on with this month's dedicated reading - the "second" section of the cuneiform text on the Slate, if we are to assume that January's section is first. This passage is, for one, about twice the size of the previous section, and I can't shake the feeling that this doubling in verbosity is echoed by the Slate's recent spike in chattering out those frequencies - am I following some kind of path? Is the text on the slate a sequence that activates something once the sequence is correct? I haven't approached the Slate in such a way, at all, but perhaps this is a key part of interacting with it? An empty mind without some kind of design or condition placed upon that interaction. So many questions, already. So yes, the text - it mentions the reader/speaker drawing breath, which affects the "body of darkness" around them as it begins to "sway", described then as "a shimmer of invisible black, in a sea of dense air", which could refer back to the "void" from the previous section. It goes on to say "empty lungs without wind" which either describes a lifeless body or perhaps a body that has not yet become alive, the latter being most apt, as I previously noted that this could in fact be a creation myth. The empty lungs are "now filled with the slow boredom of resolution" and then three words follow this statement, without any real link to the rest of it: "Exhalation", "Exaltation" and "Relief" - All three of which could mean multiple things...literal references to taking one's first breath, or gasping for air after being deprived of it, and finally "Relief" being almost self-aware given the fact that this entire passage has been etched into this otherwise impenetrable obelisk. Words spoken as simple as breath, etchings writ as easily as thought. The "slow boredom of resolution" seems to outline a sense that the writer sees what follows as uninteresting, perhaps even inevitable, and if this is indeed a creation myth, then the only way such a monumental beginning could be met with boredom is...if it's all happened before, perhaps so much so that it becomes a tedium. Going back to the idea of God saying such things, it almost makes perfect sense. Being God would certainly have to get incredibly, universally boring. How much fiction has been written about the doom of wishing you can live forever? The infinite is almost always drawn as both something divine and unfathomable, but also immensely linear and so all-encompassing that the human emotions we rely on so much for our own interests become totally flattened, every one the same as the last, the dynamics of learning and being surprised and curiosity and even pain and suffering punctuating periods of happiness and pleasure, all of those things must be removed completely in Godhood. Stepping back and considering all of this, this second section absolutely illustrates that the writer has resigned themselves to whatever this endless process may be, making what will follow in the next ten sections something that, by this preface, should be familiar and well-worn, like an old coat.

credits

released February 5, 2021

Recorded at Distrans Telekomm, January 2021. Mastered by The Analog Botanist. Photograph of the Ur Slate and reproduction of text courtesy of the Distrans Telekomm lending library. Used with permission. This is Milieu Music number EARTH 62, entry #62 in the Deep Earth series. milieu-music.com analogbotany.com

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TEMPØ PULSØS MALFØKUSITA

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