Product Description
A “zone crossing”, as Walker Percy termed it, is an experience of
stepping outside oneself and looking at the world -- at reality-- from a
new perspective. Things which were previously of little importance take
on significance and meaning beyond the everyday; the mediocre and the
mundane no longer dull the edges of perception. One's interest is
brightened, yet detached, and that which moments before meant nothing now
stimulates curiosity. Life has altered in a seemingly uncanny way, even
if only for a while, before the fall back into uneventful routine.
This can happen as the result of a sudden shock, or an unexpected twist
in events. Those who have read Percy are familiar the idea and with
narrative events in which the zone crossing takes place. Among other
authors, Franz Kafka, William S. Burroughs, Richard Brautigan and Phillip
K. Dick, Norman Mailer, Kurt Vonnegut, Jr. and Albert Camus either evoke
the event or-- and certainly this is not impossible-- provoke the
reader's consciousness in such a way as to bring about an altered
perspective through the medium of the written word.
Zone Crossing is a narrative designed with processes and rhythms
analogous to electronic music. Fans of IDM, mashups, trance, and ambient house (among other styles) will be accustomed to the expressive and stylistic
qualities of the text-- and its purposes-- in the same ways some jazz
listeners share similar aesthetic sensibilities with those delineated in
beat literature. Tape loops, repeated motifs, patterns and atmospheres
evolve and permutate, with distinctive effect, as do the imagery and
elements of the Zone Crossing text.
Within the movements and patterns of music, dance, film, and language
communications transformations take place-- things do not change, but
experiences of them do-- when one accepts the challenge to encounter and
engage with art.
Or so they say.
"This composition is a combination of longhand writing, manipulated
texts, notes, scraps... internal dialogues. I did not create it to please
or entertain anyone other than myself, and it's definitely not for those
who skim texts once and claim to have 'read' Burroughs, Eliot, or Homer,"
says the writer. "It grew into a narrative of impressions of experience, and
of perceptions which are continually imposed on human existence wherever
technology and communications are a dominant force."
stepping outside oneself and looking at the world -- at reality-- from a
new perspective. Things which were previously of little importance take
on significance and meaning beyond the everyday; the mediocre and the
mundane no longer dull the edges of perception. One's interest is
brightened, yet detached, and that which moments before meant nothing now
stimulates curiosity. Life has altered in a seemingly uncanny way, even
if only for a while, before the fall back into uneventful routine.
This can happen as the result of a sudden shock, or an unexpected twist
in events. Those who have read Percy are familiar the idea and with
narrative events in which the zone crossing takes place. Among other
authors, Franz Kafka, William S. Burroughs, Richard Brautigan and Phillip
K. Dick, Norman Mailer, Kurt Vonnegut, Jr. and Albert Camus either evoke
the event or-- and certainly this is not impossible-- provoke the
reader's consciousness in such a way as to bring about an altered
perspective through the medium of the written word.
Zone Crossing is a narrative designed with processes and rhythms
analogous to electronic music. Fans of IDM, mashups, trance, and ambient house (among other styles) will be accustomed to the expressive and stylistic
qualities of the text-- and its purposes-- in the same ways some jazz
listeners share similar aesthetic sensibilities with those delineated in
beat literature. Tape loops, repeated motifs, patterns and atmospheres
evolve and permutate, with distinctive effect, as do the imagery and
elements of the Zone Crossing text.
Within the movements and patterns of music, dance, film, and language
communications transformations take place-- things do not change, but
experiences of them do-- when one accepts the challenge to encounter and
engage with art.
Or so they say.
"This composition is a combination of longhand writing, manipulated
texts, notes, scraps... internal dialogues. I did not create it to please
or entertain anyone other than myself, and it's definitely not for those
who skim texts once and claim to have 'read' Burroughs, Eliot, or Homer,"
says the writer. "It grew into a narrative of impressions of experience, and
of perceptions which are continually imposed on human existence wherever
technology and communications are a dominant force."
