5/27/84
The future considered
as dispersed
probability-

As we focus on a
detail in the present
with more and
more interpretive
intensity we move
into an ambiguous
termporal zone

The future is a
puzzle, an enigma
which we approach
through a number of
means. One of these
means is to
interpret small
experiments that
recreate some of the
conditions of the
"passage of time."
Our whole grasp
of experience is
metaphorical.

(Bob's example of
Southwest Indian
language-)

The cycle of the
return to art-
reference Shape of
Time)
The new languages
that the scientist
must rely on to
"measure" probabilities
that cannot be
spoken about in
other than mathematical
languages (Cage quote
of Duchamp)

In a long cycle
beginning with Descartes
science is gradually
realizing that its
dependence on
technology more and
more glaringly
demands new
configurations of
language-
computer techonology
computer "languages"
(Same problems in
satisying needs for
ordinary langugage)

The "whimsical"
the theatrical
(Mallarme's dramas)

Style and method
(medium is the message)

The prdictive in
science and the
predictive in art-
From a present
that defined
time in absolute
certainties
"event marks the
boundaries"
(Reference-the
Event Horizon)

Microscopic focus
of intervals-
(correction of
"red shift"?)
In psychological
terms- a certain
step has almost the
same meaning at
any time-
witholding that
step transfroms-in
a microscopic way-
the scale of all the
"later" in intervals-
the measure the
zones of temporal
experience with
more contemporaneous
precision it
is necessary to
take alternative
projections from the
side of altered
successions. Thus
the usual zone
we usually call
the future is
called
"dispersed
probability"
which contains
a word with a
tense associated
with "the past."
Modern American
poetry from Eliot
to Mac Low and Andrews moves
in a direction of
dense to light,
from heavy configurations
to ever lighter
more random and
irregular variations.
Just as Mallarme
spread the words
out on the page
allowing more space
betweeen them,
contemporary poetry
measures its
intnervals in the
mircroscopic
pauses between
and within words.
The effort to
connect the dots
allows for transformation
at a highly
rapid acceleration.
'The universe of
this experience,
time itself is
experienced as an
overlap between
tenses.As we
familiarize our-
selves with these
configurations, we
move in a temporal
zone which puts
into focus
dispersed
probabilities

Another angle on
this is needed
where the
physics on the
interval is
related to
free association-
the usc-pcs
back to Freud's
point in the
Mystic Writing Pad-