Hortobagyi [eL-Horto]_Published CD's Liner Text Collection_2012_ENG

7/30/2019 Hortobagyi [eL-Horto]_Published CD's Liner Text Collection_2012_ENG

1/29

Laszlo Hortobagyi [eL-Horto]_Published CD's Liner TextCollection_2012_ENG

Lszl Hortobgyi GUOAeon (1998)

Precious and rare recordings from the age of Paleolithic and the 1st

Millennium, namely from theMammoth Venatio FestatLa Moustireculture toKontakion Akathistos hymn from the ByzantineParaklt. Inthe course of extracting the musical gravitrons from the timecapsules

of original atmospheres it has become possible to acoustically convert the

contemporary orchestration into a tonal system of our days.

This process (yuga-processing) will postulate the application of a so-calledTimekalpa-convoillusionplug-in, developed by eL-Horto, during the spectral analysisof chronospheric residual sound radiation.

The contemporary sampling is completed through the insertion of an adaptive filter

(brain-synthesizer of eL-Horto), that will resolve the problems of Heisenberg' s time paradox during the processing of solitons of Neander-Egyptian-Hellenic-Roman-Hittie-Scythian time-strata (orpororoca of the Aeons).The time-strata are being unfolded in an onion-skin like way from acoustical funnels

driven into Schwarzschildzone of wormholes onto the wax surface of gramophonecylinders, where the kronopitengraving and the filtering and amplifying of very weak

signals, the so-called hixspores will be converted into sequences of digital signals,and thus the acoustical reconstruction of the past is becoming reality.

(L.Hortobgyi 1998)

----------------------------------------------------------------------------------

---------------------

Lszl Hortobgyi GUOAmbiguo (2008)

Ambiga and ambivalent.

Sometimes ambigoa. But always traditionallyHindusthan and a possible projectionof the future. For those, who are not limited by their Imagination and

Weltanschauung. It is neither meditative nor tantric, there is no sweet artificial

mysticism, but it is always very Guoish. Just as a matter of fact, that would fit the realworld.

A different India with its music, being still singular in our ages.

Ambiguos music recalls the traditional Hindu-Muslim and classical Asian music

worlds, and it is performed with original instrumentation and live-electronic control,utilizing exciting ways of sound synthesis, in complete conformity with Guos 21stcentury traditions. And with the global and eternal music traditions of India.


2/29

Greenpeace in music.

Accompany it and immerse in it, and if you can: please, sometimes turn a complete

somersault, and all of a sudden, you are arrived.

(L.Hortobgyi 2008)

Lszl Hortobgyi GUO

Amygdala Expedition (1989)

People tends to have many chakras. First of all abracachakra. But there is also acortex-chakra (this is practically a reptile brain), that is called by our Hindu brothers

Brahma-chakra, yet this has a white man-made name too:Amygdala.Here you can find everything.

At the time, on the occasion of conquista, the white guvnors visited the pigment-

riches for some gold, cotton, human flesh and land, they owned the Bible. By thetime, later and after them, the musicologists and ethnographers arrived, white people

owned the lands but the natives owned the Bible.

Well, at this point the white scientists began to process everything they could

understand from the colorful scene, society and culture. Sometimes it was not very

successive, though they managed to find some very nice structures. I mean invent, as

they were very inventive.

Then they systematized, named and confused them with the reality.

There was one thing they failed to find: the commonAmygdala-chakra.

Well, el-Horto and Guo found it: the common multiple in various anthropologicalwrapping of different cultures: our inherited domain of intuition, that has a fantastic

ritual of alienation having been evolved to symbolize the infernal awareness of life of

prevailing social life.

In our days, we call it culture.

In the putrefied social existence, and in musical distillate ofAmygdala,being born init, we can find those metaphysical prosthesises, that are existing as ectoplasms grown

on to human brain in place of a world livable by intellect.

(L.Hortobgyi 1989)

Lszl Hortobgyi GUO

ntim Bhratiya Sangeet Sammelan (1993)

The realized globalization has another side: the mass culture mediatized day by day

by spreading of transnational enterprises, the practice of which will teach you that

people and their various cultures should be considered as a the source of profit and

personal enrichment. Here, the material interests are capable to swallow up any otherhuman feeling, consequently the whole society looks like rag-fair of Aliens extorting

passion.


3/29

There is no difference, even as regards classical Indian music, where contemporary

social existence and consciousness are able to do the impossible, and will transform

the original meaning of Indian music, that is nothing else but the metaphysical

musical exode of the most ancient awareness of life and the refined distillate of this

ancestral life-suffering, and for today it has become Tantric rectum cleaning and

music of entertainment industry characterized by beauty-world and wellness-ambient.It is observable, that during this final Super Sonderangebot the great Ustads and

Pandits, who could afford to be devoted to their unmatched but still fading familytraditions, are not strong enough to protect their representatives from extinction.

The authentic classical Indian musics total degeneration process became evident on

planetary level in the eighties, after the emergence of the zombie-genre of world

music. However, it has already started with the fall of the first maharja empires,about the turn of the 19th-20th Century.

Its litmus paper were the series of All-Indian Music Conferences, organized in India 5

times between 1916 and 1925, where, instead of the centuries-old practice ofunwritten standard language of music, the necessity for recording it and entering it in

an inventory became more emphasized.

If we are capable to imagine, like a 21st Century time traveler musicologist, a global

music culture that has been never realized yet, where it is not the light music that

becomes predominant on this planet with its Western tonality, but the Indian music

system will melt into itself a number of Western compositional forms, being extinct

by that time: then we will arrive at the corpus of the last and virtual ntim BhratiyaSangeet Sammelan celebrated by el-Horto-Guo.To weave this experiment further is only a question of respect and fantasy.

(L.Hortobgyi 1993)

Lszl Hortobgyi GUOBabel (2007)

Dub for all, who knows that real life isnt just licking honey. However, it is stillsurmountable, if you are listening toBabel. The sun-kissedless light ofdubs real facewill guide us to a collective kingdom come, where the dub however we mayeuphemize it is the musical distillations of underlying collective human misery of

our age.

It is the music of broken minds, that, for the reason of the worlds uninhabitableness

by human beings, would like to leave this reality with the help of traditional dub andfind a new world, where a collective culture could be established.

Just like Guo does it here. This is a pleasure, that is huge and divisible. Not a ganjacloud, but the sober alienation and a well constructedBabel-bridge to the other side.A promenadexode.

And over there, the pigment-rich dub culture is going to meet the high-tech, and inthe bass structures that are disintegrating the reality, there will appear the real black

peoples and the Guo Orchestras instinctive polyrhythmic clattering.Be a part of it, nowhere else you can find a home, anyhow.


4/29

(L.Hortobgyi 2007)

Lszl Hortobgyi GUO

Corpus Arcadian (1992)

Arcadia? Oh, of course, just like the ancient Greeks.Perhaps, because it was already necessary at that time, too. Here, we dont really have

any Arcadia. But, seek and you will find. Like el-Horto and Guo, however not in thepast of Peloponnesus, but during the expedition leading to the depth of collectiveconsciousness and its exhumation.

They have succeeded to find anArcadia, but it has nothing to do with the desired but

false concept of Utopias, much rather with the world of human souls real naturetransformed into rituals.

This world of antibody orgravastar can be reached through chronosynchronizedjumping the threshold of speed of light or closing our eyes. At that moment, the

moment of somersaulting occurs (pycnolepsy, that is the discharge of the soulsgravity bubbles made up of hexagonal meme-structures) and immediately, we find

ourselves in the world ofArcadia.In the Arcadian fields, there are withered bodies singing in a praying position withlooming hands and feverish shining eyes, and they are waiting for the final

enlightenment that will rescue them from the inevitable sequence of rebirths being

possible in the corotation circle of galactic domain (samsara).You can hear it in the atom flame light of the final bodhi state, where, at the final

burning to ashes of every good and evil human spirit, the paroxysm, running all over

the bodies, of the materializing individualArcadian joy will explode in the recital ofArcadian music and songs.

(L.Hortobgyi 1992)


5/29

Lszl Hortobgyi GUO

El-Horto Ang (2000)

Angmeans path, the path of music, according to eL-Horto and Guo.The only possible evolution of earthly music on a planet with disintegrating culture.

This is such a law, like Plancks Constant (quantum of action).Here, it is not the realization of a possible musical high culture that happens, but the

amoeba-like worming towards the future by a social homeostasis-culture, moving in a

path that is uncontrollable and forced to take. And at this time, the constraint of

appearance of neo-primitive compositional forms arises, composed during this

process and burdened with evolutionary defects.

While the white inhabitants of the planet visit the colored peoples world of theplanet, just to catch in the twilight of their declining world the trick of past therapies

for their own recent misery, the techno-acari of their industrial revolution will destroy

the essential traditional conditions of the desired sources of knowledge and lifeforms.

It grasps only maximum 50 years in the more thousands years old arch of music

history, and the mixing of past and future compositional forms can be realized only

during this short period.

However, its quality and miserable homogeneity are controlled by rules outside of

music history and culture.

Thus, there come into being the glittering metaphysical hodgepodges of money-

maker projects saturated with saliva and sweet mucus called world music, where it

is not the art forms of authentic, time-honored traditions that are becoming dominant,

but conversely, the white mans idiotic loops of music, diminished to four-fours.

Here, the traditional intervals, periodical rhythmic systems and timbres of unique

instruments are purely meringue sound-samples on the bergeilcake of entertainmentindustry, where the well-n-ass of little Himmler Gurus are fattening on exploitable fat

of traditions.

But not in the world ofeL-Horto Angand Guo:raga-structures and dub, South-East India and electronics, polyrhythm and pentatonic

polyphony from the Indian Archipelago, a thousand years old Asian instruments andtechniques of granular sound synthesis, orthodox Pravoslav choirs and asymmetric

bass periods, the meeting of Arabian music and Indian structure in techno

arrangement, Baroque music and dhrupad fugue, Tibetan and Dravidian dub-requiem,this is a possible musical path, however it can be realized only within the frames of

this project: this is what you may hear in the world ofeL-Horto Ang, exclusively andfor the last time.

(L.Hortobgyi 2000)


6/29

Lszl Hortobgyi GUO 2011

Entransociety

In the year of 2010 a new civilization has emerged, with relics, memorials and the

wreckage of Noahs Ark among its ruins, full of memories of the future and, amongothers, an incomplete ethnomusicologic collection that would be catalogued in

subsequent eras as The Guo Collection.

Later, as the realization ofTransociety paradigm, and as one of the collaterals ofZeitgeist-type movements of our age, a new school was born, the so called ArsGuothica Nova, with the primary aim to adapt The Guo Collection. The restoredmusical material has become generally known as a chapter ofG yan Uttejak Orchestras concert repertoire, called Entrasociety Live.

Live levitation celebrated by electro-seraphs from Hungisthan, where the modular

bio-electronics, the matrix topology of acid-m ms, the synthesized carcinogen silicon PCM sequences, the Hindustani style of astral-hallucinogenorchestration or the polyphonic application of analyzed interstellar noise spectrum

samples and geometric fractal loop programming, and the Pythagoreanmethod of sound mixing are spinning a m metic cobweb around the phosphorescent acid-consciousness having grown in consequence of thealienation trend of this century, and appearing in the holo-consciusness of the

participants in live performances as a refined pr na of transociety of the millennium.(Encyclopaedia Guolactica)

The Status Guo, arising during the live performance, will realize the light of theopalesque bluish-green divine jelly-aspic brain, floating in the apse of a Gothic

cathedral, where, due to the running out of the reincarnational amnion, the painful

fulguration of the bodiless souls will raise stroboscopic theta waves in the domain of

the crowds collective consciousness. The white-winged, greenish-gold lizard-bodied,

peacock feather-thighed cherubs, accompanying the Divine Soul (atma), are flitteringamong the pillars with traditional choreography of the trans-electronics, while thesighs of Deathbass will counterpoint the cantosections of the choir celebrating the

addressing and marching in of the ones condemned to death who are waiting for

rebirth.Basso Profundis. Ejaculation of the white-coloured divine-cerebrum on thememetically corrugated consciousness, when the Earth is going to spread its crust at

the moment of the Two Tabl Intrada.

Then, the flagellation of the laid-on participants will commence, started by the

Imperial Gong, sounded in 7/4 period and articulated by the series of bass-throbbings,

that are shifted by a deem phase but still symmetrical. The whole movement isblended with the Greek spirit of chronos protos, that will integrate the musical

order of this collective exaltation into balanced and subtle unites, reconciling the


7/29

conventions of the human culture and law and order with the laws of the universal

time. The traditional cadence formula of the movement, incarnated in the bell strokes,

is going to introduce the Great Mughal Periodperformed by the Gyan UttejakOrchestra that will simultaneously determine the quality of the flagellation. That will

give an impulse to the electrolictors, so the whole ceremony is slowly turning into its

final phase, where the patterns of rhythmic-cumulonimbi will indicate the high-flyingof the executed souls.

So, there is no room for narration, because there is only onenarrative: eL-Horto-GUO: Entransociety!

Lszl Hortobgyi

Exodoom(2011)Ecce respondeo dicenti, Quid faciebat Deus antequam faceret

coelum et terram; respondeo non illud quod quidam respondisse

perhibetur joculariter, eludens quaestionis violentiam: Alta, inquit,

scrutantibus gehennas parabat. Aliud est videre, aliud ridere; haec

non respondeo. Libentius enim responderim, Nescio, quod nescio;

quam illud unde irridetur qui alta interrogavit, et laudatur qui falsa

respondit. Sed dico te, Deus noster, omnis creaturae creatorem. Et si

coeli et terrae nomine omnis creatura intelligitur; audenter dico,

Antequam faceret Deus coelum et terram, non faciebat aliquid: sienim faciebat, quid nisi creaturam faciebat? Et utinam sic sciam,

quidquid utiliter scire cupio, quemadmodum scio quod nulla fiebat

creatura, antequam fieret ulla creatura.

Lszl Hortobgyi GUO

Fomahaut-hjj (1991)

Fomal-Hoot al-Ganoubi is a mythologicalArabian constellation. Here can be foundthe planet, the warm and heavily milk-fogged lands of which makes a home for

ethereal body-reincarnations of deadMuslim Saints andDervishes.When, in the 22nd Century, the white man has succeed to reach the moons of Jupiter

and there he has transformed himself into a straggler to populate Jupiters

stratosphere from there, thousands of souls of deadMuslim Saints andDervishes havemoved, in the same way, to the Fomal-Hoot al-Ganoubi Galaxy, where they have

found the real great umma, namely the world of Heaven (jannat), leaving behind atthe same timejahannam, namely the earthly empire of Hell.The first description of the music that flourished in that distant gloomy world could


8/29

be find in the Kitab al-Algani (Song of Book) byAbu'L-Faraq al-lsfahani (diedin 967) and the last one was accessible in the AI-Risala al-sarafiyya fi'L-nisab al-ta'lifiyya Fomal-Hoot al-Ganoubi by Maulana Galal al-Din Rumi (1207-1273)which has unfortunately lost by today.

Today, the sole material trove that has survived is the one restored by eL-Horto-Guo:

Fomalhaut-hjj, that would set the purpose of exode being common in everyculture to music in a Fomalhautstyle, giving at the same time a short description ofthe ancient technique of leaving the ethereal body.

Many different aspects (zahir) of the mystic path of the ethereal body areconcentrated to these simple movements of the living body. It is at the same time a

sacrifice - the sacrifice of the various individual rhythms to the single great rhythms of

the dance through which the soul is de-individualized and universalized.

The dance might therefore be described as a ritual death agony, and the breathing of

the dancers does in fact recall the breathing of a man at the point of death. But the

death in question is a willing one, for it is the creating of a void to receive the God'sethereal body, this is the Presence (al-Hadrah). The evolution of the Dervishceremonials culminated in theAyin (orMukabele) rite in which the music and dancehelps together to drive the performers into the greatest intensity of mystic exaltation

and annihilation in the world ofFomal-Hoot al-Ganoubi.

(L.Hortobgyi 1991)

------------------------------------------------------------------------------------------------------------------------------------------------

Lszl Hortobgyi

Gabevaildenor 2010

no comment -

(L.Hortobgyi 2010)

Lszl Hortobgyi GUO

Gaia Dei (1994)

Gaia Dei is the Earth of Our God. That is the place where He lives together with us.

The existence and fate of the planet depends on its creator God, who, at the sametime, has been created by us, the concurrent inhabitants of this planet. Therefore our

Earth and its world are exactly the same as our God and his world.


9/29

However, this world is not the same that has been originally created, it is only a

smashed version of it.

A Terranoma.Therefore, it looks as if no more enjoyable has remained on this planet than the

culture and the art of destruction and deconstruction, that is, in this way, a mirror of

artificially conditioned false consciousness of the alienated human race.In this world, the new musical structures will take down their bel espirit masks,and they are capable, as the only one among the different arts, to map the voltage

fluctuation of the brains biocurrent, that is, to transform it into a direct

communicational language and information virus.

Mapping of social brutality into music, and its consumption, the applied moebius-like

forming of consciousness of mechanized rhythmic implants and the monotony of

their polyrhythmic periods will destroy the traditional forms of music in this planet,

again and again

So the music ofGaia Dei (Terranoma) although it serves as an intellectual exodefrom the world that has been made uninhabitable by its inhabitants is only a truemirror of our God's world.

(L.Hortobgyi 1994)

Lszl Hortobgyi GUO

The Guo Collection (2000)

When theMessiah came to the Earth eL-Horto asked him, whether he had ever beento this place before?

On His sign, like an orogenesis, a new civilization would emerge, with relics,memorials and the wreckage ofNoahs Arkamong its ruins, full of memories of thefuture and, among others, an incomplete ethnomusicologic collection that would be

catalogued in later eras as The Guo Collection.In the course of the academic publishing it appeared, that this is not World Music but

a virtual collection of a possible still never realizable global musical language and its

vainness: on this Earth, the musical traditions of the past will always die out with thechanges of eras, thus they will never be fossilized, like bricks, into the single pyramid

of world music being built up this way.

It is regrettable, that the science of music is not able to be a strong culture in a

sufficiently self-determining way, just to survive its inventors short life, without

being changed in any way.

Its reason lies in its application: until music serves for stimulating the openings of the

body, and its memetic magic and beneficial irradiation (tumo) on sulcuses ofhumanoid brains does not reach the success of a levitation exercise in vedanta yoga,

it will only function as a stimulant for draining kundalini libido, thus serving theconstraint of escaping from individual existence being crippled and tuckedunderneath the blocks of brutal human-social structures and of self-expression


10/29

wallowing in fashions.

The relics of The Guo Collection are merely sounding memories of a humbleexperiment originating from a collapsing age of music history, a hopeless effort to

develop a single standard language resulting from making musical structures equal,

that will cut through the form of consciousness of the existing castes and their world

of taste.If it is able.

If its not, then it remains a musical amulet against superstition.

(L.Hortobgyi 2000)


11/29

Lszl Hortobgyi GUO

Guonthology (2007)

Gyan Uttejak Orchestra regrets to inform You, that with this publication Guodoesnt have it in their power to guarantee a delightful experience of conventional

easy-listening, as the kind of participation demanded from You is not conform to

everyday routines.

On its records, the Orchestra will not apply impressive means of musical banalities,and Guos music is not going to imitate the structure of traditional Western-Europeanmusic, and will not provide a reference and encourage the convenient and habitual

tradition of collective easy listening.

With this musical Greenpeace like publication Guo desires to be a humbleforerunner of the new Western-Amerasian Empires musical mappings that arecoming into existence in the caste-system of future society, nevertheless Guo isopposed to the traditional music industry that will operate as one of the Wellness-

Neuronetics subdivisions ofWychi-Exonybm corporation.With the help of its music, Guo would like to create a kind of a state of Stoa: itscomponents reside in the periods of the polyrhythmic structure, and they are the ones

that will lead to performer-listener levitation and to collective-luminiferous

phosphorescence of theMoebius-mind memetized by the music.The basis for it is the centuries-old hypno-static musical experience of Asian high

cultures, where the music itself is nothing else but a sophisticated technique of exode,

and that will, as a distillation of the diseased and uninhabitable socium, praise the

thousand years old art-techniques of imaginary and momentary escape of humanoid

being from evolutionary and social captivity.

In the putrefied social existence, metaphysical prosthesises that are existing, in place

of a world livable by intellect, as ectoplasms grown on to human brain, are to be

superseded by this sort of music, which is the rational language of the sole existing

positive resistance of our days, the only bridge that could guide us, as a quasi yoga

technique, to provisional dissolution of collective alienation, to a satori-state where

self-correction of individual existence will contribute to the improvement of theWorld.

Be a part of it.

(L.Hortobgyi 2007)


12/29

Lszl Hortobgyi GUOHibernova 2011

Mythology:When two modal tonalities meet as a karmaline-stimulator brainwave on the

dissection table of multitempi polyrhytmics, so that it is permeating the oyster mantle

like phosphorescent gamma globulin in the brain and the colloid-glossy brain-fat of

mmetic sulci of the inhalator, exercising the yogasana of The Book of Destiny s protocol, thus setting the levitation chakra, the clattering world-wheel of the

Galaxy s corrotational radius into motion, along the synchronized tsunami of thetabrain waves generated by that way.

Hibernova is an experimental pilotfish-piece of a multidimensional audiostasis-

universe, that will describe, by means of breaking open its musical-physical laws andas a faithful mirror of earthlings demented collective subconscious, the feast of

collective paroxia rewriting the alienation of actual transhuman worlds and beingtraceable only in the socio-psychozoicum of human psyche, that is the possibility of

discovering each other and of a real communio-parousia becoming true duringits orgy that never takes place in the life on earth.

Thoughtfully:Its basis is, among others, the Indo-European tempo-polyphony developed by

eL-Horto-Guo, where the base of rhythmic rotation of levitation polivertigo isthe musical practice of applying a rhythmic-periodic system (tla) learned from Asianhigh-cultures, that is a referential rhythmic dimension where the repetitional forms of

deviations from and returns to it - regulated by the prevailing culture - will preserve

the law of standard musical language.

In the past traditions of Asian music cultures, the sequences of polarity changes are

equal to the two-dimensional musical space having both positive and negative phases,

that have been created in this way, so, in the musical practice, the block like, periodic

and linear building of standard language materials, fossilized through collective

repetitions, is taking place within the possible physical frames ofpolyrhythmic

dimension.In the developed European musics, where the measures are asymmetric, and the

relative music is structured according to its individual and polyphonic-melodic

priorities in itself (symbolizing the world of the "Western Hero"), there themusical rotation (rhythmic samsara) will take place aperiodically in the melodicdimension, consequently notin the Asian type polyrhythmic space, so it has a totallydifferent Euro-white-human-like meaning and is conscious in a different way

then in the former (arche) type.This is the only way how in the European contemporary music the multidimensional-

vertical polyphonic blocks of musical dramaturgy can come to existence in a one-dimensional space, as opposed to the multidimensional musical-rhythmical

compositions of the periodic Asian time structure that is created along both phases of


13/29

the rhythmical timeline, still being linear-horizontal.

At the same time, I state that the derivation of European levitation polivertigo is,as a matter of fact, a fantastic European idea appearing after Carl Friedrich Gauss(1777-1855), where the polyphonic line of melody, in this way similarly to the

concept of imaginary numbers, will structure not the time but its momentary

(imaginary) expansion-clothing, the harmonic onion-skins of layers of spatialfrequency according to the rules of contemporary modal tonality, consequently it is

not the time that is linear-Asian type and real time, but its harmonic timeblockstructures, wrapped in the solitons of vertical time layers.

In a nutshell: the multilevel polyrhythmic arrangement of linear blocks of Asian

rhythmic periods and the structure originating from their consonance and becoming

periodically detached from the measure are multidimensional, because, as compared

to origin tempo and periods, it changes polarities, tempi and measures in a regulated

way, and it will rise, as compared to the periodic starting points, and become

detached from them, but after expiration of the determined ratios and durations fallback again on the watch-tower like pillars having the same durations.

On the other hand, the European melodic polyphone system will arrange the current

Ding an Sich blocks into layers during the not identically periodic fractions oftime.

In the spatial alloy ofHibernova, despite the Western tradition, the passage betweenrhythmic and modal spaces can be established, here the levitational structure will

break through the plains controlled by melodies, but at the same time, the

systematized rotation and turbulence of periodic ratio of duration controlled by

melodic substance will also survive.It is conditional on possession of all those knowledges that makes it possible to alloy

the European system having globalized its tempered harmonies that once used to be

in minority in the music culture of the Earth, with the unparalleled traditions of Asian

way of musical thinking being in the process of disappearing.

(L.Hortobgyi 1991)


14/29

Lszl Hortobgyi GUO

Hortadamus (1996)

According to Hortadamus chronosoftware: Our consciousness is a sphere, and itsbearing is always the same on a plane, lets call it time axis, where it is rolling

towards the future. This consciousness is continuously expanding as the human race

and its endogenous individuals are developing and obtaining through the information

a more and more sulcated memetic brain.

Though, the bearing of this sphere is according to the rules of algebra always the

same, but based on Hortadamus spherical knowledge and the gravitation (or

proximity) of the time axis, the extension of the present is becoming bigger andbigger, thus, for certain developing consciousness of the mankind, the duration andthe intuitive aureole of present time is also becoming bigger and bigger.

The extraction of information occurs through space-time, with the help ofEinstein-Rosenbridges, by way of penetration through the accretion disc.The intuitive power of social and scientific development in relation of time axis

demands but, at the moment, does not make it possible to have a language to express

terms that will be reached by this kind of spherical knowledge only in an x time in

the future. That is the reason why we dont have words, for example, to express the

fifth heartbeat before death, the solar empathy, to awake in alien body or when ourmirror image is becoming infected.

However, the method ofHortadamusic serves exactly this purpose: it will wrap theprophecies into doppelgngercover of well-known ritual tropes and transmit them, inthis phase of space-time, through known network distributors, with the help of

Bevatron, onto the surface of the planet.

(L.Hortobgyi 1996)


15/29

Lszl Hortobgyi GUOSongs from Hungisthn Vol. I. (1996)

Original report from the 19th Century:

The peculiar nature of the melody of Hungisthan not only permits but enjoins the

singer, if he has the least pretension to excel in it, not to sing a song throughout more

than once in its naked forms but like its own repetition, which is a natural

consequence, induced by the brevity of the pieces in general, but to break off

sometimes at the conclusion, at other time at the commencement, middle, or any

certain part of a measure, and to fall into a rhapsodical embellishment called sirato,

and after going through a variety of ad libitum passages, to rejoin the melody with us

much grace as if it had neverbeen disunited, the musical accompaniment all thewhile keeping time. These passages are not reckoned essential to the melody, but

considered only as grace notes, introduced according to the fancy of the singer, where

the only limitations by which the performer is bound are the notes peculiar to that

particularmelody, and a strict regard to time.

[a fragment from "The Imperial Gazeteer of Hungisthan" Sept, 1834 by Prof. N.A.Willard ESQ MD]

(L.Hortobgyi 1996)


16/29

Lszl Hortobgyi GUOSongs from Hungisthn Vol.II. (1999)

Original report of musicology from the 19th Century:

"This selection on the music ofHungisthan is a desideratum whichhas notyet been published. Altough several eminent orientalists haveendeavouredto penetrate this elegant branch of Hungisthan science, scarcelyanypart of it has been elucidated or rendered familiar to Europeans.

It is impossible to convey an accurate idea of music by words orwrittenlanguage; that is, the various degrees of aeuteness or gravity ofsounds,together with the precise quantity of the duration of eachfcannotbeexpressed by common language, so as to be of any use toperformers,

and as emusical characters now in use, which alone can express

musicin the manner that could be desired, is a modern invention, ofcourse allattempts to define music anterior to the invention of this elegantandconcise method must have neeesarily proved abortive.

To be convinced that foreign music, such as we have not beenaccustomedto, is always repugnant to our taste, till habit reconcile us to it,

we need only refer to the sentiments of the several travellers whohaverecorded their particular feelings on hearing the music ofHungisthnwith whom they have had but little intercourse.During the earlier ages of Hungisthan, music was cultivated bydesertprophets and men eminent for refined ecstasy, for whom suchgeneraldirections and rules for composition sufficed, after a course ofmusicaleducation acquired from living tutors; indeed, the abhorence of


17/29

innovation,and veneration for the established Hortobagy music, which wasfirmlybelieved to be of "divine origin", precluded the necessity of anyother;

but when, from the theory of music, a defection took place of itspractice,and men of learning confined themselves exclusively to the former,while the latter branch was abandoned to the illiterate, all attemptsthe elucidatemusic from rules laid down in books, a science incapable ofexplanationby mere words, became idle."[fragment from the "Annals and Antiquities of Hungisthan" Vol,

IX.Pfcrt II| 1875/ by Sir William Gladwin C.I.E.,L.L.D, ]

(L.Hortobgyi 1999)


18/29

Lszl Hortobgyi GUOMemesys (1996)

Whirling wrack and amoeba-like fractal-mucus of cultures and thoughts on thesurface of the planet. Included Yours, too.

Mmesys.Where the mixture ofmemetic structures of human brains may, according to the rulesof biochemistry, result in cultural gifts and heavens. For example, when classical

music from the old static society of India meets the monotonous kingdom come of

dub.Hindub nemesis.Its music and the new idiomatic structures, that are evolving from the mlange of

collapsed cultural an geographical borders, will be realized in eL-Horto-Guosinterpretation like chemical reaction of struggle between the Good and the Bad.And in nothing else.

However, lets not to forget that the homeostasis of defective intellectual systems, by

means of their self-movement, will push out the immune extraneous molecular chains

of thoughts and the slippery meme-complexes that are starting the fermentation,consequently stimulating the process ofmmesys.

Mithras mmesys.With exceedable taste, by preserving the original cultural language and with the help

of understanding the common multiple.

(L.Hortobgyi 1996)


19/29

Lszl Hortobgyi GUOMemix (2005)

Musical crme de la meme and musico-memetic kaleidoscope for advanced.Meme-mimicry, but not only in a musical sense. If someone indeed has an ear to hear.It doesnt have any particular style, as it is futuristic, but it does have a history to be

clinged to. And it also helps to levitate. At least for those, who are in possession of an

acoustic memory.

In other words, who is a whiz at acid, that should listen to memix-goa orguoriginalmemix-chaos. Right here and right now.Or, now and forever.

No place for disappointment: if your brain had a fine ear in the past, than it is going

to have reaction and pleasure in the present. Maybe, with the help of Internet, even inthe future. But especially in Memix. So, lets say, we have some ecstasy andtranscultics here, as is proper in the case ofGuo Orchestra.In short, from the galactic trans-operas to the mantras, and back.Please, listen to it in an autotelic way.

(L.Hortobgyi 2005)


20/29

Lszl Hortobgyi GUOMixology (2000)

Once there were a lot of worlds on this Earth.Each of them used to have own land, language, population, border and history.

Peoples and societies used to live there. Even then, they were similar to each other,

but they failed to recognize it.

When the borders disappeared, the looked at each other, but suddenly, the languages

and the histories also disappeared.

The present worlds do not have any Earthly home, they have moved to the kingdom

come of the collective subconscious. There they are still living for a while, exactly so

long as humans have human form and the time for transhuman cultures arrives.

To fumble about in this gap of time bubble, that has been opened for a short timebetween the collapse and the vanishing of the borders of cultures: this is the science

ofMixology burdened withHeisenbergs paradox.Dont forget: never before and never after.

(L.Hortobgyi 2000)


21/29

Lszl Hortobgyi GUOSangeet Novus Sensus 1996

The Sangeet Novus Sensus has been composed for a socio-etno musicologistcoming from the Eridanus constellation 200 years to our Earth. This demo was

produced in 1995-96 in the former East-Europe as a reflection of the sociological

experience having obtained in the late 20th century.

Its technological basis have been a PCM morphologie using up the old FFTspectrum-analysis as an algorythm controller and a virtual overtone-synthesys

software developed by me.

Here appears the music as a physiologicalsma /szleg/ and seems to be one of thepotential acoustical solutions of abandonment from the earthly reality and of the

generating the social-Mbius consciousness based on my computed mmesistechnology.

The modular goa-electronics, the matrix topologie of tabl-mms, synthesizedcarcinogen PCM sequences, the Hindusthn style of the astral-hallucinogenorchestracion or the polyphonic application of the analyzed interstellar noise

spectrum samples or the geometric fractal loops induced by Zipi programming andthePythagorean methodology of the sound mixing - all have spun a mmetic cobwebaround the average phosphorescent acid-consciousness having been grow in

consequence of the alienation trend in this century, so the Sangeet Novus Sensus

appears as a refined prna of transociet of the millenium.Later on when the humanoid consciousness transplanted into networks and the humanrace settled down into the stratosphear of Jupiter - in those days the original

frequency algorythms of the music being converted into laser needle impulse were

plugged in the synapse of the human neuron outcome and they were stimulated by

thousands of 3D-16Hz b.p.m. impulse/minute - began a new era of the music history

and the hidden meaning of Sangeet Novus Sensus became as an ethnologicalnightmare of the past.

/L.H.s memoires in Technomusicology, 2009/IV. pp. 109.-128. October edition,under title: The Virtual Mmesis of Music./

(L.Hortobgyi 1996)


22/29

Lszl Hortobgyi GUOSangeet Sammelan - Guo Live (1982-1988)

Selected live recordings of the Gyan Uttejak Orchestras performances from theformer Territory of theFar East-Europe andHungisthan between 1982-1988.These concerts and everything we deem to hear from them were born in the world of

realized socialism.

And not in the West, where thanks to the industrial revolution, by way of original and

free accumulation of capital, that is, through exploitation of distant countries and

continents, the exotic properties and musics have become available on the shelves of

shopping centers.

But in the East. Namely in Eastern-Europe. Where we could perceived the current ofhistory, but we were not allowed to shape it. We might only imagine it.

Thus, we used to imagine more than happened indeed in reality.

And, in this way, a kind of world music ofHungisthan evolved, and the music offuture India, still not existing in this reality, became a part of Guo repertoire as amixology of recognizable past and present musical languages

At the same time, it was the only and ultimate imprint of a musical Utopia and vision

created in an Utopian and failed social system.

Take it into thorough consideration and further.

(L.Hortobgyi 1982)


23/29

Lszl Hortobgyi GUOTechnoglyphics (1993)

Traxcommentaires:

1. Gobluminosis /Nirjv-gt/- Song of the deceased philosophers' putrescent intellect

- Light of effluvium above Theophrastus Paracelsus' cadaver pit- Jeremiads ofMaldoror- Choral service of nigromans

2. Sine-dubio /Jyotisik sangt/

- Astrological dub ofHindustan with a Necro song ofSoma-Sinsemilla- Shri Durg Saptshati ... /Hindi/- De abditis rerum causis

3. Cacodaemons /Yantrik-dhun /- A little passion-play of longing meccanos in the gothic-skeleton cathedral of

Lindisfarne- Laudario (traditional-religious cyborg song) three parts from the La Passions

laud of the Codex Angarian :

l. The Kiss ofJudas 0:352. The Flagellation 3:32and the Ascent to Calvary 1:53

3. The Crucifixion 0:42

4. Plexus-societis /Pharakhn - tla /- A cultural chorea- Tribal consciousness of the Corps de Woodoo Ballet- Opera Cyborgia- Periodical clink of the teeth /if you have sufficient loudness/

- The rhythm form of the world ofM.C. Escher.

5. Lumen Divine /Shok-sangt/- Instrumental reverie about the human society

- Ludi Circenses with hydraulos- Cyborganic liturgy to the genuine character of the Human Beings' God- Gaia Entelecheia

6. Hadesangeet /Nrty-sangt/


24/29

- A diabolical romp.

- Kinaesthetic warfare with 3 D Computer

- Ecce respondeo dicenti: Quid faciebat deus, antequam faceret caelum et

terram? respondeo non illud , quod quidam respondisse perhibetur ioculanter

eludens quaestionis violentiam: alta inquit, scrutantibus gehennas parabat.

(Augustinus)

7. Animalika /Psavik-kriti/- Animals' cantata with cultic belly-dance bass

- De natura sonoris- Animals are singing humanoid song in the style of theMutanimanoid Vox

Caelestis

8. Shivaishna-gari /Upkhyn-gn /

- Overture from the Cyberiana chamber-opera- Shri Vishnu Sahasranamara... in Tamil- Manawa Dharma Shastra or the institutes ofManu according to the gloss of

Kulluka

9. Namayashii-synthdroma /Suril vadyyantrik racn /- Garden of Kfuku-ji temple inNara at theJuimae feast- Gagakuorum- Tkj bosoku 2013 (Twilight in Tokyo, 2013)- Lachrimae rerum (Lucretius)

(L.Hortobgyi 1996)


25/29

Lszl HortobgyiTerranomia (2011)

(Anaplasia musicarcinoma diagnosis)

Terranomia is a paraphrased human-tissue-progeny on the surface of Earth,originating from progressive and irreversible proliferation of transformed (anomic)cells of earthly existence that continues to expand even after its exciting agents have

ceased to exist and is completely independent from the controlling mechanism of the

organizations social consciousness. Continental tumours of human mould may have

a malignant (malignus) or, hardly ever, a benign (benignus) nature.

The term Terranomia means literally anomy on the surface of Earth, and fromtime to time, it is used in this very meaning as well; so, it is one of the five classical

symptoms of Gaia-inflammation (gaia-inflammo), but since it is a reactive mass, itsdevelopment cant be stopped, not even by eliminating the reasons.

The topographic malignant tumours with an earth-epithelium origin (malignoma) arecollectively known as carcinoma, but that is also frequently (and improperly) used bylay language and science to designate each and every malignant mass.

General characteristic feature of malignant human-biomass-tumours with a false

consciousness and hemispheric saturation is to be able to infiltrate into and damage

the surrounding tissues (spreading in the environment, its technical term is

locoregional invasion), and besides they can create distant metastases (metastasis)as well.

In case of benign social tumours (memcomplex) and historic ages, neitherinvasiveness nor formation of metastases is symptomatic, however, they are able to

realize very significant growth, though in a longer period than the malignant ones, but

as to the symptomatologic effects, they imply the same deleterious consequences on

some favoured points of the World, as a malignant human-mass of earth-epithelium.

For example, the tumour ofamygdala, originating from the original evolutionaryprogramming of hypophysis, the memetic projection of which on its local

environment has an effect of annihilation.

In the course of full military and parliamentary free-market cauterizing, the chance of

recurrence of benign conscious-tumours (memanomia) is far smaller than in case ofmalignant deformations.


26/29

The first sign of invasiveness of a local tumour with an earth-epithelium origin is

when during the local spreading it gets beyond the basic membrane of the epidermic

tissue (basalis lamina). Then, the human-mass, not being able to break through thebasalis lamina, still showing some malignant cellular deformations, is called in situcarcinoma.

In course of earthlife, the DNA of social consciousness will accumulate more and

more hereditary mutation in the genetic material of human mould, primarily during

the first steps constituting the integral part of memetic cytokinezis, exactly because of

the copying imperfections taking place during the duplication (replication) of the

genetic material, and for the reason of malfunctions of human-ecological

consciousness improving mechanisms working on the correction of the

abovementioned phenomena.

To some extent, this might explain why the occurrence of some kind ofterranomias,first of all the malignant humanoid histological types, is growing together with the

geohistorical age (prevalence).

It is also important to mention, that anaplasia is in connection with the social-histological classification of the prevailing hemispheric newborn human-tumour

generation. Consequently, anaplastic tumours are so called low level differentiated

deformations, that means a cell level differentiation (taigetos syndrome), being

controlled by the predestination (karma) factor, namely the being borne into apredestinativ caste, thesocial memcomplex strata, and it would regrettably mean, thatneoplasms ofsocium are going to germinate even in their early stage of maturation,and thus they may not show anomic formal and functional characteristics of a fully

developed human epidermic tissue. So, the anaplastic deformations are usuallymalignus, but a malignus deformation is not always anaplastic, and that provides a

possibility for the genetic material of earthly consciousness-carrier" to be preserved

for a possible future rebirth.

We can declare, that repeated earthly emergence ofdivine terranomia, as a socio-evolutionary feedback, serves - just like dezomorphin (crocodile), sex and cable TV,or acid-rock music - for handling the human redundancy having become unnecessary

during the Kondratyev cycles of capitalism and been pushed to the periphery.However, I think it is an exaggeration, because it is less efficient than to cremate the

sociological redundancy, being selected from the social homeostasy, in an imploded

volcano crater in an economic and eco-conscious way, with the help of a paternoster

system continuously refilled by helicopters.


27/29

The probability of avoiding a new reincarnation of innate terranomic conscious-programming of the human genome, created by the God to his similarity, may only be

comparable to the probability of accidental appearance of the planetary bioplasm on a

molecular level.

Lszl Hortobgyi (2011)


28/29

Lszl Hortobgyi GUOTransmeccano-replica (1988)

When the small meccandroids arm in arm with the antropteras ofVenus penetratesinto the crystal cave to destroy pictures, and where the Aztec android lady mermaidriding in a ribboned Burgundian armour on a Cretan Minotaurus, wearing ancus ofthe K snake around her neck, smiles at the Japanese crusader of the Vatican blue-gold flying saucer while soft medieval Indian music is played (kirn bj-kibaroque), well, then the Salvation has started with the fall of the Bassaurus-raptor(bass-culture) and with the ectoplasm-discharge of the Gregorganics swamp-choirwith a merciless repetition (moksa-hazarbf).

When the budging metal monster, being constructed of swarming thousands ofmeccanos (Vocabla-Rja), started to eject through its bodyholes of violet light massesof scolopendras by gnawing off its own arm, then the whitish mucous stream of

showering god-cerebrum flooding everything covered up the score papers and the

recording studio.

This broke through the golden gates of the Heaven (Sezm-Amida), where the floodof the rustling chitin armours of souls closed in a reincarnational cover worn out by

the humanity fell on the world of the resident single-born bodhisattvas.The third type Communio of Salvation will take place here, where miragenom sprouts

emerging from the organic meme-mucus of the Globe and the mechanical evolutionswarming from it, with a hundred-thousand years old civilization ofReticuluminhabitants (reptiles), will be mixed with the harmology of Transmeccano-replica.

(L.Hortobgyi 1988)


29/29

Lszl Hortobgyi GUOTransociety Tulpa, 2009

The light of the opalesque bluish-green divine jelly-aspic brain, floating in the apseof a Gothic cathedral, where, due to the running out of the reincarnational amnion,

the painful fulguration of the bodiless souls will raise stroboscopic theta waves in the

domain of the crowds collective consciousness.

The white winged, greenish-gold lizard-bodied, peacock feather-thighed cherubs,

accompanying the Divine Soul, are flittering among the pillars with traditional

choreography of the trans-electronics, while the sighs of Deathbass will counterpoint

the cantosections of the choir celebrating the addressing and marching in of the ones

condemned to death who are waiting for rebirth.

Basso Profundis.Ejaculation of the white-colored divine-cerebrum on the memetically corrugatedconsciousness, when the Earth is going to spread its crust at the moment of the Two

Tabla Intrada. Then, the flagellation of the laid-on participants will commence,

started by the Imperial Gong, sounded in 7/4 period and articulated by the series of

bass-throbbings, that are shifted by a deem phase but still symmetrical. The whole

movement is blended with the Greekspirit ofchronos protos, that will integratethe musical order of this collective exaltation into balanced and subtle unites,

reconciling the conventions of the human culture and law and order with the laws of

the universal time. The traditional cadence formula of the movement, incarnated inthe bell strokes, is going to introduce the Great Mughal Period performed by the GuoOrchestra, that will simultaneously determine the quality of the flagellation. Thatwill give an impulse to the electrolictors, so the whole ceremony is slowly turning

into the final phase, where the patterns of rhythmic-cumulonimbi and asparagus willindicate the high-flying of the executed souls.

And that is only for 19 euros.

Dont hesitate, Tulpare necesse est!

(L.Hortobgyi 2009)

to be continued . . .

Hortobagyi [eL-Horto]_Published CD's Liner Text Collection_2012_ENG

Documents

Transcript of Hortobagyi [eL-Horto]_Published CD's Liner Text Collection_2012_ENG