So Me, though ‘tis on the muse I see of: ‘e la re sol fa, ‘e la re sol re // Gee in all why. Go to get the top err form. See, o are near lie us. See are do we: ‘s treat I’s. // A long wit, he So Me (o’ there.) // Graph: I sees course. A end has in ’s played sum. // Part pre-detour, mind pieces that in flew N’s play // Err into action without pre-scribing act: you all content. Butt the major ‘I’: tee off what has been played over the past. Why, ear has be in for improve eyes aid. // A end is dice see used // I’ fatal only in re to respect (it has seeming leibe?) // Ne construe curt ‘eads o’ me what para dock, kicks all in thee’s aime tense. T’ his being said, the de leibe rate = a end incre: a singly object // If eyeing a pro, see his las’ have end dead-up. // Take in to words improve I say. Tie-on have resulted in what is to my my-in-do the best muse I see so far: t’ he, moor particular. Nay t’ your off-why. See, I’ve for some time be entry into a lucid at ‘e the result. Is a new ravel: in go that can if off-course. ‘Igh tish ‘ood betake ‘n toss err via said line at I // On-off the muse I see at this point. // In time, in-strew me entail wile. // Ah- so has us ideally see trick gee-I t’ are-us and whirl its aroar who’d see all trick copy a’ knows we’ll as be o’ than a log and digit (all effects, these.) // Range from x to end // I’d, in strew-me ‘n tall techniqes (bows are-you-be as nay all-sect), owe the fill to rate I on-off in it all. So, nice conditions supply do by the in-stew-me, not wither effects be in goal aired on top of each other to create a specific abstract. // ‘ead so und-world in which the fun see tie on all I tee of, pits head mate real- is aboard, innate to text, your ‘this’ // Is a direct I-on that has evolved out of a series, so free hers. Alls over the past. Ye are and the prose says by which sounds are created and manipulated- has become tall in tense and per pose since ‘e parable from the irk ordination as muse I see // Wit: how t’ get in in to a discourse // Ion of me, tho’ do lodge it can be said t’ that the grow-up // Approach towards oh you end prod- you sees, hone reflex // The x: tent of the influence of tech- nee kin all me- though d’you pon over all aesthetic spec? If I see all, all are seams to have moved awe afrom the x acute. She on of me can I call in strew mental tech nee kin (the con tech stow for a coup stick per form an’ see and to wards the user no news.) Oft’ in strew ment- ‘tis as a me an switch to x plough as on I see rather than amoursment (I see all each a rigid and pitches end t’ err)- de muse I see (the viz. you all) art/is t’ bridge // Trial has – die skews // Aid the pry me as ‘e of the medium in relation to here- work in t’ he con text of work- in from a sop posed to tow words sum thin // Statemenot the I’s my end? – Collected Writings in the Muse I See Of (all are spree existent so you end is a given and is up to a point.) // Arbiter are ‘e with play err in put being. Confine d’ err to I? Tis man-ipulation // Via the prose says O forge a read you all so nick more fine- gee in which me though drivels person all (it as limited throughs you)- ‘seech me (a nest heap roach revolves around the nature of so-und-so you are.) // See and attempts to bypass the subject I’ve, prose says, of conventional I = nostrum mental practice (the execute I-on and juxtapose I tie-on) // Oft temper denotes wither cult you are all be: a gage, this entails in defer ‘en see to vary us (methods of filter in an all-be-it.) Sometimes you, ‘n predict so-und-so you are, sees you see hue ‘en predict ability: how ‘e varies ‘is an’ I’s (‘s you concern in gee the contra all t’ ‘he.) // Perform err retains over muse I see production, as opposed to the extent to which perform answe’ is control led by force. Sack o you stick proper ties of the perform answers. Pace behave via off-mains power supple. Lie set terre beyond co = ‘n to roll by force (‘s a coup, ‘s tick proper ties of the perform an’ see.) Space behaviour of may, ‘n is powers apply set. Set terre beyond co = ‘n to roll. Begin get a quest I on. A stalwart extent the perform err is control in go sow you end-prod: you see tie-on and vie severs at his I. ‘s an I not ‘ere sting and not you (necessary dilemma.) // And ink haps you lay tease form- the major ‘e tho’ us of the muse I see of. He grow up to be hone stem o’ west of my sat is fact I on. // Up on listening back too well are stay pieces that alarge a mount of what is go in gone (the de-tale) // At the level of sub-events within the more overtly performer-manipulated events themselves is so nice. // Ally self – generating, regard less oft the performers. It ‘s character arising as a direct result of I twos unpredictability. // Inn-stead of the situate I on which are I says out of me can I call accuse tick instrumental practicing why chieve re thing that is hard- stems from the subject I’ve perform: a rhyme-provise raw compose re personality. // The practice of lours may well be an effort to lie might. And lie might: this influence and to let the Medium find it’s owe’n means of expression. // In die a log with them, mediate I. // Tis an object if I in go-proceed dure (that in the light of the ultimate lie subject I’ve) results of in why art is tick endeavour (seems necessary- as are I least a tease.) // No matter what id owe I, ‘twill be subject I’ve and sow to develop as much. // Object I’ve I t’ why. As I can is simply counter-balance sing the I ‘n ‘ev’y… (i.e. t’ able pre-sense of myself: in t’ he work the eyes.) // Mind, as all ready, suggested such means of sow-you end-product – I-on: has had its con sequence- says there has been an evolution towards the present I-on of fewer and more drawn out, even, tees- an anti-direct I-on-ality. Express said throw you a gradual but continual paring down. // Of matter: I alt (he change-differ, entail has read-you cede. // Wit hits into grey loch, curing gradually and almost imperceptibly and. // At time’s seeming paradox I call why, like an inevitable consequence. Often otherwise undifferent I (at ‘e’d continue) you empty. He’s reduce I’ve is tendency shave- resulted in a gee you are see see-yes cue de-piction. // There is an almost grade-out-quality to So Me. Oft he long err: pieces why-see-here (seam be lean-lab-o’-rat) – ‘ead serious off-code as post script stow. // An ‘e vapour: rate dear end- dice/card ‘e do narrate I’ve drama. // The use of process (= you all repeat): it ion to a chi, via the see-end err: is a react I-on-again. // STET // Ache tendons sees of too much we stern. // Muse I see- to a I’m at constants (your prize or no.) // Feel tie-stem in go from the cult you’re all. // Why prescribed a end publicly demand dead romantic-person all, I tee off the self, conscious per form? // Error: compose err. // Who see muse I see is continual eye, being will led to go somewhere or say something. The net muse I call results be in go: you’ll tie may. // Tell why wakened as a result of the over-saturate ion of subject I’ve re tore, I call device is. // The psycho-musical event points fore – x ([ample] climb, a – x. [Of much].) // Pitch base. Do we’s turn art/music in par tick you’ll? Are which function as manipulate I on-off our own psychology? Call (oh armour be), anally emotional. Make-up re petition I stir here for a means by which to die sociate events from their direct I on all-I charge. Deserve I-see in the hands of human rhetoric? (as why are why least at ease). // “When elements are no-tasked, tow do something which is a gain as t’ their nature (note: asked to serve con = ‘cept sore reap resent.) The nigh, the ink, the why, are allowed top lay free, lie tow – show the I are vital I. Tie the I’s. Mind reductive I’s.” // Top row sees a chi as play-said a great ear emphasise no t’ only up on the so nice qualities of in divide-dual events (beauty all so up on the urges to rule land ace the tie simplications.) Increase in glee (there are pass ages of massively sustained development.) Sometime, stow the point where ammo t’ I’ve is pew shed. Be yond the bounds of we here. Taste mite- dictate it we as a band done. Do where the use of repeat it shun-marks a nay-tempt to co me to terms with ‘ere as the tie-call – ye. Then a’ to re of person all, I dent it ‘why?’ In the context of a large-lie standard, I zing mode are enculturin’. // Con temporary bright is he muse I sing. Part: I see you lay rut – he: a tempt by the cult you are in dust try to present aim ‘why the off in divide?’ I dual are ties tick expression- is to create I vie tie-on (lead-notes an artifice. I all substitute I-on by an owe-you time). // Dead roam antic: as the ‘tice in place of real is t’ I = seam-use. // I call treat-me-not of society a land technological. // Develop me not some thin dealt wit. Hit see me’s only by elect are on I see and dance muse I see. Such my surprise I on, double you hitch lives on. In be other art, and commerce I all muse I see. Do mains no do you, but suit ably satisfy as thee a pet I. // Tee on the par to fit he public for the present. I on of the other, in the exotic is mo’ fit. // Herr romantic artist be you t’ remains ultimately afore me of culture (auld illusion). Reduce tie viz. me there, for become say-me an’ sow for providing a viable alternative to the art I face. Of music, I call narrative a see express I owe no from entice (is tip psychology in a mode run culture). Other = wise. Determined be. // Why, in does try-all and me I crow see hype technologies. This approach has all so had connotations for into active I tie. // A long wit: the necessary lie more considered. // Elaborate ion and combine at ion ofte’ (vents on an individual base; is they combine in terms of group.) // Perform answe’ to form a straight-ified text. You are ether: vent blocks of which over lap, or replay see each o’ the. // In different permutations, the muse I see is present: ‘eed as see par rate. // A end So Me time? // ‘s mutual lie exclusive: strands that exist alongside each other without encroaching on one another. // Bypass sing the empathetic tendencies of group improve I see: are stow into act the muse I see. Become say-see: rise of independent, yet form all ‘why?’ into dependent revolving. Object ‘s that are static, yet mobilised be, ‘cause subject to time and constant lie tend ‘s towards a single homogenous So You. End text you are: form all differentiation. // The rational-sectional is t’ approach of we stir n’ muse I see from (class I call forms to the sowing structures of commercial muse. I see is weakened and could, as a result, ultimately disappear. This would leave complete undifferentiation. // Wit: he the presentation of as in glee object a so nice project. // I on office I call: why static? // Canvas, prolong, ‘ead straight- awe led. Long-piece. So-form use I see to get here and make it possible to purse I’ve lengthy passages in an I mediate sense-throw. ‘uge encourage in go-adieu all my crow and may crow perception in which long t’ err made ‘velopment. Is retain. ‘ead in the awe-all memo. Are why, as the tangible product of the finite show-art err-t’-err me vents. // The ethos of such an approach towards narrative construction is some kind of improvised attempt at formal planning, and is borne out in the architecture of performance. Form: all. Why, a lot of free improvisation! // See me’s to present I t’ self as accede entail a end one-focused, an’ effect nod you-be-you t’ result in go from the stigmatise at I on to the point of my-th’-by. // The improve is err as to the import answe’ of them-omen. Tee at the expense of for-‘em-all concern, which is possible lie perceived as author I tee. Are I any owe are? (even be our guess) // It is worth point in go-you: the why t’ do spite such object I fie in go-attempts. // In the muse I see of, la res’ it remains large. Lie a cultural approach as improvised. It is unscientific. In any precisionist sense it’s me, though do lodge why a end results hype other tie-call as compare. Do to the pre-conceived. Work of: are tee which may be me assured and ref. in ‘ead up to the stage of present a tie-on as complete improvise. // Do muse is does no t’ have this luck sure. Why no are show you’ll do- its practitioners co-vet it. // It is enough that then at you’re often improvise do narrate I’ve up on reap eated list. // Any energy becomes objectified in the mind. // Duty: other inference of organisation (off, or may end content within it.) // Increasing wit he experience a de-improvising. Proceed = you’re stemming from the rationalistic. You are get to make intelligible. It is initially abstract, ion at the performance stage. Improvisers can note per sieve all the nuances. No are control anigh of the essential why. // Abstract meaning, which can later be so easel-y conferred. // Up on the muse I see it is somewhat of a blind process, with a tension being largely focused on the t’ he manipulation. // Of matter I all = me do I awe. // Hear the aesthetic per see up tie on-off: the improviser extends as far as a go you t’ react. I on about how to respond or react. Against a sit you at I on, this perhaps precipitates an ethic, a luck-rises, and may be response i’ belief or the count err-act I’ve see. He of conscious n’ ee’s so prevail/enter ‘mongst I’m prove I. // Sirs, such posit I’ve is me fall short. However we knock on side, read along side, the multiplicity of possible interpretive reactions to the muse is a fetter t’ he. Even t’ a end, we hitch it. I s’pose I be let to make the mistake off? // Retrospect: I’ve lay superimposing back onto the per form a nice err-end. // It’s process: it is an unattainable task. // To be able-two account, forthe per see up t’ you all, infer ‘en see off debt ail, and eye ‘tis you be sequent. Implicate I ons within improvised muse. // I see at the stage of I. ‘tis conception why tie. // To me a why-well be possible intentionally, through work in go within an I in tell-igible (though you not necessarily direct) lie-matter. // I all-frame work to construct valid id entity at the stage, pre-empting that of I to’s commit me not to perform answe’ or recording we here. // I too becomes for better or worse external I, said as a fixed object: tell you key phrase-err. Be, o’ why mark he?