While a few of the book's images have the unclassifiable look of Hallucinogenia, the majoriti??y are produced by a cross-fertilization between classes. There is a section on races, civilizations and customs of the countries shown on a map of the world, a world whose continents and islands seem to have the ability to rearrange themselves at will; there are sections on food, clothing, games, and urban architecture. While a few of the book's images have the unclassifiable look of Hallucinogenia, the majority are produced by a cross-fertilization between classes. We had rolled into New Bedford, Mass., for the annual Summerfest on Saturday morning, July 2nd, spit out of a twister. By Saturday, I shoulda€™ve been caught up on sleep, but struggled to find the energy for the game of musical chairs at Summerfest. Over the weekend, each of seven stages off the cobbled streets of the Whaling Museum district grew packed to overflowing. There was no mad dash for us for the first performance at the small canopied area at the National Park Garden Stage. That first act was a€?Introducing Liz Longley.a€? This proved to be a priority-changing event. I also managed to squeeze in an on-the-spot interview at a surprisingly subdued side room at the nearby, bustling Celtic Coffeehouse.
Her father was a a€?really gooda€? jazz musician who played saxophone and had his own band. Exposure to chorus was minimal in grade school, but when she reached her early teens, she started singing with her dada€™s jazz group and continued until she was 18.
Having begun writing on piano, Liz began performing with a friend, Sarah Zimmermann, who provided guitar backup. Additionally, Liz and Sarah performed at fundraisers, in particular a€?Relay for Life,a€? held every year to raise money for cancer research.
They also played professionally at local Pennsylvania folk landmarks Steel City (Phoenixville) and The Tin Angel (Philadelphia). After high school, Berklee College of Music in Boston was the only college Liz applied to because it offered songwriting as a major. She still performs on piano when the opportunity presents itself, and thata€™s illustrated by two slow ballads on this CD where she uses her keyboard skills.
Her upcoming shows dona€™t include anything in the New York metro area, but wea€™re hoping this article will change that.
The photograph we found online for our a€?Radara€? July ad showed a drop-dead beautiful face, and we wondered if there was matching talent to back it up.
High school proved to be the seeding ground for this musical maelstrom, this force of nature.
Trumpeter swans often frequent lakes in winter alongside other waterfowl such as Canada geese.
Winston's kindergarten teacher received a grant from Farm Bureau to take the class to Shatto Dairy. Miss Missouri’s Outstanding Teen McKensie Garber, Keegan Allen, Jacklyn Maize, Ethan Adkison, Jenna Rains, and Champ the Bulldog.
Morgan Corwin, Michael McLey, Dalton Swalley, Keaton Collins and Hunter McCampbell moved up to the rank of Star. R-5 basketball cheerleaders for the 2011-12 season are, from left: Maria Bickford, Morgan Horvatin, Mattie Burge, Kara Stanley and Skyler Loxterman. Karla Michener's (four-year old) preschool class, from Learning Time Preschool, took a field trip last Friday to the Active Aging Resource Center. But these completely unarticulated struts would have been able to propel the organism by only the most minute of increments. The leading influence seems to be Hieronymus Bosch.7 Serafini echoes The Garden of Earthly Delights, for instance, in his artificially patterned flora, fantastical architecture, incongruously coupled objects and cryptic rituals. After sections on flora and fauna, there is one on a genus consisting in of pairs of legs, which support not bodies but various surprising terminations such as umbrellas, balls of yarn, striped pods out of which tigers burst when ripe, numerous free-form shapes.
Perhaps the strangest section is the one on language, where the materiality of the letter is taken to the extreme. Wednesday night, finish the July issue, then get two hours of sleep; Thursday, pedal-to-the-metal from NYC to Fall River, Mass. Newly appointed chair police at the main Custom House stage prevented attendees from saving seats for hours at a time.
Seats opened up after each act and the first attendees to dash to freshly vacated chairs near the front became winners.

As usual, we arrived at the festival at about 9:00 am and the first show didna€™t begin until 11. Liz was scheduled to perform 10 days later on July 12 at the Living Room in New York Citya€™s East Village. From the very first notes, it was obvious that we were going to want to see and hear a lot more from this brilliant 23-year-old. I would not be jumping from tent to tent, looking for the best seats, hoping to find something near the front at the big Custom House tent.
For her first eight years her family lived in West Chester, Pa., then they moved a little further west, to Downingtown.
Her mother was an aspiring singer, but lacked the time and opportunity to pursue it as a career. Through her dad, shea€™d gotten exposure to Ella Fitzgerald and Sarah Vaughan and they were her favorites, the ones she focused on. Other events included the high schoola€™s talent show and the senior prom, with both girls performing in their prom dresses.
Liz said that she entrusted major decisions in the studio to producer Glen Barrett and enlisted feedback from her parents to help her decide what, in the end, would be the right sound for her on each track.
These include a€?Little White House,a€? seemingly a farewell to her childhood, and a€?Unraveling,a€? another farewell of sorts to her grandmother, suffering from Alzheimera€™s. Her dad told her, a€?If youa€™re going to learn to have a career as a musician, youa€™d better start now.a€? Actually, performing after college was a continuation of what shea€™d been doing since high school and during her four years at Berklee. Deputy Robert Mazur, Gallatin Police Officer Rick Pointer, and two civilians, Tammy Mazur and Jesse Reynolds, all received the Citizenship Award. And the tentacles, which might be expected to snare food, are too short to carry it to the organism's mouth, at whichever end that might be situated.
There is a relatively abstract section on natural (or from our point of view unnatural) elements, along with scientific machines for analyzing them.
Here letters and words proliferate into different species beyond our own world's superficial differences of language. Then, with breathtaking suddenness it darted upward, taking the hollow in my chest along with it.
The chairs were empty and there were no chair police to prevent us from saving a couple of seats for the first act. Wea€™d see her then, of course, since we never miss WFUV DJ John Platta€™s monthly a€?On Your Radara€? series.
Instead, I followed Liz from one stage to the next, seeking the best photos and videos of her that I could get (below).
Her earliest memories involve driving around with her father in the family VW convertible with the top down and music blasting from the car stereo.
The lone cover, a€?People Get Ready,a€? demonstrates a command that allows her to take ownership of the song. While it did come up in our interview, her Facebook page states it more succinctly: a€?In high school, I was a marching band nerd. Deputy Chuck Karns received the Honorary Deputy Award.Charles Cameron received the Citizenship Award. Since what is designated the head is only an amorphous blob in all the examples found, it may even be that we are dealing here with a fragment of a larger, perhaps stranger, organism. As she states on her Facebook page: a€?I grew up listening to Joni Mitchell and Karla Bonoff.
James Taylor, Karla Bonoff, Joni Mitchell and Sarah McLachlan were among the names she cited.
I was surprised that she hadna€™t sought feedback from anyone at Berklee, but kept to the formula stated above. One is a version of Joni Mitchella€™s a€?Rivera€? in which Liz hits some high notes that Joni herself might not be able to handle anymore.
No longer confined to the plane of the page, they rise above it with the help of gas-filled balloons or are dropped onto it by tiny parachutes.
But we didna€™t know her, so we figured it would be a good idea to get acquainted before seeing her at the Living Room. The first two use a full studio band, complete with drums, bass, lead guitar backup, pedal steel a€” the works. The second is Van Morrisona€™s a€?Moondance,a€? which gives Liz a chance to show off her jazz vocal skills.

When I wasna€™t on the field, I was writing music (on piano & guitar) and playing shows. This included a a€?concert night,a€? wherein the school invited students and parents to come to a performance solely by Liz and Sarah. In contrast, her third album, the latest, Hot Loose Wire, completed right after graduation, is stripped down a€” just her, solo, with either guitar or piano a€” pretty much what we see in concert. No matter how broad a range of stimuli is provided by our physical apparatus of seeing, our interpretive reading of those stimuli is necessarily a partial one. Wolfgang-Rainer Mann's recent book, The Discovery of Things,5 claims that Aristotle's early text Categories was not, as some assert, the common sense prolegomenon to his later, more significant work. Theya€™d bring in a song and other students would dissect it, asking questions like why a word was used in a particular place. We select those features of the object which are felt to be salient or definitive --and what comes forward as definitive is that which corresponds to an already existing definition. If Aristotle's text feels like common sense today, that is because the ideas put forth there have become so generally accepted as scarcely to seem like philosophy at all, though they were far from self-evident in their time.
Yet it too foregrounds its material nature, if only because, as a fictional construct, it is opaque to our understanding. There were classes where songs by famous writers were analyzed, and Liz loved it all, soaking up every learning opportunity that came her way.
What we see is what we have been prepared to see by systems of classification or categorization. In a radical departure from Plato's doctrine of the Forms, Aristotle asserts that the fundamental entities are ordinary things and their features.
There is enough consistency in the labelling of sections and the use of individual characters to foster some hope that this is a cryptogram; but into what known language would these utterly foreign signs be decoded? A sort of Rosetta stone is depicted at the beginning of the language section; however, it provides no illumination, pairing the language of the Codex with a more archaic, and equally fantastical, hieroglyphic system. Encyclopedias can be broadly divided into two kinds: those that are ordered alphabetically and those that are arranged systematically. Despite this distinction it will be useful for us to remind ourselves here of some of the things that Michel de Certeau has said about glossolalia. It does provide a quick and convenient way of locating and extracting information, bypassing all that is irrelevant to the item sought.
Read in sequence, though, the alphabetical encyclopedia produces only surreal juxtapositions comparable to Raymond Roussel's famous encounter between an umbrella and a sewing-machine upon an operating table -an image taken straight from the files of hallucination.
Similarly, glyptolalia is not-a-writing that becomes the abstract material manifestation of writing per se. The systematic encyclopedia at first seems to do better, to promise an escape from the hallucinatory into a realm of serene order.
It presents an ordered view of the universe and the things of this world, as well as of the particular civilization that produced the encyclopedia (and the order of the world picture depicted therein). The encyclopedia that systematizes and classifies, the kind I am addressing, provides its readers with a way of seeing things -logically, and as a consequence also visually. Yet this way of seeing things can at times be linked to that other way of seeing things, the hallucinatory.
And insofar as the systematic encyclopedia presents us with a categorized way of seeing things, it creates a sense that ordered knowledge is the authoritative reality, while it may be -must in a sense always be- provisional, incomplete, and to that degree delusory.
The operating table is most obviously another image to be added to those of the umbrella and the sewing-machine. Felt initially to be an accurate reflection of the real, the system at its extreme reveals itself to be arbitrary, unreal. However, we have one such encyclopedia that can be held in the hands, experienced directly. It is the Codex Seraphinianus, perpetrated by Luigi Serafini in 1981 and since published in a number of different countries.
While exhibiting at every turn the look of orderly classification, Serafini's encyclopedia is fundamentally hallucinatory, as we shall see. And if this term is a classification, it is also a term -or rather a state- that challenges our fundamental notions of classification.

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