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

Lszl Hortobgyi GUO

Aeon (1998)
Precious and rare recordings from the age of Paleolithic and the 1st Millennium, namely from the Mammoth Venatio Fest at La Moustire culture to Kontakion Akathistos hymn from the Byzantine Paraklt. In the 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-called Timekalpa-convoillusion plug-in, developed by eL-Horto, during the spectral analysis of 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-HellenicRoman-Hittie-Scythian time-strata (or pororoca of the Aeons). The time-strata are being unfolded in an onion-skin like way from acoustical funnels driven into Schwarzschild zone of wormholes onto the wax surface of gramophone cylinders, where the kronopit engraving 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 GUO Ambiguo (2008) Ambiga and ambivalent. Sometimes ambigoa. But always traditionally Hindusthan and a possible projection of 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 real world. 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 21st century traditions. And with the global and eternal music traditions of India.

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 a cortex-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 pigmentriches for some gold, cotton, human flesh and land, they owned the Bible. By the time, 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 common Amygdala-chakra. Well, el-Horto and Guo found it: the common multiple in various anthropological wrapping 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 of Amygdala, being born in it, 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 other human feeling, consequently the whole society looks like rag-fair of Aliens extorting passion.

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 family traditions, 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 of unwritten 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 Bhratiya Sangeet Sammelan celebrated by el-Horto-Guo. To weave this experiment further is only a question of respect and fantasy.
(L.Hortobgyi 1993)

Lszl Hortobgyi GUO Babel (2007) Dub for all, who knows that real life isnt just licking honey. However, it is still surmountable, if you are listening to Babel. The sun-kissedless light of dubs real face will guide us to a collective kingdom come, where the dub however we may euphemize 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 and find 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 ganja cloud, but the sober alienation and a well constructed Babel-bridge to the other side. A promenadexode. And over there, the pigment-rich dub culture is going to meet the high-tech, and in the 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.

(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 the past of Peloponnesus, but during the expedition leading to the depth of collective consciousness and its exhumation. They have succeeded to find an Arcadia, but it has nothing to do with the desired but false concept of Utopias, much rather with the world of human souls real nature transformed into rituals. This world of antibody or gravastar can be reached through chronosynchronized jumping 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 souls gravity bubbles made up of hexagonal meme-structures) and immediately, we find ourselves in the world of Arcadia. In the Arcadian fields, there are withered bodies singing in a praying position with looming 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 individual Arcadian joy will explode in the recital of Arcadian music and songs.
(L.Hortobgyi 1992)

Lszl Hortobgyi GUO El-Horto Ang (2000) Ang means 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 the planet, 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 moneymaker 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 bergeil cake of entertainment industry, where the well-n-ass of little Himmler Gurus are fattening on exploitable fat of traditions. But not in the world of eL-Horto Ang and Guo: raga-structures and dub, South-East India and electronics, polyrhythm and pentatonic polyphony from the Indian Archipelago, a thousand years old Asian instruments and techniques 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 of eL-Horto Ang, exclusively and for the last time.
(L.Hortobgyi 2000)

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, among others, an incomplete ethnomusicologic collection that would be catalogued in subsequent eras as The Guo Collection. Later, as the realization of Transociety paradigm, and as one of the collaterals of Zeitgeist-type movements of our age, a new school was born, the so called Ars Guothica Nova, with the primary aim to adapt The Guo Collection. The restored musical material has become generally known as a chapter of Gyan 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-mms, the synthesized carcinogen silicon PCM sequences, the Hindustani style of astral-hallucinogen orchestration or the polyphonic application of analyzed interstellar noise spectrum samples and geometric fractal loop programming, and the Pythagorean method of sound mixing are spinning a mmetic cobweb around the phosphorescent acid-consciousness having grown in consequence of the alienation trend of this century, and appearing in the holo-consciusness of the participants in live performances as a refined prna of transociety of the millennium. (Encyclopaedia Guolactica) The Status Guo, arising during the live performance, will realize the light of the opalesque 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 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-coloured divine-cerebrum on the memetically 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 is blended with the Greek spirit of chronos protos, that will integrate the 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 in the bell strokes, is going to introduce the Great Mughal Period performed by the Gyan Uttejak Orchestra 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-flying of the executed souls. So, there is no room for narration, because there is only one narrative: 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: si enim 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 mythological Arabian constellation. Here can be found the planet, the warm and heavily milk-fogged lands of which makes a home for ethereal body-reincarnations of dead Muslim Saints and Dervishes. 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 dead Muslim Saints and Dervishes have moved, 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 at the same time jahannam, namely the earthly empire of Hell. The first description of the music that flourished in that distant gloomy world could

be find in the Kitab al-Algani (Song of Book) by Abu'L-Faraq al-lsfahani (died in 967) and the last one was accessible in the AI-Risala al-sarafiyya fi'L-nisab alta'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 every culture to music in a Fomalhaut style, giving at the same time a short description of the ancient technique of leaving the ethereal body. Many different aspects (zahir) of the mystic path of the ethereal body are concentrated 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's ethereal body, this is the Presence (al-Hadrah). The evolution of the Dervish ceremonials culminated in the Ayin (or Mukabele) rite in which the music and dance helps together to drive the performers into the greatest intensity of mystic exaltation and annihilation in the world of Fomal-Hoot al-Ganoubi.
(L.Hortobgyi 1991)

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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 same time, 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.

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 of Gaia Dei (Terranoma) although it serves as an intellectual exode from the world that has been made uninhabitable by its inhabitants is only a true mirror of our God's world.
(L.Hortobgyi 1994)

Lszl Hortobgyi GUO The Guo Collection (2000) When the Messiah came to the Earth eL-Horto asked him, whether he had ever been to this place before? On His sign, like an orogenesis, a new civilization would emerge, with relics, memorials and the wreckage of Noahs Ark among its ruins, full of memories of the future 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 the changes 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 of humanoid 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 the constraint of escaping from individual existence being crippled and tucked underneath the blocks of brutal human-social structures and of self-expression

wallowing in fashions. The relics of The Guo Collection are merely sounding memories of a humble experiment 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)

Lszl Hortobgyi GUO Guonthology (2007) Gyan Uttejak Orchestra regrets to inform You, that with this publication Guo doesnt 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-European music, 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 humble forerunner of the new Western-Amerasian Empires musical mappings that are coming into existence in the caste-system of future society, nevertheless Guo is opposed to the traditional music industry that will operate as one of the WellnessNeuronetics subdivisions of Wychi-Exonybm corporation. With the help of its music, Guo would like to create a kind of a state of Stoa: its components 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 the Moebius-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 the World. Be a part of it.
(L.Hortobgyi 2007)

Lszl Hortobgyi GUO Hibernova 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 Destinys protocol, thus setting the levitation chakra, the clattering world-wheel of the Galaxys corrotational radius into motion, along the synchronized tsunami of theta brain waves generated by that way. Hibernova is an experimental pilotfish-piece of a multidimensional audiostasisuniverse, that will describe, by means of breaking open its musical-physical laws and as a faithful mirror of earthlings demented collective subconscious, the feast of collective paroxia rewriting the alienation of actual transhuman worlds and being traceable only in the socio-psychozoicum of human psyche, that is the possibility of discovering each other and of a real communio-parousia becoming true during its 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 is the musical practice of applying a rhythmic-periodic system (tla) learned from Asian high-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 of polyrhythmic 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 the musical rotation (rhythmic samsara) will take place aperiodically in the melodic dimension, consequently not in the Asian type polyrhythmic space, so it has a totally different 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 multidimensionalvertical polyphonic blocks of musical dramaturgy can come to existence in a onedimensional space, as opposed to the multidimensional musical-rhythmical compositions of the periodic Asian time structure that is created along both phases of

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 spatial frequency 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 timeblock structures, 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 fall back 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 of time. In the spatial alloy of Hibernova, despite the Western tradition, the passage between rhythmic 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)

Lszl Hortobgyi GUO Hortadamus (1996) According to Hortadamus chronosoftware: Our consciousness is a sphere, and its bearing 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 and bigger, thus, for certain developing consciousness of the mankind, the duration and the intuitive aureole of present time is also becoming bigger and bigger. The extraction of information occurs through space-time, with the help of EinsteinRosen bridges, 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 our mirror image is becoming infected. However, the method of Hortadamusic serves exactly this purpose: it will wrap the prophecies into doppelgnger cover of well-known ritual tropes and transmit them, in this phase of space-time, through known network distributors, with the help of Bevatron, onto the surface of the planet.
(L.Hortobgyi 1996)

Lszl Hortobgyi GUO Songs 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 never been disunited, the musical accompaniment all the while 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 particular melody, 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)

Lszl Hortobgyi GUO Songs from Hungisthn Vol.II. (1999)

Original report of musicology from the 19th Century:

"This selection on the music of Hungisthan is a desideratum which has not yet been published. Altough several eminent orientalists have endeavoured to penetrate this elegant branch of Hungisthan science, scarcely any part of it has been elucidated or rendered familiar to Europeans. It is impossible to convey an accurate idea of music by words or written language; that is, the various degrees of aeuteness or gravity of sounds, together with the precise quantity of the duration of eachf cannot be expressed by common language, so as to be of any use to performers, and as emusical characters now in use, which alone can express music in the manner that could be desired, is a modern invention, of course all attempts to define music anterior to the invention of this elegant and concise method must have neeesarily proved abortive. To be convinced that foreign music, such as we have not been accustomed to, is always repugnant to our taste, till habit reconcile us to it, we need only refer to the sentiments of the several travellers who have recorded their particular feelings on hearing the music of Hungisthn with whom they have had but little intercourse. During the earlier ages of Hungisthan, music was cultivated by desert prophets and men eminent for refined ecstasy, for whom such general directions and rules for composition sufficed, after a course of musical education acquired from living tutors; indeed, the abhorence of

innovation, and veneration for the established Hortobagy music, which was firmly believed to be of "divine origin", precluded the necessity of any other; but when, from the theory of music, a defection took place of its practice, and men of learning confined themselves exclusively to the former, while the latter branch was abandoned to the illiterate, all attempts the elucidate music from rules laid down in books, a science incapable of explanation by 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)

Lszl Hortobgyi GUO Memesys (1996) Whirling wrack and amoeba-like fractal-mucus of cultures and thoughts on the surface of the planet. Included Yours, too. Mmesys. Where the mixture of memetic structures of human brains may, according to the rules of 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-Guos interpretation 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 of mmesys. Mithras mmesys. With exceedable taste, by preserving the original cultural language and with the help of understanding the common multiple.
(L.Hortobgyi 1996)

Lszl Hortobgyi GUO Memix (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 or guoriginal memix-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 in the future. But especially in Memix. So, lets say, we have some ecstasy and transcultics here, as is proper in the case of Guo Orchestra. In short, from the galactic trans-operas to the mantras, and back. Please, listen to it in an autotelic way.
(L.Hortobgyi 2005)

Lszl Hortobgyi GUO Mixology (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 time between the collapse and the vanishing of the borders of cultures: this is the science of Mixology burdened with Heisenbergs paradox. Dont forget: never before and never after.
(L.Hortobgyi 2000)

Lszl Hortobgyi GUO Sangeet Novus Sensus 1996 The Sangeet Novus Sensus has been composed for a socio-etno musicologist coming 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 FFT spectrum-analysis as an algorythm controller and a virtual overtone-synthesys software developed by me. Here appears the music as a physiological sma /szleg/ and seems to be one of the potential acoustical solutions of abandonment from the earthly reality and of the generating the social-Mbius consciousness based on my computed mmesis technology. The modular goa-electronics, the matrix topologie of tabl-mms, synthesized carcinogen PCM sequences, the Hindusthn style of the astral-hallucinogen orchestracion or the polyphonic application of the analyzed interstellar noise spectrum samples or the geometric fractal loops induced by Zipi programming and the Pythagorean methodology of the sound mixing - all have spun a mmetic cobweb around 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 human race 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 ethnological nightmare 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)

Lszl Hortobgyi GUO Sangeet Sammelan - Guo Live (1982-1988) Selected live recordings of the Gyan Uttejak Orchestras performances from the former Territory of the Far East-Europe and Hungisthan 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 of history, 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 of Hungisthan evolved, and the music of future India, still not existing in this reality, became a part of Guo repertoire as a mixology 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)

Lszl Hortobgyi GUO Technoglyphics (1993) Traxcommentaires: 1. Gobluminosis /Nirjv-gt / - Song of the deceased philosophers' putrescent intellect - Light of effluvium above Theophrastus Paracelsus' cadaver pit - Jeremiads of Maldoror - Choral service of nigromans 2. Sine-dubio /Jyotisik sangt / - Astrological dub of Hindustan with a Necro song of Soma-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 of Judas 0:35 2. The Flagellation 3:32 and 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 of M.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 /

- 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 the Mutanimanoid Vox Caelestis 8. Shivaishna-gari /Upkhyn-gn / - Overture from the Cyberiana chamber-opera - Shri Vishnu Sahasranamara... in Tamil - Manawa Dharma Shastra or the institutes of Manu according to the gloss of Kulluka 9. Namayashii-synthdroma /Suril vadyyantrik racn / - Garden of Kfuku-ji temple in Nara at the Juimae feast - Gagakuorum - Tkj bosoku 2013 (Twilight in Tokyo, 2013) - Lachrimae rerum (Lucretius)
(L.Hortobgyi 1996)

Lszl Hortobgyi Terranomia (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 from time 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, its development cant be stopped, not even by eliminating the reasons. The topographic malignant tumours with an earth-epithelium origin (malignoma) are collectively known as carcinoma, but that is also frequently (and improperly) used by lay 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, neither invasiveness 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 of amygdala, originating from the original evolutionary programming 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 of malignant deformations.

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 the basalis lamina, still showing some malignant cellular deformations, is called in situ carcinoma. 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 of terranomias, 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 socialhistological 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 a predestinativ caste, the social memcomplex strata, and it would regrettably mean, that neoplasms of socium 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 usually malignus, 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 of divine terranomia, as a socioevolutionary 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.

The probability of avoiding a new reincarnation of innate terranomic consciousprogramming 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)

Lszl Hortobgyi GUO Transmeccano-replica (1988) When the small meccandroids arm in arm with the antropteras of Venus penetrates into the crystal cave to destroy pictures, and where the Aztec android lady mermaid riding in a ribboned Burgundian armour on a Cretan Minotaurus, wearing ancus of the K snake around her neck, smiles at the Japanese crusader of the Vatican bluegold flying saucer while soft medieval Indian music is played (kirn bj-ki baroque), well, then the Salvation has started with the fall of the Bassaurus-raptor (bass-culture) and with the ectoplasm-discharge of the Gregorganics swamp-choir with a merciless repetition (moksa-hazarbf). When the budging metal monster, being constructed of swarming thousands of meccanos (Vocabla-Rja), started to eject through its bodyholes of violet light masses of 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 flood of 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 evolution swarming from it, with a hundred-thousand years old civilization of Reticulum inhabitants (reptiles), will be mixed with the harmology of Transmeccano-replica.
(L.Hortobgyi 1988)

Lszl Hortobgyi GUO Transociety Tulpa, 2009 The light of the opalesque 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, 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 corrugated consciousness, 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 Greek spirit of chronos protos, that will integrate the 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 in the bell strokes, is going to introduce the Great Mughal Period performed by the Guo Orchestra, 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 the final phase, where the patterns of rhythmic-cumulonimbi and asparagus will indicate 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 . . .