 The Secret of the Cicadas SongA Peyote Trip in Prose and PoetryPaperback: HiT MoteL Press, December 28 1998, 1st Edtion Buy the paperback on Amazon or Barnes & Noble. See the other books in this sextet HiT Motel Press. SummaryThe Secret of the Cicadas Song is an expanded chapter from the novel Cultivating the Texas Twister Hybrid. As such it becomes volume 2 in what is called The Little House on the Prairie trilogy. In this epic poem, a man who is both a physicist and a poet is walking in the landscape as we hear the an extended internal monolog of his observations. Although most of the book is written in English language, some of the book is in a kind of syntactic repetition curved into a movement, some of it draws movement in punctuation, it can be read aloud. Some is mathematical symbols which can be spoken, and should be read aloud as a kind of incantation of the abstract vision they invoke. Table of ContentsPart 1 Hyperspectral / The Dirac Satori I seem to be a fractal in the Green Bank 78 relativity 79 leaf feather 91 Green Bank parade 92 Green Bank as recursive, acausal, semi-permeable membrane 93 a bit of a bummer 95 she, Gaia, when 102 Oxygen 10 the floating brain, 106 Mushrooms 107 The DNA computer 109 where does language begin / the real name of water 113 Green Bank formula 121 Green Bank Definition 125 the heart is a strange attractor 126 The Background Hiss of Summer 130 Writing Notes forThe Secret of the Cicadas Song from the AuthorI majored in physics in college, and my favorite was thermodynamics which did a good job of presenting reality as a macrosphere floating over a microsphere governed by the rules ot probability formulated into Statistical Mechanics. It was about the motions of all kinds of fluids, the watercourse way —in the abstract: vectors in a field. As a physics student I had spent a lot of time studying math, though I wasn’t really that good at it, I learned it like one might learn a foreign language. It was a non-indo european language in which one combined symbols and operators that allowed one to perceive what happened to objects in space and time, but more underneath the behavior changing in space and time. Differential equations which describe all behavior of change unfolding in time, was a kind of western enlightenment, once you spent a bunch of time working at it. In the first image below<link>, starting with “Along with my fiery guid dog Blake” you see I am working with three elements: the rising and falling sinusoidal of the ei the cicada chorus, this leads to a spiral out there. The ei is the exponential function, with the imaginary number “i”, making a rising and falling envelope. There is a kind of notation developing, words as objects. The phrase “rock drill” is an allusion to Pound, suggesting a technician of the sacred getting down to work on a hard subject. The green wind is an allusion to Lorca, leading to the crickets. Also “green ideas sleep furiously” deep; grammar. Also the green pallor of the face sets in, as blood is draw away, queasiness of existential nausea is starting, if you throw up now it will be green. After a couple of poems, one in which the narrator imagines himself dying from snake bite and another in which he imagines himself being looked at from the compound eye of an insect, we come to this passage in which he tunes into the crickets communicating with each other. These passages are stanzas or choruses of the poem. This one with the gesture down <link grasshopper leaped> is like a haiku ukiyo-e paintings of words. A much deeper sense of existence is settling in. The poem talks about a kind of resolve settling in, you are on the trip now, got to go with it. Besides Dirac, Rene Thom, as well as soon Prigogene are imprinting themselves on the poem. The eyes looking in poem notation of the words mimic the movement of the eye. an actualist at work. One generative hypothesis of the poem is: What would happen if Ezra Pound and Charles Dodson collaborated about being influenced by Basho and Dirac. In the stanza below "peyoteros must change the names of things" in which the poet tries to learn the real names of things. It gives the story of our sun and planet earth. as a couple a father and mother. daughters a history of a the world with spritis coursing through it. water fire wind The language in The Secret of the Cicadas Song becomes more than simple words and syntax. The poem blows syntax out into spatial traces, the words become objects, the meanings speak to a trans-culture literacy. I am trying to always bridge the supposed gap between art and science. Language becomes how ideas circulating around in the noosphere take up station in the consideration of minds prepared to receive them. Natured is imagined through the symbols, signs and operations of the space time language and seen to be communicating at all levels with aspects of itself.
Images from within the book
My dog named is named Blake. He is a red and yellow and white border collie of fabulous awareness and loyalty. You see I am working with three elements: the rising and falling sinusoidal of the ei the cicada chorus, this has the ability in its phase shifting to shimmer up a feeling or rarefaction and compactification in the space. This seems to lead somewhere leads to the vortex or a spiral out there. And three, the greeness, the verdure of the velt. The ei is the exponential function, with the imaginary number “i”, making a rising and falling envelope. There is a kind of notation developing, words as objects. The phrase “rock drill” is an allusion to Pound, suggesting a technician of the sacred getting down to work on a hard subject. The green wind is an allusion to Lorca, leading to the crickets. Also “green ideas sleep furiously”— deep grammar. Also the green pallor of the face sets in, as blood is draw away, queasiness of existential nausea is starting, If you throw up now it will be green. 
The weatherman says the fronts moving will relinquish the pressure gradient, and the wind will die down. Most people have an intuitive knowledge of fields as areas which can be deformed or shifted and thus the vector fluid within the field will shift. Here the poem dives in in into the gestural haiku ukio-e moving "deep" as the observer is using3D localizing hearing and sense of pressure to sense the ancient language of crickets reflecting the shifting temperature gradient.  After a stanze of the poem about Stockhausen and his notation for Moments, the observer in the fields is feeling his own slelf partitioned out as he tries to put soem kind of temporal grammer like music and spatial arrangements of being communicating.. We have th vortex, and the grating flowing through the stick figure man. Outstanding in his field, and urnning.
The figure is titled The Monstrance of Forking Paths in a Separable Space. It shows a Rubic cube separated into the corner cube and the center cube. Above shows a teselated tesseract with a point missing so that one can escape it and be not contained by it.
The figure is titled The Monstrance of Forking Paths in a Separable Space. It shows a Rubic cube separated into the corner cube and the center cube. Above shows a teselated tesseract with a point missing so that one can escape it and be not contained by it.
The figure is shows the image of Oxygen as a kind of monstrance or boquet offered by flowers, which it is. 
The image shows water eing through of as a concatenation of mathematical symbosl bespeaking actions that end up being the many things water does for us here. It shows water as a solution of the Green Bank Formula a function describing the emergence of life. 
The stanza is about the manifold. The Green Bank function describes a manifold.
Photograph of Michael Lyons around the time from a drivers's license.
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