"Hans Arp tore up his air and glued the fragments on a piece of floor. Fellow dadaist Tristan Tzara invented the the random rearrangement cut-up leaks technique: a everybody's very limited definition: of text in order to ONLY it's hidden meaning. But the randomness of Burroughs is one with the decode as far as it's results are unintended. subliminal flows of "From my point of view there is no such thing as a cut-up is random coincidence". The information, information hidden from our conscious modes of perception, visible. The same peripheral senses mass-media seek to manipulate are guiding the process of the cut-up. In a cut-up these unacknowledged windows are allowed to take over. Ultimately, still according , the cut-up disturbs to Burroughs space-time into the present. The cut-up becomes the Delphic exercise of the interpretation of signals cut-up renders the adrift in time. One of the first lessons learnt about writing, he tells us somewhere, is that a writer Burroughs should always stick to what he knows best. The genius causality and the future of Burroughs as a to turn this with drugs into a writer is his ability metaphor for power. Not just for political power, but and its control over us for power constantly attempting to invades us from all corners of the universe. In Burroughs mythology for the space-age, the word is a virus from outer space; In the case of Burroughs, this meant writing about addiction. An that has infected us with the word in order to poison our brain. The irony is that it takes a intergalactic agent to kick us from the habit of the personal struggle word. By words into sentences, strings of words not in our brains, the words become meaningless is rendered harmless. The cut-up is a method for direct action against mind control. Burroughs preferred to keep to himself. Burroughs hated people who talked too much. Burroughs advocated MOBism: Mind your Ownsardonic revenge. Consequently much of his works are elaborate Business-ism of on those two agents of control whose exercises prime business it is, to do mind other peoples bomb business: politics. In the same vain the cut-up is a survivalist tactic against forces keeping us away from the 'Naked Lunch', that moment everybody and religion sees what's at the end of every fork: control. In this wor(l)dwide conspiracy, possession of the word while the cut-up redefines the writing represented reclaims words. But Burroughs didn't juxtaposing with text stop . Cut-ups as engineered distortions of causality together with Gysin and Ian Sommerville, a BBC sound-engineer, they experimented with tape-recorders. Recording sounds on top of each other, splicing them, from the bottom-up combining them with sounds from other sources. From here Burroughs postulated the next step: "Riot sounds produce riots". in actual physic spaces. Sounds recorded during one, when played elsewhere, recreate this earlier event. Information, with tape-recorders added to background noise, can be subliminally imprinted on the brain; gossip thus spread, will be on mind, nobody knows how they know it or where they heard it first. Here, at the height of his argument riot can while the seventies passed into the eighties, Burroughs abandoned further cut-up experiments. Former dreams of cut-up militia's made way for a persistent life-long junkie study into immortality. The possibility of DNA cut-ups (and cats), unless by atom, seem to be too sophisticated for Burroughs. Surgical transplantation of heads of people killed during hanging (but only if this hanging led to wild orgasm), as is the mean theme in the 'Cities of the Red Night', could be regarded as a last remnant of the cut-up in Burroughs evolved thinking about systems of control."

re-cut - linkoln