* Original 1st edition. 350 copies, in English * 28 pages booklet published by the Middelburg Bureau of Culture and het Apollohuis to accompany an exhibition of Jerry Hunt's installation works exhibition. Birome (ZONE): Cube is devised as a reflex memory cabinet with transactional core: the mechanism used is item-element invariant and system transparent; the cube zone is a body-memory exerciser and operates as a continuous "other": a sexual surface trance derivative emulator. The interior surfaces of the cabinet serve as source skrying planes through access points using a system derived from the angelic tablets of John Dee; the core is a composite mannequin arrangement (homunculus) provided with interactive signature translators derived from a serialized variant of Rosicrucian chess (sigil) and is sensitive to participant skrying action. The participant/cabinet/core interaction is arranged in such a way as to cause the core assembly to generate response signatures translated as context codes along a binary interleaved multiplex transsexual spiral: the spiral contains embedded narrative whorls: each whorl generates a string of sound-image derivatives. Deep whorls (cores) use spatial reposition; continuant whorls (narratives) use temporal reposition. Sound and image sequences and stills are parallel threaded into the multiplex spirals.
The system uses an audio/video retrieval mechanism in the surfaces (monitors), sequence and stream interactive with the accumulative history of the participant/cabinet/core exercise. The mannequin artifact assembly was designed with the assistance of sculptor David McManaway. Jerry Hunt, 1988
Birome (ZONE): Cube [frame] is an interactive mechanism reflection-translation of the frame reflex memory cabinet and transactional core of Birome (ZONE): Cube. The variation is item-element invariant and system transparent; the cube zone is a body-memory exerciser and operates as a continuous "other": a sexual surface trance derivative emulator. The interior surfaces of the cabinet serve as source skrying planes through access points using a system derived from the angelic tablets of John Dee; the core is a composite mannequin arrangement (homunculus) provided with interactive signature translators derived from Rosicrucian chess (sigil) and is sensitive to participant skrying action. The participant/cabinet/core interaction is arranged in such a way as to cause the core assembly to generate response signatures translated as context codes along a binary interleaved multiplex transsexual spiral: the spiral contains artifact-isolate embedded narrative-device whorls: each device-whorl generates a string of sound-image derivatives. Deep whorls (cores) use spatial reposition; continuant whorls (narratives) use temporal reposition, parallel threaded into the device spirals.
The system uses an interconnected retrieval mechanism in the surfaces (component assemblies), sequence and stream interactive with the accumulative history of the participant/cabinet/core exercise. The mannequin artifact assembly and mechanical translation version as a system frame was designed with the assistance of sculptor David McManaway.
Jerry Hunt (1943–1993) has been described as a shamanic figure with the look of a Central Texas meat inspector. One of the most compelling composers in the world of late twentieth-century new music, he made work that combined video synthesis, installation art, and early computers with rough-hewn sculptures, scores drawn from celestial alphabets, and homemade electronics activated by his signature wands and impassioned gestures. Hunt lived his entire life in Texas, eventually settling in a house (“an interactive environment”) he built with his partner, Stephen Housewright, in a rural area outside Canton, but his pataphysical, abrasive, and humorous performances took him across North America and Europe, where he amassed a small but dedicated following.
