Reposted from July 14, 2022: Late last night and in the early hours of this morning, between 11pm and 2am, I created a new music composition and rediscovered an older one which then I altered and refined. Immediately, with the first of these two sound compositions, I thought of an idea I had come up with several years ago to create music compositions for the express purpose of, when the technology had been invented, sending through time to transmit at the first meeting of the surrealists at the Bureau of Surrealist Research. The pieces I made last night, in part grown out of the sound track work I have been doing for the 1928 and 1929 surrealist films 'The Seashell and the Clergyman' and 'Un Chien Andalou' by Artaud and Dulac and Buñuel and Dali respectively, felt like a perfect fit for this conceived project. While the technology does not yet exist (or does exist but is not known to the public) to perform this operation, physicists have already been able to open tiny, pinpoint black holes in space and time. I predict the near-future development of this experiment and others into a Einstein-Rosen bridge, a wormhole, through which transmissions of sound and word and image can be made. Or perhaps the Visser model of wormhole will be the one that is used. The occult Chaos Magicians say they have already been able to, with the use of retro-chronal magick, travel through time and change past events. There is also, in the Bible, an invitation to "step onto the Mountain of the Lord," the Mountain of the Lord having been interpreted as a dimension outside of the strictures of time. I have, lately, been thinking about time, chronos and kairos time, and Time as an entity or organism or animal also. To me, while we percieve time in a linear fashion, must often elucidated by scientists and philosophers as the path of an arrow, I discern the movement of time being as a stone dropped in a body of water with concentric cicles emanating outwards and inwards at once. The first of the music compositions I have made is titled: 'Omnia (The Knife) / Retro-Chronal Visit To the Crash Site'. The first section of the work concerns the sexual abuse of the female character, Omnia, from my novels 'Monument to the Unimaginable' and 'Inexorable'. A text about the abuse is performed by a hybrid artificial intelligence and human actress, aged around the age of Omnia when she was abused, six years old. The work then jumps forward in time to when Omnia is in her mid twenties, in a relationship with the narrator of the book, Paul, who is both myself and not myself, an autobiographical duplicate and fictionalized variant of myself. This section utilizes a woman's sounds of orgasm as an operatic "aria." The final part of the composition moves through time again, to October 1970, not long before I was born (on November the 2nd) when my birth mother, Patricia, was in an automobile accident, and I myself was still a passenger in her womb. The sounds in this part of the composition always reminded me of crumpled metal in particular the twisted metal of the disaster vehicle, my mother's car, which in my unconscious and preconcious minds are fused with her womb, into a conjoint uterus-car wreck. The tissues and fibres and cellular network of her womb flesh is now outside and is a car that I drive, and the twisted metal, punctured plastic, and fractured glass, are the elements which now inside her body, are combined to make up the desolate ruins and disaster architecture of her ventre de voiture ("car-womb" or "car-belly"). I will upload these sound compositions soon and post a link to them here. Post-scriptum: If you are super-clever and/or hyper-astute then you may have noticed the word "annulus" in the title of this post, the meaning of the word relating to concentric circles like the ring patterns that are found in a tree, also relates to the description of my conception of time in the text: "the movement of time being as a stone dropped in a body of water with concentric cicles emanating outwards and inwards at once," and the concentric circles of the shooting target in the background of the photograph of the surrealists at the Bureau of Surrealist Research taken by Man Ray.