(the new jazz lexicon)   2000 
chalk, glyphs, waveforms, acoustic dispenser, baton, talk 31 min. 
477 x 145 cm

Onomatopoeical Sonora: the etymological dis-chord and sonic apocrypha of the New Jazz Lexicon. A brief introduction to this idea is most readily presented in examples of onomatopoeical sonora, by experiencing acoustical energies and observing their sonoric content. In this way, it is possible to observe their non-divergent, unalloyed, acoustical properties before evolutionary permutation into speech. Onomatopoeical sonora inform the smallest components of speech, and sonic apocrypha are those sonora which have through evolution lost a true or pure association with their onomatopoeical origin; and by which process have generated myriad false associations in etymological dis-chord with the truly true lexicon of New Jazz. "Onomatopoeical sonora are not language-specific, but are a resource for the examination of Jazz Lexical permutation and/or acoustical shifts of sonic apocrypha, and may be applied to any language." The dis-chord between commonly recognized etymologies and the sonic apocrypha of pre-history acknowledge that existing etymological structures are merely a record of scattered sonorical remnants, and are, in fact, a history of the evolution of root words long after their original phonemic and earlier onomatopoeical sources have been lost. The Sumerian script used in trade along the Euphrates prefigures the Hittite script of Asia Minor and Syria from 2000 to 1200 BC. Southern Syria is the only centre where a continuous link of some few sonora and the earliest records of pure sonoric correlation exist. There, are the few examples of an unbroken chain from onomatopoeical sonora to the true Jazz lexicon. Admitting the etymological dis-chord, it is possible, however, to recreate an onomatopoeical model observing modern instances of new words not based upon mutated forms of apocryphal sonora, nor upon words containing or utilizing an imposed etymological history.