| edged out 7 part 1 - 1983 august | work & days: a lifetime journal project |
August 1983 [front pages: brought forward:
August 13 1983 Peacefulness after session. The oppressions - am I going to know where to get out. It's true: the way I expanded writing about Al, Catherine and Mrs Hattori. The stories I need to tell. Already the release from having to be mutual. Whether the tethers I sometimes feel - thinking in their terms - are lines - how're they made - wondering what Rhoda knows - it was when I was on the bike furious, thinking Daphne is using me as her research slave, esoterically - in her extreme carefulness (about "whole" I wanted to have slapped her head). Submitting myself to J's strictnesses. Sincerity is accuracy. that a picture of Maaruf was Maaruf when it was a picture of the realm of attainment of - one who has been given a sealed book, written before he was born. He carries it inside himself until he dies, while he is subject to the movement of time he does not know the contents of that sealed book. The words do not convey it. I find out the real intent of the disciple, and how he can learn. And I teach him. Do not speak of your heartache, for he is speaking. Do not seek him - for he is seeking. The science to bridge between the external and the inner is rare. - who surely and fearlessly follows any scent she, her young girls, and a bear It is Artemis who brings the death of women. She expects them to be true to their self-sufficiency. When they fail there's no forgiveness. Not I. I am not going to him. Film is memory of sequence. - Moon is roughly on the plane of the equator? So that at equinox it would rise and set at the equator due east-west. If the angle of tilt is 23.5 each side. Why is it reversed. azimuth - the angular distance in a horizontal plane measured clockwise from true or grid north to a given - grid azimuth or magnetic azimuth celestial navigation - angle measured at zenith clockwise from true north to a vertical plane passing through a heavenly body astronomical - measured clockwise from south point as-sumut the ways, plural of samt way
1. what is its relation to the equator - is it true that at equinoxes would be due east-west at the equator The two bodies move around their barycenter. The water-heaps shift slowly as they follow the moon around.
just under 30x the diameter of earth 3.88o per night There are 365 rises in an area of 47o ? When is perigee and apogee and what effect does it have on azimuth.
[sketch diagrams] Stands on his doorstep. Someone who lives a long time in the same place. "The farthest north I've seen it come up is from behind the big spruce on Hagen's land. I'd say the farthest south is down there by Flaten's pumphouse." location geometries One hour's passage of the sun is 15o. Local mean time, local apparent time, difference between the two systems is called the equator of time. Each date has a partner on which the sun has the same declination. Galaxy through universe 375 miles per second, one million three hundred and fifty thousand miles an hour Earth around the sun 18.5 miles per second, forty-three thousand two hundred miles an hour) Continental drift 1.5 inches per year Moon orbit at 6.6 (5o09') inclination to ecliptic Ecliptic at 23.5 to equator Ecliptic coordinates can be converted to rectangular coordinates Precession of thee nodes - ascending is when it crosses ecliptic going north, descending, south - every 18.66 years If it rises at 49o north of south it will be overhead at zenith. Zenith, nadir, azimuth Where the moon rises now is where the sun rises in 6 months time, approximately. Variation in moonrise and set azimuth would cover about 43+13o = 60 Perigee and apogee difference in velocity would mean differences in rising times and also places, not regular progression.
"the spheres" 18 Imagining a relation to before J: frightened hungry sad, existing in a confused way as streaming of experience who used to be an identity. Wanting to slip in with the Buddhists. Believing in the benevolence of the one I pay. "I'm desperate." Credulous, I'm in emergency, I need simple support, policing the relation to J, holding a stiff intent (noticing it's like her), I must not weaken, I don't think of her qualities, it is like her, not trusting myself. She'll get me again, I must hold stiff, at the same time wondering what is the relation of this policing to Ellen's intervention and possible design, and what is the relation in myself, of forbidding and suppressed loving and sorrowing (I want her dead). Protest letters, their tone, each one different, holding some and sending some, unsure of all of them, what is the necessity of this, it articulates the day's pressure, of complaint, the angry one seemed flirtatious, a destroyed sober one seemed the explaining fair heaviness that she and I find woman-stupid, anxious, but it is for balance in a way that tries to consider both. Wondering at the way I return to lying and acting to defend myself, when what is worst for me is just that misrepresenting self. Not indulging or suppressing: acknowledging, informing. The integrity I admire and lose in relation to where I admire it. The way people are associated. This week. Leah on the street, bleached, guilty, "What music have you been playing at night?", "Bach mostly. I was singing Bach in my dream last night. That's just brought it back!" "I dreamed of you last night, you were singing a blues song. Later in my same dream I heard blues piano." Loss, nostalgia, but not magnetic enough, critical, you want to magnetize the most civilized, rejecting, ambitious jealousy, you want to equal the other, fascination with what you lack, comparing and selecting, collecting, overwhelmed by the possibilities of magnetizing new situations, constant searching. Stupidity, going straight ahead, rules of available games, some hidden program, deadly honest and serious, stubborn, humorless, you do not see yourself mirrored, no way of surrendering or opening. Trudy says she met Josie. Josie moved, just when she did, to an apartment at 14th and Fraser. Is it a new wind? Is it anything to do with the big grey one? Whom I can tell stories freely. What will this indulging take me to - I understand you wish no experience ever to compete with that one, she said, even if it means you must live your life sealed away.
The suspenses - Rudy and Liz not coming back, are we really separated, what's with big grey, what to do. How it seems: that we have enough to work on. What was her information.
- Has she released me, have I got free, have we come to it.
20 "I didn't speak English when I went. I only spoke German when I left and when I came home I was speaking English." Looking at her eyes, "You like that story! It's making you sad!" And the way she said "Do you mind that." "Not at all! It seems appropriate." That business word, why did I say it like that, I meant that I loved it. Why wouldn't Jam ever cry for me. Because she isn't a mother. Since then needing to come home and write down that she cried. And then we'd got flirtatious, standing by the book looking at dates. "You're much more pure than I am." Don't fall for that. I'll have to tease it out of you. The story of the therapist putting his hand on her knee and a hand comes through the other window with a cloth with chloroform. Don't meditate on anyone you know, it makes you attract their faults. Saying you. The ambi-valence of transference. 21 It isn't pain in the "really sundering way." To break apart; disunite; sever. Noun division into parts; separation. Syndrian. The slight sound of a car creeping on gravel, creeping in the alley. The cock stone from Wreck Beach where naked men walk. In shoes. But it's pain, low grade pain on the bike yesterday. Waking this morning: I am in pain these days. Pigeon in the eaves, what is their sound, brooding, bubbling. Heard a flutter at the left ear, near. The window open, white cat on the sill - simultaneously through the window in the hall, right eye, far across alley, street, and yard, a bird's shadow falling across a bush. "Do you know Brakhage." The white cat down-sun catching light in her hairs and whiskers, filling her hairs and whiskers, intensifying. Everything Pound knew I must have got - How many stories in the story of - Clinking, a running animal, before I see the dog. Two weeks in August. How far could I go. Moth dot zag. Shadow climbs the corner. Jumping lines. An effective tithe. To the peoples. Which Intensifying her hairs and whiskers Brakhage is: loving his wife, being in the open in film, I am.
Mechanisms of determination
Induction is the name of the whole process in which evocation and field phenomena are aspects. The physiology of organizer action, the biochemistry of the gradients Reactions between the many substances are interlocked so they become partially self-compensating. 'Canalized,' only a certain number of default channels > Their believing in choice Field a number of processes which interact with one another in such a way that they take up definite relations to each other in space. Some precursor substance which can be autocatalytically converted When an individuation field is active, like magnetic or other physical, if a field is cut in half each can reconstitute a complete field, can be mirror image. If two fields are brought together and allowed to fuse they may rearrange themselves into a single. If a part is removed the remainder can become complete "while the isolated part can often become modified into a small but complete field." - Waking and knowing I was dreaming
"The hardest part of being with family is the incest taboo." "It's not the sexual taboo, it's the taboo against compassion." [T] A flash. "Is that why our mothers aren't curious?" Saying to Ellen "I don't think those people know enough to ask a child about its experience. I think people have to be quite developed and educated and civilized before they know they should ask a child about its experience."
Hypnosis and memory. "Do you do regressions?" Did she leave the chair unlocked so I'd ask. The way I was speaking childishly, do I know what I'm doing, is there some way I can take care. I was lying about the pure - there already, it wasn't a careful mind. Am I crying for J at her most careful. Yes. This wanting to focus - (who is with her, is she stoned, or working). I'm worried as if - the flea on the page - I'll lose her focus. It was me who brought it, but the gratitude how I could say - doubt accompanying. On the windowsill away thinking of her, hear them shouting in the apartments, "What room are you in," "Ours! What room are you in." "Ours!" Jerking to consider whether it's continuous, forgetting that I don't have to keep the orders separated. Is that what she means split. Being with her carelessly, keeping afloat. I want to say to her: the reason I can't be with Jam (or Luke) is that I don't keep my truth: I take it that means split: strengthen my truth. And what with J - I've wondered if I'm doing a separation to have the material for it. I've been pretending I'm not doing that work but looking forward every week, to talking. When she came, how was she, not clear. When she said "I came to give you some information" I was in shock and fear, and thinking only I mustn't let her get any of my life for her project, because I was working then, and have I since? "Do not trust each other." My logic is very good, she has to either come up with something completely new, or she has to stay away. "I'm not so pure." I let it run - could I slow it. That letting it run, is it from not liking to love her. Nightfall. I want to go under. Will you make sure I come back. (Then I have to provide more money.) And about the show. I was already needing support she couldn't give - then the feeling in the solar isn't pain only, it's excitement and fear.
Telling about Paul [K] the blank of fright. Not trusting myself. In there is the possibility of a bad trap. M. 22 Is it dangerous depositing my dreams with a person who isn't clean. What is that cleanness and not. 23 With Anne [Konrad] yesterday. Leading her down into the WK Gardens, dim red and wide. The host smiles as if he knows me, and so do the waitresses. They set us in the middle. She says "They know you here." I say "No they don't at all, they're just pretending they do." I'm watching to see what she does with authority, will she make me the man. "I have been waiting to ask - what do you think of it?" She says "Do you mean this place?" "This place, and the way I live." Her voice squeaks! So it's more than I thought. The trolley coming by, sticky rice. She wants one. She doesn't know to wait. She grabs it with her hand! The amazement of the waitresses. A very slight movement from them, then she drops it and they deposit the plate with tongs. But she does it again with a plate of something from the lower shelf. I'm feeling the shock of wondering what of my way can shock her that much. At [my aunt] Maryanne's, something catching the eye in the other room, it's two people standing close-up facing each other, what was it for a second, something as if from my nearer world. Then the little jolt, it's Anne and Harvey, she's touching him, asking how it went with his mom, it's intimacy, two people much the same size and shape and age, he in greyer color, she in pinker, as if that's how they distinguish each other. Leaning on the counter with Maryanne [my uncle Peter's wife] preparing dinner, turning the fish, cutting vegetables. The wide heavy beat of fear in her voice, distress. As she keeps going, what I have between my face is a gape (!) listening to her say clichés. Around her neck, like the guru image, the image of her grandson. Seeing her face quite changed in its expressions, terror has distorted not clarified her, what I'm feeling is there are people who haven't the capacity for calamity, this is how old caricatures become. The top of Pete's hair standing up like fire, where the trepanning, trapdoor was cut. His whole frame, a pale column, huge legs, whole head, the bull aspect, creases, creased small eyes, fluid stagnant under the skin, I suppose I mean corpse. They sat together across the table from us, they spoke looking into my eyes (what is this, are they speaking to my attention, what do they know about my attention, are they looking at Anne and it looks like they're looking at me, am I the easiest to look at, are they looking at me to avoid not-looking at me), quite thickly telling, Harvey conducting the asking (something quite finely sexual in the muscle under his lip, otherwise his old-woman look, a string of hair over the scalp), the special care ward, five or six beds and a nursing station right inside the ward ("Do they bother to segregate a ward where people are so sick as that?", the neurological ward in Lion's Gate Hospital, where he lay looking out at the mountains. A tumor the size of "those cream containers for coffee, two of them." Anne says "Like an egg." Maryanne in her great pressure quickly says no not like an egg. "At the pene-." Did she say that? "Pineal." "Pineal." A line straight through the ears, a plumb line from the top of the head. The intersection of body and soul. "Descartes said the pineal is the intersection of the soul and the body." He inclines his head, "I don't hear very well." "The philosopher Descartes said " (Harvey will be noticing how I vary this) " the pineal is the place where the soul and body " (this is showing out the authority of my particular education-claim, next to his) " intersect, it's the location of the soul in the body." Feeling the saying of it slightly a transgression, of my own modesty. - Because I wasn't backing it with an apprehension of what the meaning of it might be, a growth in the deep centre of the brain of this great bull-body, that nonetheless made itself be a gentle father and faithful husband. What else is he, a contractor, straining, quite a crude manhood, an obscene face, I've felt, and kindly too. Now he's the centre of the possibility of dying. "Looking death in the face" said Harvey. In the face? Yes I was willing to go there because I wanted to see how Peter looked when he'd nearly died. Alfred's wife the young mother in her red dress, round breasts, maternal abdomen, sitting in the armchair with the loutish baby stamping on her lap, drags her skirt up, we see a few inches of white lace, and the way she pats it down around her knees, but slowly and not right away, talking, the three seam lines on her bum when she is stretching to lift him, we're all looking, she's sexual, in a way I didn't realize I'd been and all the young mothers - was imagining them, the aunts, when I was a child, must have been that, that and the blank stretch of her face, her boring talk, so when she's telling me she's glad to meet me I'm suave and remote and handle her, bent to the floor, from the waist, fastening my sandal, drawling, knowing it's impersonating my position, "We have the advantage of meeting you one at a time." And to Harvey at the door. He says "We miss you," he's impersonating his position too, on the threshold leaving, "You might not miss me if you knew me." Neatly - that was neat. I stayed alone, in that. Maryanne and fish: The white cat to sleep lying with her forepaw stretched up to touch my arm, a fading purr. The making phrases now from the junction of ET and not being with Jam, I know it for pleasure of order, like the row of accomplishment, but it's too solid, solidifying of what should be kept newer. It has a feeling of anxiety and giving in, as with her and them, it's the way I found J willing to be successful with relatives. And it does have a backstage for noticing what I then can register here. What I said to her was - ah! and seeing Anne do it, seeing her technique with one after the other, and then when Harvey'd come, and she'd got to take a solo, and he saw me looking to see him enjoy it - the Schneppel Funk story. What about the eyes, and what system is it, why was I willing to be in it with him, well it was immediate, being willing to put out a challenge. But then what - the system it was in was my system with Anne: assuming it can be level and then going on testing whether it is. "As you see" I could say with her next to me [he had asked how I was], and then, what did she tell him when they got into the car, first it was about Pete, then his mom, then he asked how the afternoon went, then what did she know to say - about Betsy - and then he'd say "Ellie seems -" and she'd be uneasy. Maryanne and fishing. They found out how to bait and now they pull in salmon and can them in pints. They're able to pull in life, she and the new mother keeping tally, how many they get every day. "If only the men are doing it it takes too long." A guide to show them how. The Americans, the older men and the women packing it away. The dangerous substance that has to be boiled an hour and a half in pressure, someone watching the needle, on the picnic table, then the pressure has to come slowly down to zero, or all the juice would be sucked right out - Eating rice. Liz's laugh [Elizabeth Grey, my brother Rudy's girlfriend], amniotic water leaking at the Simon and Garfunkel concert, "down to my knees," slight contractions, her abdomen tender, and spending these days at the rugger house with men who don't like women, and Rudy drinking beer, his Republic of Alberta cap and wide drooped shoulders, dangling legs. "A young nurse with a French accent came and showed me how to breathe, she breathed with me right through it." That Oma when they were walking in the corridor pressed her hand against Liz's side feeling whether it's really there. And Opa "I forgot that Rudy is married" and thinking he was Roy. "But Ellie had an explanation for that." ! Anne what are you doing now. "The situation was the same." Feeling it as a forced acquiescence and not: taking, or having, the time to step out of the way. How many things happening, being there as if not much is. Peter sitting under the wall with two antlered heads, very large, like horses, dead gaze, wide spreading racks. "Do you know what Violet says about them? If you want to see the rest of them you have to go in the hall." "That's the part you milk." I'm the only one sitting opposite them, what he killed ("Girls weren't allowed to see the butchering, only boys were allowed. I remember the sounds.") Going over touching the white dewlap mane under the long muzzle of one, a deer moose, asking him "Is this an elk?" "No this one's an elk, that one's a cariboo." "They're almost the same animal aren't they." "No I don't think so, I don't know about genetically, but they have quite different habits." Is all talk between genders about gender then? Elk. Wapiti. North American deer, palmated antlers, OE ehl. Cariboo. Antlers more mooselike, and dewlap. Whiter. The only female deer with antlers. What about the writing - how it looked after she saw it. The beauty of the moment when it was over - it and what I showed her, today look fine. In Rhoda's house and going to rather talk outside. Come back here and being in anguish thinking of J seeing those exquisite colors and glazes. Lying holding the solar wondering if they're in contact, if this means now they'll -. All the times I've been wrong. Going down the steps not saying: I dreamed last night that Jam said, Whenever I visit you I visit Rhoda too. And that sitting in the garden I knew to bring it up to her. I'm reading a book about ---." Benares. Not being certain the anguish isn't for my own, would it be the first time I couldn't (no) know I loved. No. I can't. Passing through the kitchen, standing at the stove, maybe there's something beyond it, maybe if finally we would go through it, maybe kept from it is why she's been hating. Also the blue cloth on T's radio table. "Are you on the other end of the pain." The writing attached to her, quality of the in-love. Thank you for how I could be in love with you so long. There's light in the west (they moved east) where you live, and you have this ivory slant on your page too, maybe. South-west. Less north than we had. Whether it says the dark blue party, if I want to meet you that's where you are now? Fright did they eat her; did they eat me. (Is the fright how they eat.) Furcht essen Seele. Did they eat you, The-one? Did I. What do I know: you didn't eat me. 24 Wednesday Ru and Liz, the little prince, two big fish, in the oven, and bread. [Rudy brings me salmon] She [Trudy] returns the gift, I kick it down the stairs, red glass shattering, fish flaking, the bellow of defense. Standing in the alley looking into the mirrors on either side, the exhaust pipe lid waving, broken roar bt-bt-bt-bt. I say hierarchy and intention, she says compromising a position. The uncried crying and determination. Then she says "D'you want to talk." Oh thank you for not being endless. She opens the door on the shattered food. The door swollen from when I hosed it scrapes open. 28 Waking at night the whole solar plex raw as if it's the unhealed site of the yanked attachment. The quality of the fish carcass laid on the grass, demolished, cooked flesh, a sick dead cooked feeling of the trunk, stink from the mouth. The cups of tea all day, uncontrolled self-poisoning. Waking feeling its deposit. Is 4 am when the liver lets go again the day's poison. From fish and tea and the violence of the separation I am having had to have imposed on myself. (Will it turn on me, in these days is my cancer gaining.) The factory that sends out exhaust poison at 6 before it changes shift. Yesterday the sound all day of the tar engine on Pender, the truck backed up to the door, a roofer like a derelict standing on the grass. The smell of asphalt. An engine now. The sight of the shattered two fish, the unbearableness of sitting with Wain on the porch conducting a visit, he crowding up to the threshold saying "Please come," not knowing what he is doing: suspicious. "I mean that I don't take attraction very seriously because there is so much of it." At rack. Oh body stump. What was I dreaming. This unstable bed. I sleep under the empty square of the window - the full square, the live square - when I close it the death of the air and sound - so I have it open and am disturbed - the hardness of lying down too hot under this quilt. And you're there not talking to yourself. I'd like to know how much you was there. This day. The hard waking at night, again, charcoal hours, turning in bed, waking from Luke lost again in agony. Read and eat. Lie on the bed. Hot night. This day will be wasted, another.
It's like leaning my head weakly toward her and crying. The levels of feeling, the loud present enacted, and this other phantasmal. Argument: she doesn't - she never - As if I can't yet look though I'd like to. What did we do. "Without the concept." What feels new is the doubt of her. It isn't different than what I knew at first, she doesn't see me particularly, she doesn't have personal loyalty or affection - I turn it immediately, and do I: and then it goes, no, for the person, no, but what was it in all that time I adored. What does it amount to. And felt irreplaceable to go on being with, that possibility of speaking and hearing speech, looking closely at a body and face. Going into bad desolateness faithfully feeling and seeing someone feel whatever the turn takes. That it's still the same person as I made a contract with, so my other moments aren't cancelled, so there's a story built. And - thinking of what I don't want to go on being glued to. The cranky old man she's wired to be if she's with one like me/her. Riding the bicycle feeling for what has the authority decided. Childish crying, all inner, I don't identify with it, except these 4 am writhings, stiff neck, not working. Has the firm one I know from other partings come to it really to give up. Leaving Frank having begun to see his redneck. And what do I see about her. What a lot she won't know, her meanness. I assume that she'll know she has lost what she'd've been better keeping, after a while. And still, Frank, didn't mind finding an easier way. Waiting to be certain and then to be done separating and then This is for resolving. I feel I can't do anything else. I know it's the stiff voice I won't want to read again. No magic of having mixed with her or anyone. It's inspecting the cables with a candle. Refuse it. No I believe it won't be long, it is wound licking, making some clean strands. What I'd like to look at and know, a sense of a certain neutral clear microscopist, anything, not the seawall, but anything that comes. What have I got to, quite a lean woman with strong shoulders and arms, hair tied back like Shevek. Some instancy in public. A floor of platform. Rooms and windows. Blue shirts, a good winter coat. If I'm not going to be a married one I am a single one. My body seems a single one. Touching myself isn't sex. I don't know if deep diving is possible anywhere without the believing of married. It means probably that I'm single now until I am really married again. I like to think of dressing and moving like a single one. If I'm living in Shevek's country what is my work - that musician with the nose and hair tied back - interviews - I could be Michael Snow - but I could invent from the place where I am. I've achieved that I'm an inner and not an outer woman. Now I'd like to travel with work, plain and light. Flame fluid and sound like a vocalist in an unknown language a counterpoint split from the voice some segments she makes use of a double harmonizer, a synthesizer with a repeat-mode capacity that can change pitch over a range of two octaves. Her engineer supervises amplification levels and acoustic design, and her projectionist coordinates the customized projection system that superimposes Visualizations using memory of best times. Lead them through every motion. The imagery of success. The language of success, the way she speaks to herself when she's in command Strength and flexibility of crystalline, inhuman precision; but in the melody the inhumanity dissolved, and the distance to the stars - the boundary between what was thought and what was not thought - was bridged John Ford The dragon waiting in Timescape, November an infinitesimally brief moment of superaccelerated expansion, the Mongrov forces, electromagnetic, strong, nuclear and weak undifferentiated the unified force would start to differentiate This delay in its crystallization placed the universe into a state of high energy that pushed it outward faster than Once symmetry broke, the energy was converted to all the particles and radiation that surround us today. [Omni clippings: As prosaic as all this sounds, Snow has been passing his painterly image through many changes along the way. He uses a variety of color filters, film stocks, super-imposed flashbacks of earlier stages in the zoom, and qualities and degrees of processing and light exposure to keep the film moving like a kaleidoscope; yet, it seems to be practically standing still. (Many of the same technical variations in Wavelength are used to comparably fluid effect on the single words in So Is This.) In Snow's elegant description of the movie's progress, "The space starts at the camera's - spectator's - eye, is in the air, then is on the screen, then is within the screen - the mind." He has also described the film as a "pun on the room-length zoom to the photo of sea waves, through the light waves, and on the sound waves." Anderson uses a Synclavier, which looks like an organ but is actually a "sample-to-disk" digital keyboard in which voices and sounds are assigned to various keys on the board - a bizarre, high-tech variant on the traditional keyboard arrangement. Another of Anderson's tools, the Vocorder, a voice-activated synthesizer, alters the voice's character and tone. Through it Anderson speaks in rapid succession as a child, as herself, and as a middle-aged man.] - the power you can get from a big instrument in a big hall On days when I don't practice I feel lost, actually. your silent area
the velocity, temperature, particle size and concentration within the flame flame structure a rapid gas-phase exothermic combustion process characterized by self-propagation Is a flame a fluid? Yes. 3000K í plasmas 10,000K Film at 10,000 frames per sec to show the structures of eddies and flow patterns, to analyze the high-frequency changes. seethe - seothan to boil The gas pours from its nozzle in a smooth, or continuous, laminar flow. As it reacts with the surrounding air it begins to become unstable. Turbulences pulse out - the vortices. Neighbouring pairs of vortices rotate around each other. In flows with large density differences individual vortices can be followed for their lifetimes. The jet vortices wrap around the air taking it into the flame's core - this is entrainment. Gulping. The flame, initially laminar, becomes unstable, transformed into a ring vortex, a toroidal ring vortex! similar fluid-dynamic processes Molecules are blown into atomic fragments having electrical properties. Candle flame. clouds of droplets that burst from the nozzle in a liquid sheet developed, he says, a hydrodynamic instability, like a ragged wave that is torn by shear and dragged into ligaments that are further torn into large drops and then into smaller droplets their ballistics and trajectories as they interact with the hot air and vaporize He can penetrate the cloud combustion non-invasively using dual-beam laser anemonometers. trying to gain altitude, and you run into one of these invisible vortices, you can be shoved down violently toward the ground
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