the memory cells can hold any value from zero to infinity

In "The Kinesics of Infinity: Laban, Geometry, and the Metaphysics of Dancing Space" Colin Counsell, reflecting on the broader mystical tendencies in countercultures of Madame Blavatsky and Aleister Crowley's day, explains how

"modern mysticism typically assumes the very existence of physical patterning to indicate metaphysical meaning, sees order and organisation per se as evidence of higher influence. It is this assumption that underpins choreutic theory, for it is the basis of Laban's claim that geometrical figures provide guides for essential movement. The supremely ordered forms of geometry have historically been taken as tokens of metaphysical pattern, and perhaps inherently offer themselves as such: composed of lines in theoretical space that are infinitely thin – lacking all material quantity – stripped of the clutter of the everyday and arranged in pure relationships, they lend themselves to interpretation as neo-platonic essences, divine exemplar tracing the outlines of the immaterial. In presenting such perfect figures as innately 'harmonious', Laban in effect attributes transcendent status to the 'scales', 'spires' and 'rings' they enclose, and so judges the gestures that follow such paths 'lawful'" Dance Research 24.2 (2006) 105-116

Athough the "dance" Young choreographs in his Dream House Installation, “The Romantic Symmetry (over a 60 cycle base) in Prime Time from 112 to 144 with 119,” samples from the codes of modern mysticism (rationalism and numbers allegorically pointing towards the noumenous and efforting to communicate "higher" scales in a larger, cosmic hierarchy of order, Young's commitment to the technological apparatus of his demonstration, and his effort to mitigate the "drift" of his analog synthesizers, is indicative of a more "postmodern" mysticism. The rhetorical equipment of such approaches, however, are still haunted by the allure of the infinite and classical integers. The high-resolution non-Euclidean topologies and virtualities ushered in by molecular biology and the digital computer created a high fidelity cryptographic puzzle render the Pythagorean cosmology and polynomial-based efforts to inculcate response-ability to the infoquake impractical, literally out of tune with the principles of rhythmic entrainment (simplify the amount of information required...) and the real world stakes bound up in computer science.

"In fact," Brian Rotman explains, the P=NP question, and along with it the entire apparatus of algorithmic complexity and asymptotic characterization of 'feasible' that engendered it, is not merely irrelevant to cryptography, but has been deemed conceptually deceptive" (Rotman "Will the Digital Computer Transform Classical Mathematics?)

Although I am catagorizing Young and Zazella's sound/light sculptures and events as art and programming (cf Critical Code Studies, my aim is not to I do not wish to expose the limit/unlimit tension in his practice as a “fault.” Rather, I’m merely suggesting that this very tension creates and sustains a “therapeutic” and pedagogical level of panic on an assemblage that does indeed hold tremendous ecstatic and experimental potential. More of a fault line, this tension also marks a slippage, an imprecision or "lossy compression"in his 20th century katapuknosis assemblage, the “The Romantic Symmetry (over a 60 cycle base) in Prime Time from 112 to 144 with 119." This diagram, which aims to seamlessly articulate exhortative and prescriptive commands, digital and sound technology, and human bodies into a "score" or "script," in fact creates opportune slips between a positivist code reliant on rational numbers and mystical metacode promising enlightened states of being. In the imprecision of these zones of translation, can the distributed performer-listener emerge as an uncoded source of creative force?

Mathematical certainty and iterative blockage do give way to spontaneity and itinerative flow. And we could stop at that. But we can go further and take the Dream House—with its composer-imposed strata and potential for composer-listener becomings—as a model for rhetorical practice in "noisy," dynamic ecologies of writing, where drawing and following lines become difficult and sudden change can produce panic. Practical rhetorics of rhythm must include practices for finding rhythm once it has been lost in this way: disaggregation and "pattern-breaking" allows rhetors to rehearse attention strategies and retune to the contingencies of any given audience or ecology. As teachers organizing groups of students working collaboratively in new media, we find many opportunities to ask: How can we find and rehearse losing and finding rhythm in our everyday ecologies of composing, performing, and listening?