These are notes written in the process on a way to a play on the work of Karlheinz Stockhausen. The way had been not without conflict. I told it, I told already, that I am on the play, so there had been no way back. Fixed to with no alternate. I just went back over a sonical history. A history of popular music. I denied mostly any experience of new music. A distance broke up. Countless names went unmentioned, countless serious composers, thousands of hours of commitment to minor sounds, sounds which brought no audience in, just the usual minority, the ones who know each other by name or by face, the ones who always meet on the usual sonical events. The notes provide not even a glimpse of the other kind of music. Mentioned are some known ones like Stockhausen himself, Nono, Varèse. At one point I had to sell all books of Stockhausen I had, including the ones with his signature in. I needed a distance. I even felt a kind of aggression, I thought or I felt I never liked him. It needed a big big distance. A detour. The detour became these notes. A Stockhausen Play must have the level of Stockhausen himself. But isn t Stockhausen everyone. Stockhausen wrote me, he didn t change. He claimed that he is still the one he had been when he was 20. He even wanted to become a writer. He didn t become a writer, but he became a writer, he just didn t use common letters for. After a big distance I matched him. The play will follow later. I saw it already. Imagined it and didn t forgot it for years. From a big distance, free of Stockhausen, for getting more Stockhausen, for meeting Stockhausen on true ground. The notes had been written quick. The play itself is more on Stockhausen than on the work but it s more on the work than on Stockhausen and it s on both of them where they meet and where they enjoy each other s company. The notes are a detour. These notes are unplugged which means, the play may match Stockhausen, the notes won t always meet the usual English tongue. Who stresses and sees language as a national foundation with no chance for slang or a strange tongue shouldn t take the issue. The script mentions a break. A break after I had been thrown out of a home for people who had been thrown out of their homes. The break is not the throwing out and the forced moving. The break comes with a certain person who waited for me passing a certain point and then ran full speed to enter an oncoming tram in Berlin. Unfair this certain person killed everything and claiming herself the place to be, a place she never lost. No one can what she can. When you re reading the script please don t fall for an illusion connected to a name in the book, the name only stands as a place holder. Eight years before Stockhausen came for a tram. The break so doesn t break everything. The person who ran full speed for entering the tram is wanted. //////////// the colors are the formula of chinese purple, including the cover - chinese purple consists of certain elements which can turn physical three dimensions to two dimensions - opens the key to new technical equipment and nano technology and new sounds with - the formula had been forgotten for 2000 years// **