Grimes Poznikov is the Automatic Human Jukebox — a statement that somehow renders anything that follows it anticlimatic.

For three years, he has been delighting the throngs of visitors to Fisherman's Wharf and Ghiardelli Square, popping out of a box the size of a telephone booth to offer such selections as "Sentimental Journey," "When the Saints Go Marching In," and, inevitably, "I Left My Heart in San Francisco."

But even as a minor institution in a city with a deserved reputation for unorthodoxy, Grimes Poznikov, the Automatic Human Jukebox, has found himself facing an unceremonious eviction from the streets of San Francisco.

Poznikov's problem is that he has been cited for occupying a public street without a permit, a charge he intends to fight before a jury.

In recent weeks, seeking that elusive permit, he has been turned down by the city's Public Works Department, the Recreation and Parks Department, the Art Commission and, finally, the Board of Permit Appeals.

As a streetcorner jukebox, he doesn't fit into a tidy official category.

"I'm in a gray area, somewhere between a musician and a street artist," he explained. "The Public Works Department pointed out that under their rules I wasn't a building either."

The concept of the Automatic Human Jukebox occurred to him in the early '70s when he read of a poll listing "jukeboxes" as one of the things Europeans liked most about America.

During the height of the tourist season, Poznikov almost every day erects his seven-foot-high jukebox on the corner of Beach and Larkin, using a wire cord to anchor the structure to a nearby maple tree.

Passersby are invited to make a selection from a list of tunes Poznikov has mastered and drop in a coin. ("AHJ practices no economic discrimination," a sign announces. "However, quality... will vary automatically with the quantity of coins inserted.")

Few of them realize it, but Poznikov has been peering right back at the crowds who peer in at him. He occasionally takes their photographs and, as a student of psychology, he has written a scholarly paper entitled "Deinstitutionalization of Psychotherapy Through Mass Psychotherepeutic Implementation — Automatic Human Jukebox, a Case in Point."

In his paper Poznikov has recorded his observations of his customers during what he calls three years worth of "ongoing demonstration of mass psychotherepeutic implementation," noting such details as "... a five to 35 second raucous laughter follows most AJH actuations."

Passersby, he has written, first refer to the jukebox in "non-personified pronoun terms" ("it") then, upon his emergence horn in hand, they speak of it as a "living component" ("he").

Poznikov regards the Automatic Human Jukebox as an experimental art form, patiently explaining to a puzzled questioner, "I want to legitimize and advance the system of non-verbal communication... the people who come here can interact with the jukebox, participate in the process of making music."

A means, however, of generating a glass coating on the wall, as a direct result of the tunneling process could be achieved by nuclear heating and melting, rather than nuclear explosive crushing. This latter idea has been explored at the Los Alamos National Laboratory under the guise of the SUBTERRENE program in which it was envisioned that the heat from a fission-reactor might be used to literally melt the rock around it - effectively, that is, tunnelling by the controlled use of a China-Syndrome meltdown. Indeed, a US patent (#3,693,731) for such a nuclear tunneling machine, was awarded to Dale Armstrong and co-workers at Los Alamos in September 1972. The patent application states, "this invention provides a rapid versatile economical method of deep-earth excavation, tunneling shaft sinking which offers solutions to ecological problems, acquiring natural resources presently inaccessible and access to an enormous reservoir of natural heat energy. These valuable subterranean sources include natural minerals and hydrocarbons, fresh water and clean geothermal heat energy".

The same technology was proposed by Joseph Neudecker and co-workers, in 1986, as a means by which tunnels might be bored upon the Moon in order to construct a subsurface transportation system. Describing their nuclear-powered melting machine as a SUBSELENE, Neudecker et al. calculate that a fission-reactor-heated, 5-m diameter tunneler could be made to advance by as much as a 50-m per day through the lunar subsurface. This tunneling, they argued could (indeed, must) be operated remotely. Importantly, for tunnel coherence and stability, the material melted at the front of the SUBSELENE would be extruded at its backend to form a glass lining on the tunnel wall.