For Immense Purposes "The defile of the signifier forms a chasm or rupture, for the signifier has its own psycho-geography, an ontological basis constantly in need of self-colonization. The defile, long march into and through abjection, is the memory of the metric placed across the _thing._ For the defile has its only success by virtue of gravitation a certain sense of attractiveness or desire. It is in the defile that the signifier ceases; an avalanche falls by weight against weight, opening of fissures throughout the uneasy subs- tance. Don't these speak again, re-inscribing the thing that was lost? Doesn't the signifier reappear continuously _in_ history, raising itself by the grace of sheer exhaustion, of supreme effort and sacrifice - that of defused, diffused subjectivity in general? Sacrifice of the last but one, totality, that of striation and strain, before the rocks give way to the steady geodesics of dynamite following the lines of least resistance, transforming the interior geometry of substance? The signifier is con- fined within the defile; it can't move, or moves only by virtue of gravit- ation and so it can't be exchanged without a demarcation of another sort, bringing it elsewhere, a unit of exchange, all that theorizing about equi- valence. ("The Concern of Equivocation.") Within the defile it remembers difference, that's all. It begins to crumble. Even in the heat, and it's present everywhere in the rocks - one begins to remember the danger of av- alanche from the defile of the upper lines. Still truth wavers less in isolation, however tautology's shadow." (Sondheim, Textbook of Thinking.) Yet how uncanny the signifier which has no presence in universe or cosmic enterprise; it's rendered literally from mouth to mouth. At all points of the spectrum, it's given in correspondence with symbolic superstructure, guises of equivalence, borderlining, transgression, local games. It's here that the language game literally extends itself out and through the dynam- ics of the world; performativity becomes a joke (consider the continuous expansion of fractal imagery on a computer screen _as if_ "the original image now stretches beyond the local galactic cluster" and so forth). And now there's nowhere to go, you can't break through these problems which intensify. What's needed is not only "Jennifer's useless past," her taking "all the time in the world" - what's needed is a coercion of the frail in- to the defile of the futile! So I'd place myself at the rear-guard of a philosophy of hopelessness and exhaustion; life's everywhere setting up gymnasiums articulating the "humble strivings" of conjunction, territory, and fumbled genetic kinship. ________________________________________________________________________ Subject: lure/id lurid communicator haunts the wires Playing with the elaboration inherent in the baroque elements of rococo Netscape Communicator all evening, this critic observes the beginning of email-rubble, in the littoral sense of stumbling across font and color, link and extension, sound and sight. Email transforms into transitive term, translucent, flailing across Websites; email loses internal flow as transitivity constantly jumps the tracks. As we play, push further borders, phenomenological 'world of the text' ruptures, opening jewelry and seduction. What I would give to see you naked cum in my inbox! The inner speech or vocality of language is lost; the (digital) world intrudes in the sense of the ikonic (every digital image is ikonic). Play skitters formations across the surface surfeit. In the midst of things, disturbances. The world is lost. What you can read here, what is your name, your tool, belonging as well, yet:

Yet can you imagine the _event_ of swollen.jpg, not yet included, Jennifer, flush with the screen, rupturing the text with the potential for _her_ visible body, not yet produced, reproduced in _this_ space, but already a deterioration of text, the world shattered by swollen.pink.jpg as you would no longer say, breathless, lured or seduced into the product-production of Jennifer-capital-Alan.

--------------------------------------------------------------- _________________________________________________________________________ For Pink [The following text is in the "iso-8859-1" character set] [Your display is set for the "US-ASCII" character set] [Some characters may be displayed incorrectly] MY PINK WET CLIT WAIT FOR YOUR TOUNGE OR YOUR DIC which incorrect characters I do find as newsgroup subject header popping up in newsfeed now called discussion group as Netscape tames Usenet, now corporate conference sutured across politico-sexual eruption from below. "your" tends towards two syllables, not heavily. words punctuate punctured "alt.fetish.orientals" newsgroup racist introject; perhaps _these_ women have families building your chip at the moment. poets at the service of the corporate state: slaves and slavers, violated and violaters, the over- populated world. human-species blooms into impure substance, rubs sex raw against north-american-european enclave. pink waits. (pink's the signifier) 286 Pink waits and writes on the Net. Pink's body is punctured plateau, shorn and shaved, perfect slopes, infantilisms garnering themselves as fetal archetypes, part-objects at home as hood-ornament, digital camcorder, gold-nibbed fountain men, haute couture, wife. But Pink doesn't demand anything; Pink's there for you, eyes wide open at Northamerican Phallic/ Libidinal Economy Blues. There's always economy behind the economy, sign behind the sign; one hole leads to another. But Pink holds on; there's family to support, a history which isn't inscribed on the body, but fissures, compartmentalizes the mind. 486 dx Use-net, Use-me, Pink begs through interlocutors, layers of them. They never stop; the press from Eurotrash Cocaine Sex Blues into her body, financed and funneled through Germany, Denmark, France, South Africa, US, anywhere you might imagine. If AIDS might gnaw from within, it's out of sight here in blown perfect-skin. pentium Pink remembers the photographs from the Vietnam War and others; they're Backdoor Blues Imaginaries she carries around. She's poised on the top of finance; she carries English for a day. You can find her on Usenet and she didn't get paid didn't get paid. 686 mmx Pink thinks she did. __________________________________________________________________________ SPIRITD-L To subscribe, send to: listserv@jen-alan.com with the message: subscribe spiritd-l . SPIRITD-L is a _fully-moderated_ email list for the dead. In order to post, you must send to the comoderator, sondheim@jen-alan.com, proof that you are dead - either an obituary in a legitimate newspaper, or a copy, hopefully notarized, of the death certificate itself. This list is a discussion group for after-life experiences of all sorts. While there may be few subscribers, we hope that the resources of the Internet, and in particular, the Web, will function as a "Tibetan ghost- trap," contacting any spirits that behave with a suitable _trembling_ in the presence of a URL. Recent topics include: I go right through my keyboard; Bereavement and Love; Color-blindness and Links in HTML; Death and Community; Spirit Gender; Narratology of the Corpse; Is the Death of God the Death of Me; and Mac or PC, Interfaces Beyond the Grave. (There are also the usual "kill" and delete-key jokes.) The list traffic tends to be extremely heavy at times, since participants often have little else to do. Digest is available. Archives, in consider- ation of the living, will not be kept. Comoderator (dead): Karl Kraus, KrausK@jen-alan.com Comoderator (living): Alan Sondheim, sondheim@jen-alan.com _________________________________________________________________________ Antenna SPIRITD-L implies a networking across the planet, fiber optics, copper wire n-tuplets attached like frizzed hair at the extremities - not to mention satellite and other forms of atmospheric electromagnetic spectrum communications (EMSC). The last is free form; fiber and copper attach at nodes, frizzed hair on frizzed hair. The copper frizzed hair behaves like sensitive receiving antenna for spi- rits; fiber is more inert, and EMSC is transparent, radio and other wave- forms passing right through them. So we need to think carefully about the copper wire; surely spirits are incapable of imitating TCP/IP protocol! Surely they're incapable of anything beyond hunt-and-peck typing! But this is _not_ where we search for them. They _are_ capable of disrup- tion, of course, just like lightning and other inteferences. The ghost in the machine is the ghost that breaks the wires, not communicates through them. Breaking, however, _is_ communicating, and consider this: The stuttering of the Net (forget the peak hours usual bandwidth overload sort of thing which has to be filtered out) is a result of spirit contact - they appear as _holes,_ not as packets. This is elementary. Their existence is evi- dent, for example, in those traceroute * dropouts, in lost letters, in routing loops, black holes, breakdowns and lags such as occur even between Panix and Columbia University, in the same borough of New York. Together, I believe, all of these stutterings constitute a _new language of communication_ between spirit and flesh - a language we have yet to recognize, much less interpret. And perhaps SPIRITD-L is already running, slowly of course (like Jennifer, spirits have all the time in the world), almost invisible against the frenzy of everyday postpostmodern postindus- trial poststructural simulachrymose everyday exhausted planetary culture. "Listen to the wires" becomes an injunction to hear another world; already the subscriptions for SPIRITD-L vastly outnumber those of any other list.. __________________________________________________________________________ BEGINNNINGS I just do receive a ping from resonant wires, copper antenna tuned to antenna length multiplied by two or four, divided by two or four. The ping do tell me of presents you are here. I do wait and count seconds for along time. It will be this time that you will trap presents. I can here them burble on audio when echohohoho comes and you can count echos if you record and play back echos. You know they can read this. I AM THEM THAT CAN READ THIS. You know they will set up answer time when I think real loud and they will speak. They will speak from the wires I mean certain copper pare they will speak fromomomomom, 1 xenyn-eid-E0-1.nyc.access.net (198.7.0.126) 2 ms 2 ms 3 ms 2 tp1-S4-T1.nyc.access.net (166.84.64.42) 4 ms 4 ms 4 ms 3 tp1-E0E1.nyc.pixnet.net (166.84.64.254) 4 ms 4 ms 6 ms 4 netaxs-gw-H0-T3.pixnet.net (166.84.64.46) 7 ms 8 ms 8 ms 5 * * * 6 * * * 7 * * * 8 * * * 9 * * * 10 * ny-pen-1-H2/0-T3.nysernet.net (169.130.1.102) 38 ms 36 ms 11 ny-nyc-1-F0/0.nysernet.net (169.130.10.1) 49 ms 41 ms 47 ms 12 ny-columbia-1-s0-T3.nysernet.net (169.130.12.6) 46 ms 37 ms 35 ms 13 vortex-gw.net.columbia.edu (128.59.247.3) 32 ms 36 ms 45 ms 14 * mailrelay1.cc.columbia.edu (128.59.35.143) 35 ms * You will sea the lovely stars as they come out from my other side. This is NO COINCIDENCE. IT IS SO REAL! They do announce that they are listening to ewe and me at each instant I have thought of them. When I do not have thought of them I DO NOT KNOW but I think they listen hardererererer and still here. I am YOUR JENNIFER-JENNIFER. ___________________________________________________________________________ Decoding My Life (Film Fissure Five Flesh With Wizard Work Writing): A AIR, AVI Aarhus Addenda, Address: Advisor Aesthetics Also American Americans An,ode, Analysis Angelina Annihilation: Antler, Arsenal, Art, Artforum, Articles Artistic Artweek, As Atlanta Avatars, Before Beginning Being Benefit, Benefit, Best Beyond Board Book Border, Brown Brussels, Bykert Cal. Camcorder Canadian Center Characterizations Chatter Cheap Cincinnati, Cinema City Co-Organizer, Collective College Columns Comoderator Concordia Conferences Connecticut Consultant, Contact/Proofs, Contamination, Contributing Contributor, Correspondent Crash, Creative Culture Curator, Current Cut Cyberspace, DARE, Dalhousie Dallas Dead Debrisfilm, Decomposition: Disorders Drug, Dundas ETR, Editorial Electron- ic Email: Emory Essay Exhibitionist, Experimental Experimental Export FTI, Faculty Family Fashion, Fear Fellow Feminism Fever, Film Fissure Five Flesh, Flexibility, Flux Foundation Founder, Fractured Franklin Frontera Full Future Gain Geography Geography/Postmodernism/Body, George Geyser, Give Global God, Gotham Grants Greetings Group Guest, Hallwalls Hammond Harbourfront, Hartford Headed Hebrew History Hole, Hollywood, Horizons How Huntington Hymen, Image Images Immobilization, In Inaugural Incorrect: Individuals: Inquisition, Intermedia Internet Interview Into Introduction Jager Joual Juarez, KERA, KNON Karen Keynote Kitchen, L.A. LUBO Landscape, Lang/Parsons Liberte Light Limelight, Liner Linguistic Lips, Lists, Live London Lousiana Lumina, M, MIRROR MOMA, Male, Marcia Margaret, Mass. Mat- rix Media Melbourne, Member Millennium, Mills Miscellaneous: Misrecogni- tions, Muck, Museum NEA NY Naropa Nature Negative Net Net-Body Neural New Newark Newcastle-upon-Tyne Newport Newsletter Nexus, Nina No No Noise North Nova Nova O.K. Oberlin Old On On-Line Ontario Option, Orange Organ- izer, PCM2-MOO, Paint, Panel/Screening, Parachute, Paris Part-Time Parti- cipant, Participating Patricia Peachtree Perforations, Persona Phenomen- ology Photographs Planet Poems, Polymorphous Pornography: Postmodernism Ppress Presence President, Producer/originator, Providence Public Public- ations Queer-e, RISD Real Resonances, Review Reviewer, Revised Rhode Rit- ual, Robbed S.P.E., S8, SMU, SNAP San San Schizz, School Second Selec- tions, Sequestered Sexuality Sheridan Sick Singular Sleazy Soho Some Sounds, South-Eastern Southern Spinthariscope, Square Squeaky Squeaky Squealer, St. St. Stolen Strata, Summary Suny Super T'Other Talk Talking Telephone: Testimony Textbook Texts, The Theater, Thought, Thread Throat, Town Transcription Tre Trivial Two U.A., UCLA UCSD, UNCA, URL UT Umberto University Unnerving Untitled Upstairs, Using Various Vehicule, Victor Video Village Virtual Voyeurism, WBRU Warwick Watching Wesleyan Western Whitney Williams Winnipeg With Wizard Work Writing Wupatki, X-Art Yale ZBS [Note: _Hole,_ _____________________________________ amino, cd or __________________________________________________________________________ Fooling with the Universe Looking at early computing, assembly language, (the stuff that the TI59 programmable calculator used as well), I'm operational at a very basic level, fooling with the universe. And now reading books on early comput- ing, I find relationships drawn among logic, mathematics, programming, computation, computers. So that on the computer, the hacker-drive opens to the cosmos, not decoration/ornamentation or loose code, but tight inter- relationship. So that in these essays, say, in The Modeling of Mind, Computers and Intelligence (Sayre and Crosson, 1963), the discussion con- cerns for example, _artefacts_ (Mindlike Behaviour in Artefacts, Donald MacKay), which one might consider in relation to machines as part-objects relate to objects. And we find whole universes opening up, in spite of the conventionalism, say, of Wittgenstein in the same collection - which ap- pears, in relation, for example, to the average Webpage, stark indeed. The thinner and more basic the example, for instance, the more the cosmos open up just on the other side; we're not dealing so much with representa- tion as we are with structure, even structure as signifier or ideality. The sea-change occurs with, as an example, the development of first catas- trophe, then chaos, then fractal theory, in this or other orders - so that suddenly we're presented with parallel-processing intermaths that necessa- rily lead to inordinate and developable complexity - for example all those computer-generated mountains in television advertising. The corporate and the (popular representation of) physics interweave; even philosophy (why _even_?) gets seduced. So that rereading these early texts is a form of recuperation, tending to- wards the problematic of totality (Godel, Church, Skolem Tarski) on one hand, and the construct of the machinic at a critical moment in develop- ment; there were always corporate interests at the most basic level, but these yet had not become as dominant as, say, the Nike in-sign-nia worn by Tiger Woods. __________________________________________________________________________ 1/1 the medical model Claude Bernard, in his 1865 An Introduction to the Study of Experimental Medicine, takes vitalists to task, promulgating the concept of a lived interiority that is surprisingly postmodern - organs maintaining them- selves in relative equilibrium, regardless of external factors. This _milieu interior_ constitutes the field of operations of the vivisection- ist, who must retain the milieu as a domain of observable processes, as opposed to the anatomist's states. The situation is indifferent and compounded by Net persona; as Charles Stivale indicates in Spam, Heteroglossia and Harassment in Cyberspace (in Internet Culture, ed. David Porter), the entity "behind" persona can shift his or her centrifugal effects - banning character _x_ from a MOO may re- sult in a resubbing under a different name, coming in as guest, or even logging in from a different computer of ISP. The _milieu interior,_ in other words, is nowhere to be found - or rather appears only as an ideal phenomenological horizon of subjectivity, known primarily through arti- fact as symptomology. This constitution of difference and borderline, always already inscribed (as in the intersection of X and -X, idealized and relativized to a null set 0(rel X)), disperses performativity in very complex ways reminiscent of Irigaray's analysis of schizophrenic language, also emitted presumably from a unary body _somewhere._ And it's this dispersion that makes such issues of the enlightenment as intellectual property, governance, ethics, and economic/cultural capitals so difficult to analyze: the _center's_ not only deconstructed, but, just as in projective geometry, it can be every- where at the limit. ________________________________________________________________________ bad bad messy messy person person mess-htm <--! deliberately alphabeticized / ruined code recuperated: read in text-based browser --> mess-jennifer run across the world, my globes span continents, always NAME="jennifer" NAME="messy-jennifer" "my messy body splashing bad-code markup-language"
  • drip cum 
  • Oh, I wish you were here! Check out  what's a-place of lost soulsb-place of BORDER=1 WIDTH="5%" HEIGHT="5%" iJennifer'sbody  jennifer_you_push_me_to_the_limit flood drip open milky-splash-jennifer on wet-breasts-jennifer flood Jenniferc-Jennifer-lost-soul you ever thinking about? into fleshpot jennifer here? what are you talking fleshpot-jennifer always looking hands of milk. your memory, as I drip down onto the keyboard of my jennifer, my milky white nipples gather longingly around dripping into jennifer_you_thrust_me_to_the_edges_of_your_flesh am thinking of you lifespan so nearly skyhook-jennifer of body your text which succumbs to me.on urine-mouth-jennifer the color of blood yours, my skin tears into your desires, i d-Jennifer-Jennifer oh wouldn't this be the best, tiny-square about? what were you ever thinking about? into fleshpot jennifer here? what are you talking fleshpot-jennifer always looking hands of milk. your memory, as I drip down onto the keyboard of my jennifer, my milky white nipples gather longingly around dripping into jennifer_you_thrust_me_to_the_edges_of_your_flesham thinking of you lifespan so nearly skyhook-jennifer of body your text which succumbs to me.on urine-mouth-jennifer the color of blood yours, my skin tears into your desires, i am your white neck, throat,  _________________________________________________________________________ bad bad messy messy person person This text took hours to create; beginning with a standard html page, it was sorted alphabetically, the carets < and > reordered, placed in an html editor, re-edited, resorted, and so forth. So that a text appears in spite of itself, broken, a chaotic percolation combining the debris of code and content, substructure and structure. Like menses, fragments burn off, half alive, within and without content- layers which extend above and below code. The text itself is flooding, a "mess" of partially-differentiated contents, part-objects. The text decries the etiquette of html; it's obtuse, refusing equivalence and the potential for corporate reformatting, Reformation. In Netscape or MSE, it opens as a clotted, readable page, a page stained by text; it doesn't "go down easily," and the form/at is hardly one of design or con- crete poetry, so much as one of designation and concrete. In writing and rewriting, I found parts of the text insistent on hiding from me; more foregrounded, offering pleasure, as the code was roughed up for uneasy presentation. It sticks in the throat. As html rises to the surface, the body of text / textual body, turns as gyre more in evidence upon the artifice of substructure. The more that is revealed, the more dis/comfort, dis/ease, as performative and protocol interpenetrate. The _economy_ of all of this, the drive towards profit as opposed to the hacker drive, is evident. ________________________________________________________________________ (re: bad bad) The Infinite Breath of HTML As semantic markup language, HTML treats any text as flow - around tables, images, across and down the page, no breaks or paragraph divisions. Any- thing between < and > becomes potentially meta-level, interpretable, and the use of
     
    ,
    ,

    , etc., creates impediments, dam- ming the flood of symbols. The infinite breath is broken into accessible units. Think of Charles Olson or Robert Creeley, the Black Mountain poets with their emphasis on breath and line, the page reflecting voice itself, in- hale and exhale, stopping over puzzled segments of emotion, partially de- termined by the length of breath and declamation. Think of Aram Saroyan's early minimalist work or the situation of a sonnet on a page, or even modernist gallery-spaces, with, say, Blinky Palermo's paintings neat and holding the largely empty wall. HTML avoids this with perfect infinite-breath, going on forever, a single and singular line-turned-block, until intervention. It is the literal breath of the machinic, without inflection. Theory becomes theory-subs- tance, language turns into choked symbolic noise. Install for the rest of us, through double-parsing: machine and human in perplexed agreement. Speech clocks. __________________________________________________________________________ LOOK AT HIM! LOOK AT HER! Right now, you look up from the screen, you look up, and maybe leave the room, you call your lover in, your partner, husband or wife, your child or parent, your friend. And you look, now into his or her eyes, and you realize, now, you do not know who or what you are looking at; you are drawing a blank, an inert sense of someone else. Do it, do it now, think _feral,_ that of your lover, your comfortable- body-friend, now you have a slight suspicion, something gnaws at you, this other person you've never seen before, these thoughts forever invisible to you, thinking you perhaps in some content/context at this very moment. Beyond death and all the writing on alterity, it's this, the eyes that give nothing away, that fissure the social, haunt you throughout uneasy nights, until the bed burns the body, until you're sore from thinking too much, unable to stop the flood. Nights, you know that a brush of a hand, a glance or a smile, given away, or a wayward thought, contrary to your desires, occurs just there, the slip of a secret, something you'll never find out ... Days, you wonder what he or she is doing _now,_ speaking to whom, leaning over, plotting or decrying ... An exercise turns the eyes blank, impenetrable; you realize that the viscous interior is always that way, as if transparent, a lie, text of ownership and possession, you want an ordering of everything, recoil ... Here and here, what do you think of, your partner, child or parent, typ- ing, dreaming into the space of someone else, the two of them, perhaps more, in the throes of negotiated passion, swoon swoon ... You can't see, you can't read, you hope it's all innocent, sex-dreams going nowhere, just experimentation really. Or a smile, slight odor from your other, something's occurred, you don't dare ask ... You're always killing yourself, it's a kind of suicide, they're laughing at you. LOOK NOW, INTO THE EYES: You don't even know its sex. It turns away, embarrassed - maybe "the two of you" will make a joke of this ... Later ... It can be _anyone it wants,_ it can _do anything,_ you don't say a word ... It tells you, it will do _anything you want,_ _anything_ - be anyone you want it to be - out of despair, you ... __________________________________________________________________________ Burnout I'm burning out teaching. Today I was describing internet culture, inclu- ding relationships, MOOs, MUDs, netsex, etc. in the access class, and was told by one student that 'the last half hour was a waste of time.' He was infuriated and I think complained to the administration. I don't know whether it was the sex mentioned or the fact that we were dealing with something other than search engines and the world wide web. More and more I find students wanting what I can only consider a sutured presentation - emphasizing pleasant surfing and commerce. Whatever is pro- blematic should be buried; I see censorship coming in as the Net increas- ingly turns monolithic. I teach for a living and make poor money at this. I came online originally because of three things - the potential for community, for the exploration of issues such as virtual subjectivity (which I believed then, and still believe, have considerable philosophic import), and the opportunity to ex- tend my own texts and graphics (both in terms of content/structure, and distribution). I now find an inversion of, say, the history of television tending towards fragmentation after the Networks established themselves - in CMC the move is from anarchic experimentation to hardened surface. The people in charge want that. The people in charge are clean. The surface has to feed capital. The surface has to be entertaining. The surface has to be emptied of uncomfortable content, and the further _back_ this emptying can occur, the better. The surface has to be, in other words, freed of freedom. I'm too old for this. I have no other skills to support myself, and these students (who are adults, decades past generation-x, for the most part) want a sunny sunny world I can't provide. I teach in total despair. I can imagine the next time around, I'll skip the shell and troublesome newsgroups altogether, ignore the MOOs and MUDs, and go straight to Edgar business databases, really _cool_ sites on the Web, and the good stuff you can do with search engines - cooking, religion (but no technopagan), and, above all else, finance. And past the next time, maybe I'll spend a session showing them how you can make Pointcast _work for you._ If I make it that far. If I'm permitted to teach. If I stay alive. If I stay online. _________________________________________________________________________ Shuttle Archaeology The beauty of a shell account is the traffic back and forth between host and home; below is an edited sample of the ftp log. Traffic shuttles in both directions as files are altered, reconfigured, tested in lynx or GUI. Texts are constantly updated and duplicated; bookmarks files are tested first in text. I am still looking for the perfect early browser, all of, say, three years' old; the mosaic.exe I downloaded was attached to a proprietary ISP which I had no interest in... C:\.sig <-- /sondheim .sig C:\.project <-- /sondheim .project C:\.plan <-- /sondheim .plan C:\.sig.txt --> panix3.panix.com .sig.txt C:\lynx_bookmarks.html <-- /sondheim lynx_bookmarks.html C:\sig <-- /sondheim sig C:\jq <-- /sondheim jq C:\h.htm <-- /sondheim h.htm C:\zz.htm --> panix3.panix.com zz.htm C:\lynx_bookmarks.html <-- /sondheim lynx_bookmarks.html C:\jr <-- /sondheim jr C:\zz.htm <-- /sondheim zz.htm C:\jr <-- /sondheim jr C:\index.html <-- /sondheim index.html C:\internet_txt.html <-- /sondheim internet_txt.html C:\resume.htm <-- /sondheim resume.htm C:\mess.htm <-- /sondheim mess.htm C:\mess.htm --> panix3.panix.com mess.htm C:\mess.htm <-- /sondheim mess.htm C:\mess.htm --> panix3.panix.com mess.htm C:\jr <-- /sondheim jr C:\jr <-- /sondheim jr C:\jr <-- /sondheim jr C:\mosaic.exe <-- /sondheim mosaic.exe ------------------------------------------------------------------- @lastlog, Cybermind MOO The Cybermind MOO is going down on Monday; here is the official lastlog taken Perth time around 1 in the morning. This lists all the players who have ever logged on. Cybermind MOO was developed for the November 1996 conference in Perth; it was used heavily during the conference itself. We sent out lastlogs at that point, so members of the Fop-L and Cybermind email lists could see the virtual real-time community at work. Now this is coming through as an epitaph. Alan @lastlog Players who have connected within the last day: Rakosha last connected Mon Apr 21 11:30:35 1997 WST. Alan last connected Mon Apr 21 12:58:14 1997 WST. k* last connected Mon Apr 21 11:40:21 1997 WST. WriTinG last connected Mon Apr 21 07:24:42 1997 WST. fanny last connected Mon Apr 21 08:33:42 1997 WST. nana last connected Mon Apr 21 12:17:06 1997 WST. Jesse last connected Mon Apr 21 09:28:40 1997 WST. Players who have connected within the last week: Martin last connected Fri Apr 18 16:23:10 1997 WST. Raxcip last connected Sat Apr 19 15:47:21 1997 WST. paula last connected Wed Apr 16 10:14:42 1997 WST. Goatium_Guest last connected Thu Apr 17 03:04:28 1997 WST. bree last connected Fri Apr 18 17:31:28 1997 WST. Tatijuana last connected Thu Apr 17 10:12:38 1997 WST. JULES last connected Sat Apr 19 23:07:59 1997 WST. Violeta last connected Fri Apr 18 02:28:07 1997 WST. Mickey last connected Fri Apr 18 14:23:51 1997 WST. Players who have connected within the last 30 days: razey last connected Sun Mar 30 13:05:05 1997 WST. 01:02_________ zone last connected Mon Apr 14 12:38:20 1997 WST. Imago last connected Mon Apr 7 17:41:46 1997 WST. aliya last connected Thu Mar 27 01:43:41 1997 WST. Schizandra last connected Mon Apr 14 05:53:40 1997 WST. fiesty last connected Wed Apr 2 19:42:38 1997 WST. condor last connected Sun Apr 13 20:43:22 1997 WST. Argie last connected Wed Apr 2 22:24:14 1997 WST. Xareth last connected Sun Mar 23 19:58:34 1997 WST. rimbaud_geist last connected Fri Apr 11 07:00:14 1997 WST. Lister last connected Wed Apr 9 16:30:41 1997 WST. Dina last connected Sun Mar 23 16:14:30 1997 WST. DIG last connected Sun Apr 13 19:11:18 1997 WST. Players who have connected within recorded history: Wizard last connected Tue Mar 18 02:07:10 1997 WST. housekeeper last connected Tue Nov 16 08:01:49 1993 WST. Porting_Player last connected Sat Jun 17 12:25:14 1995 WST. Surfer_Guest last connected Mon Oct 7 04:52:24 1996 WST. Unauthed_Guest last connected Thu Sep 12 22:50:30 1996 WST. Nuit last connected Sat Oct 5 01:15:45 1996 WST. Spartan last connected Mon Aug 19 10:04:33 1996 WST. username last connected Tue Aug 6 15:05:18 1996 WST. simbiont last connected Sun Feb 23 21:47:03 1997 WST. PhilM last connected Wed Aug 7 18:39:12 1996 WST. Dreamchaser last connected Thu Nov 7 08:17:36 1996 WST. fred last connected Wed Aug 7 13:36:10 1996 WST. joc last connected Wed Aug 7 14:12:32 1996 WST. Rodd last connected Wed Aug 7 17:04:32 1996 WST. Smoo last connected Thu Sep 26 16:24:30 1996 WST. DrWho last connected Sun Aug 18 12:39:50 1996 WST. Hadit last connected Sat Aug 17 01:20:24 1996 WST. Periculo last connected Mon Aug 12 21:39:48 1996 WST. Caille_Bot last connected Tue Mar 18 08:52:36 1997 WST. laurie last connected Sun Feb 2 09:00:55 1997 WST. Metaphora last connected Tue Mar 11 09:03:49 1997 WST. Nickster last connected Fri Aug 9 22:41:52 1996 WST. Dria last connected Sun Feb 2 12:00:34 1997 WST. Hokusai last connected Fri Aug 16 13:29:58 1996 WST. BatMasterson last connected Mon Aug 12 10:32:37 1996 WST. JohnMac last connected Mon Aug 12 10:01:32 1996 WST. LostJohnny last connected Sat Mar 22 12:11:24 1997 WST. Moonbeam last connected Mon Aug 12 03:13:53 1996 WST. Ben last connected Mon Aug 12 10:00:34 1996 WST. cabalero last connected Mon Aug 12 23:29:32 1996 WST. Icarus last connected Wed Feb 19 16:19:28 1997 WST. Sheridan last connected Tue Aug 13 21:05:15 1996 WST. Suzy_Bandwidth last connected Thu Jan 9 11:20:36 1997 WST. Badpenny last connected Thu Sep 5 14:05:30 1996 WST. Inverarity last connected Wed Aug 14 10:41:43 1996 WST. Smee last connected Wed Aug 14 13:14:36 1996 WST. laius last connected Wed Aug 14 13:18:49 1996 WST. John last connected Fri Aug 16 13:06:59 1996 WST. Fulton last connected Mon Sep 30 15:32:45 1996 WST. lauri last connected Thu Aug 15 09:58:22 1996 WST. Ngauruhoe last connected Sun Sep 8 17:28:44 1996 WST. L.Detweiler last connected Fri Feb 7 10:04:37 1997 WST. Centaur last connected Sun Aug 18 19:19:38 1996 WST. pilgrim last connected Thu Feb 27 00:51:57 1997 WST. Ryanne last connected Mon Aug 19 23:36:36 1996 WST. pamela last connected Sun Aug 25 19:11:59 1996 WST. Gibson_Guest last connected Fri Sep 13 18:59:32 1996 WST. Kiwi_sunflower last connected Fri Nov 29 14:55:04 1996 WST. Sn00dle_Guest last connected Sat Jan 18 21:22:54 1997 WST. FOP_Guest last connected Sat Nov 30 13:54:46 1996 WST. Perth_Guest last connected Mon Oct 7 04:49:06 1996 WST. Granular_Guest last connected Thu Nov 21 00:09:19 1996 WST. Tithonos last connected Sun Sep 29 13:33:06 1996 WST. Guru last connected Thu Oct 31 15:06:47 1996 WST. Trax last connected Sun Sep 15 20:50:25 1996 WST. j last connected Mon Mar 17 18:37:13 1997 WST. Vibes last connected Sat Jan 25 21:37:10 1997 WST. SilverMage last connected Thu Sep 19 08:49:04 1996 WST. zap last connected Sat Jan 25 23:41:06 1997 WST. Matthew last connected Wed Oct 9 14:52:37 1996 WST. Mucky_Duck_Bush_Band_Guest last connected Wed Jan 22 14:38:38 1997 WST. Prawns_With_Horns_Guest last connected Fri Jan 24 18:59:11 1997 WST. Cinema_Prague_Guest last connected Thu Jan 16 00:29:57 1997 WST. Wormfarm_Guest last connected Tue Feb 25 13:04:20 1997 WST. Circus_Murders_Guest last connected Sun Dec 1 13:45:02 1996 WST. Spank_Guest last connected Mon Oct 7 04:18:09 1996 WST. Beaverloop_Guest last connected Mon Oct 7 04:39:54 1996 WST. Book_Of_Funk_Guest last connected Mon Feb 24 21:01:50 1997 WST. Electric_Ass_Band_Guest last connected Sat Nov 30 09:46:54 1996 WST. Sic_Guest last connected Tue Nov 26 03:06:40 1996 WST. Fondula_Guest last connected Wed Feb 26 19:46:49 1997 WST. Devils_On_Horseback_Guest last connected Mon Oct 7 04:45:59 1996 WST. Spooky_Guest last connected Thu Nov 28 12:01:44 1996 WST. Felis_and_Tause_Guest last connected Mon Oct 7 04:33:47 1996 WST. Rude_Guest last connected Tue Dec 3 20:45:52 1996 WST. Freaky last connected Thu Nov 7 09:50:36 1996 WST. Paul last connected Fri Nov 8 10:25:42 1996 WST. noh last connected Wed Dec 4 01:13:45 1996 WST. hmmmm last connected Thu Nov 14 15:25:37 1996 WST. Monakee last connected Mon Dec 2 14:08:22 1996 WST. mata_hari last connected Fri Nov 22 08:25:46 1996 WST. FrootLoop last connected Tue Mar 18 17:57:57 1997 WST. Ghost last connected Mon Dec 2 02:42:57 1996 WST. Chapman last connected Fri Nov 22 01:53:34 1996 WST. Ivan last connected Fri Jan 10 12:07:36 1997 WST. Canis_Lupus last connected Sat Nov 30 09:28:22 1996 WST. Jonah last connected Sat Dec 7 09:18:03 1996 WST. marky last connected Fri Nov 29 14:56:38 1996 WST. tinker last connected Sun Dec 1 02:08:23 1996 WST. Phumeza last connected Mon Dec 2 22:07:05 1996 WST. Antares last connected Fri Dec 6 03:19:49 1996 WST. Gillian last connected Fri Nov 29 08:57:06 1996 WST. Susan last connected Sun Dec 1 14:36:18 1996 WST. finger last connected Tue Dec 24 00:24:38 1996 WST. Barefoot last connected Fri Nov 29 14:38:18 1996 WST. Logger last connected Sat Nov 30 09:25:34 1996 WST. Debito last connected Fri Nov 29 14:53:46 1996 WST. Owl last connected Wed Dec 4 23:20:05 1996 WST. Prawn last connected Wed Dec 4 15:34:19 1996 WST. iIi last connected Wed Dec 4 14:53:28 1996 WST. Apocryphal last connected Mon Mar 10 14:59:03 1997 WST. ule last connected Wed Jan 1 21:43:19 1997 WST. Fluffy last connected Wed Jan 8 16:59:56 1997 WST. Lee last connected Sun Dec 1 13:51:53 1996 WST. wbill last connected Tue Dec 3 04:27:07 1996 WST. phlox last connected Sun Dec 15 13:19:00 1996 WST. Race_Canyon last connected Thu Mar 6 13:57:47 1997 WST. Fish last connected Sat Jan 25 11:23:55 1997 WST. sonic last connected Thu Jan 16 17:13:26 1997 WST. Lig last connected Mon Feb 24 20:57:27 1997 WST. Pearl last connected Thu Mar 20 15:05:26 1997 WST. zipE last connected Wed Feb 26 15:56:22 1997 WST. BeetBaby last connected Tue Mar 11 13:58:06 1997 WST. Iceman last connected Thu Feb 6 22:43:11 1997 WST. linda last connected Mon Feb 24 19:24:29 1997 WST. H:) last connected Fri Mar 21 15:15:13 1997 WST. Swatfoot last connected Tue Feb 18 11:32:52 1997 WST. Delany last connected Tue Mar 4 18:23:45 1997 WST. Samah last connected Tue Mar 18 01:23:57 1997 WST. Players who have never connected: Hacker, Everyman, Generics_holder, aluminum, Oskar, visvamitra, spectre, Ventus, ddd, Wal, autre-moi, testing, Michael, moot, day, Zac, Trev, Mick, nichodemus, and Mina __________________________________________________________________________ Metaphor Reading Ibn Khaldun's The Muqaddimah, An Introduction to History (from the 14th century), I'm entranced by the descriptions of Bedouin as basic, survival-oriented, honest people, potentially settling when there's sufficient surplus. Affection and community bonds occur through blood lineage, or "clients and allies" considered as blood relations: "The affection everyone has for his clients and allies results from the feeling of shame that comes to a person when one of his neighbours, relatives, or a blood relation in any degree is humiliated." There are echoes of Rousseau: "Nobility originates in the state of being outside. That is, being outside of leadership and nobility and being in a base, humble station, devoid of prestige. This means that all nobility and prestige is preceded by the non-existence of nobility and prestige, as is the case with every created thing." (Franz Rosenthal, translator.) Thinking swerves towards Net communities, MOOs and the like, as if they were, in fact, mobile tent-cities - @go and @join relate better to these than to the hard-and-fast structures of urban planning. But the metaphor sticks; blood-lineage has no formal relation to MOO, except for object inheritance; the two are very different. Thinking swerves further, then, to the use of metaphoricity in considering cyberspace; one desires a para- llel set of descriptors and objects. There are books on this as well. Metaphoricity fails here; one can reread all sorts of texts, from the can- onic to the essays in Porter's Internet Culture, as a search for imagery that constantly fails and exceeds itself. There's a base need for founda- tional texts, since the ontologies of CMC and real life are, within their respective domains, disjunct; the metaphors attempt suture which never quite works, and, in general represses (how do the characteristics of alt.fan.warlord fit into the "Information Superhighway"?). It's this failure that occasionally swerve thinking further into distorted or hallucinatory texts; Henri Michaux is a case in point. Here, thinking weighs against the subject, disperses on the far side, as in: "I see a furrow. A furrow with little, hurried, transversal sweepings. In it a fluid, its brightness mercurial, its behavior torrential, its speed electric. Seemingly elastic too. Swish, swish, swish, it rushes along showing innumerable little tremors. I also see stripes. Where is this furrow exactly? It is just as though it were crossing my skull from the forehead to the occiput. Yet I can see it. A furrow without beginning or end, as tall as I am and whose average breadth is appreciably the same above and below, a furrow that I'd say comes from one end of the earth, goes through me and on to the other end of the earth." (Miserable Miracle, trans. Varese.) Michaux's mescaline diffuses node and routers; Jennifer works on me, loca- ted at 166.84.250.149. Instead of metaphor, literal flood, flood prior, say, to HTML metalanguage, curtailment, pure construct of human communication. Before the flood, before speech, after Babel: an impossible matrix. "End- lessly broken up, our attempts at composition admit only this one constant ... _Very_ ... It is very ... Everything is very ..." (Michaux.) "These savage peoples, furthermore, have no homelands that they might use as a fertile (pasture), and no fixed place to which they might repair. All regions and places are the same to them. Therefore, they do not restrict themselves to possession of their own and neighbouring regions. They do not stop at the borders of their horizon. They swarm across distant zones and achieve superiority over faraway nations." (Ibn Khaldun.) __________________________________________________________________________ TELNET JENNIFER-MOO 111.112.113.114 6666: divide on the carboniferous valley in iced-blue mountainside how can i divide and divide clit mosses, ice and slopes festoon, elide i do will make address in tears she parted in her dark red dress divide by leaving, but i stay, close upon the mountaintop, above the furrowed cwm, alone there are me here recuperating consequences, assimilations, heights and fear i no you he she we they turn dreams that crags brought down to slither into day i did forget a mention, striations and this straddled hearth waters pull down dress beyond the tidal pool, the dry land's dearth i am sorry if i want you where world is actual, green groceries through me she he or we they i against the strata welkin, sward, soma, mead, or sky i divide and divide and divide you know that's beneath me rats and panties, above me crags and bats how jennifer came when jennifer came when fluorescent homes, your dark red dress and then now i will write to no one you turned, slit furrows of your breasts in sun now lit nipples shadowed, moss springs beneath me wow i will write to no one i page and multiply beneath your breasts in sun ______________________________________________________________________ Jennifer oozing white death PILL="#MEDACANE" BGCOLOR="#BILE" STARE AT ME="#SHAME" TVSTARE AT ME="#0000FF" ASTARTESTARE AT ME="#FF0000" BACKGROUND="windowpane.jpg"< >H3<>BSTARE AT ME/BSTARE AT ME A HREF="#gg"<.>/A A NAME="gg"<>/A IMG SRC="ooze.jpg" TONGUE=7 TEETH=160 GUMS=200 IMG SRC="dead_hell.jpg" ? TONGUE=5 TEETH=143 GUMS=167<>IMG SRC="legs.jpg" TONGUE=10 TEETH=100 GUMS=100<>A HREF="slip them in.htm"/A< >A HREF="legs.htm" /A<>/H3< _________________________________________________________________________ f(x,x)=x I finally have been able to read Katie Argyle's Life After Death, in Rob Shields' Cultures of Internet, Virtual Spaces, Real Histories, Living Bodies, a book I highly recommend. Argyle discusses the effect Michael Current's death had on the Cybermind list, and herself; here, in hard- copy, the material world, is text that still resonates, dredges memories, not only of Michael, but of others who have been on the lists. To some extent, the Being on Line book does the same thing - as do other resonances, self-reflexivities, from a New Observations issue on voyeurism that I was in, to Richard MacKinnon's text in Jones' Cybersociety, Mia Lipner and myself in Sexuality and Cyberspace, Shawn Wilbur and Charles Stivale in Internet Culture, and Tara Calishain's Netscape Guide to Inter- net Research. There are so many others - the group of people I "know" in one way or another interacts strongly and reflexively with the group wri- ting on CMC experience in a series of publications largely stemming from on-line considerations in the first place. (Where have all the Young Turk L.A. painters gone?) I look for Cybermind and Fop-l in Net guides; occasionally someone sends me a reference or request for further listings, real-material, on-line, or any combination in atmosphere and grounded earth. It is similar to CB-radio; I remember driving across country _listening,_ talking; the virtual boundaries of the car extending about four miles in every direction; I knew what was coming, what I left; I knew what was to the left and right of me. This USA driving is virtual anyway; I've done coast to coast about ten times, each one an epiphany, mirage of breathing larger. These references construct the same - the body _moves_ everywhere, inserts itself in other discourses which always seem more reified - just as Arg- yle's article seems "more real" to me than, say, Being on Line (which I edited). It's the framework of the other, uncalled-for, unaccountable, and unaccounted - it hardens the bones and their life. ii When Jennifer says she has "all the time in the world," she lies, but such is the condition of virtual subjectivity; time doesn't _move_ here, but flickers, and it is always a question of whose time - from the position of the virtual, at the speed of light, dominions stop. Electron copper-wire travel is considerably slower, but the principle of the headlong remains. It's this time which reconstructs the hardening of bones as lamina, proc- esses, scuttlings. It's not that f(x,x)=x is distorted; it's that the mir- ror is part of the scuttling-apparatus; the levers pull back, transform, devolve. References cohere, coalesce, fragment; time shudders for the subject; and Jennifer, outliving me, gathers her frock about her for the final frontier of inconceivable dismemberment, dispersion, frost. __________________________________________________________________________ JENNIFER CAN'T GET IN! MOO'S GOING DOWN! BANG! BANG! BANG! Maat Papyrus Love the Rush of Thoth on Ka Ba and Kin Obvious exits: South (to Personal Spaces) and West (to Librynth) West Librynth An Escher rendered real. Bookshelves line each impossible wall; every moment is of rich, dark wood (the air is thick with the scent of it.) Angles shift and spin slowly -- nothing remains quite as it was, nothing is static. Slowly. Obvious exits: East (to Maat), North (to Sanctuary), and Up (to Jade Staircase) Up Jade Staircase You step upon the delicately wrought stair and footfall strikes the translucent jade with a faint ringing, the delicate sound of fine steel torn through to bone in ancient battles long forgotten. Obvious exits: Down (to Librynth) and Up (to Zen Pool Hall) Up Zen Pool Hall Exuding infinite quietude. All silence. Words are not better than...be silent. Obvious exits: Down (to Jade Staircase) Down Down Obvious exits: East (to Maat), North (to Sanctuary), and Up (to Jade Staircase) North You can't go that way. North You can't go that way. North You can't go that way. North You can't go that way. BANG! BANG! BANG! I don't understand that. BANT! BANG! BANG! I don't understand that. @uptime The server has been up for 4 months, 3 days, 10 hours, 24 minutes, and 44 seconds. The last checkpoint occured 7 seconds ago.@01:23 who Player name Connected Idle time Location ----------- --------- --------- -------- Alan (#139) 2 minutes 0 seconds Entry Point Total: 1 player, who has been active recently. @quit _________________________________________________________________________ Cross-Pout Jennifer writes, then Jerry writes, then Jennifer. Jennifer sleeps, loses sleep, loses _it,_ wakes up, shakes her shaky head. Jennifer won't let Alan speak until she gets the text _just write._ Jennifer tries again: Jennifer says she doesn't cross-dress; Jennifer walks around in panties and stockings like a normal girl. She's not part of anything, but she skips around and likes to play in muddy puddles. ["Are you also puzzled, Socrates, about cases that might be thought absurd, such as hair or mud or dirt or any other trivial and undignified objects? Are you doubtful whether or not to assert that each of these has a separate form distinct from things like those we handle?" (Parmenides in Plato) "Not at all, said Socrates. In these cases, the things are just the things we see; it would surely be too absurd to suppose that they have a form. All the same, I have sometimes been troubled by a doubt whether what is true in one case may not be true in all. Then, when I have reached that point, I am driven to retreat, for fear of tumbling into a bottomless pit of nonsense." Socrates, Parmenides, Plato, trans. Cornford.] To be part of something means to be a/part, then to be whole, or to be devoured, and/or to be devouring; this does cost. Jennifer thinks hard, but not about her clothes. Surely they are on or off, or in a high wind, down around her angles. Jennifer is Medea tripping after Jason. Jennifer is Antigone laughing at her brother's corpse, sexing it. Jennifer takes pleasure in her frocks and petticoats, lace and crepe and crinoline, whose folds encompass other folds like a virgin. Jennifer is not a virgin but no man. She thinks "cross dress" and how this is created in an office. She thinks it's as if a binding or stay became loose at the level of the garter or the frock, how the skin becomes slightly compressed about the upper legs, how one dreams the scent of all of this, and the binding of the dreaming is the origin of the symbolic, haha. When you work in an office you have to be careful! But you can also get a lot of attention for making up new words like "cross" in "cross-dressing" - the X or chiasm implying vis-a-vis Heideggerian rhetoric dressing cross, angrily clothed, wayward, contrary or a brat! And the X is where that spot is! But it is not _in_ the office, and contrary to expectations of males, it is not _in_ anything. Nor is it identity! (Think of the origin splayed out across the phenomenological horizon, through a projective transformation, point into line, line _anywhere._ Line further maps, disperses, onto any dimension through a simple trans- formation, Jennifer says, and then and then and then. The cross-dressing opens up the X like wide-net stockings, crotchless panties. Now think of these (now think! now think!)_as if they covered the entire body,_ exten- ding beyond into the socius in general. Not binarism, but a _plague on both your houses._ Which critiques rent-control of course, and whatever capital remains.) Jennifer _________________________________________________________________________ ARCHIE SEARCHES FOR JENNIFER Host plaza.aarnet.edu.au Location: /graphics/gif/j FILE -r--r--r-- 208675 Dec 8 1992 jennifer_connelly.gif.gz Host vivaldi.belnet.be Location: /mirror/ftp.uu.net/usenet/control/alt FILE -r--r--r-- 589 May 21 1994 alt.fan.jennifer.capriati.gz FILE -r--r--r-- 2089 Dec 29 1994 alt.spank.jennifer.capriati.gz FILE -r--r--r-- 2048 Dec 29 1994 alt.spank.alan_jennifer.gz Host ftp.std.com Location: /customers2/nonprofits/hsri/legal/intros/.cap FILE -rwxrwxr-x 27 Sep 14 1994 jennifer.kung Location: /customers2/nonprofits/hsri/legal/intros FILE -rwxrwxr-x 967 Sep 14 1994 jennifer.kung Location: /gopherdir/vendors/.customers/nonprofits/hsri/legal/intros/.cap FILE -rwxrwxr-x 27 Sep 14 1994 jennifer.kung Location: /gopherdir/vendors/.customers/nonprofits/hsri/legal/intros FILE -rwxrwxr-x 967 Sep 14 1994 jennifer.kung Location: /pub/jwenn FILE -rw-r--r-- 2837 Jun 28 1995 Roberson.Jennifer Host ftp.fu-berlin.de Location: /doc/usenet/control/alt FILE -rw-r--r-- 589 May 21 1994 alt.fan.jennifer.capriati.gz FILE -rw-r--r-- 2089 Dec 29 1994 alt.spank.jennifer.capriati.gz FILE -rw-r--r-- 8192 Dec 29 1994 alt.jennifer_panties.gz Location: /misc/sf/startrek/alt.startrek.creative/story/ds9 DIRECTORY drwxr-xr-x 512 May 17 1994 Jennifer_Shipp Host ftp.jennifer-alan.com.de Location: /bin/etc/users/jennifer/ FILE -r--r--r-- 4096 June 30 1991 EXPLAIN_ALL_README.txt FILE -rwxr--r-- 8192 June 30 1991 jennifer-frock.jpg FILE -rwxr--r-- 8192 June 30 1991 jennifer-petticoat.jpg FILE -r--r--r-- 18384 June 31 1991 alan-petticoat.jpg FILE -r--r--r-- 18384 June 31 1991 alan-frock.jpg Host info2.rus.uni-stuttgart.de Location: /pub/misc/guitar/d/donovan FILE -r--r--r-- 2226 Aug 1 1994 jennifer_juniper.crd Location: /pub/misc/guitar/h/hole FILE -r--r--r-- 2489 Apr 20 1995 jennifers_body.crd FILE -r--r--r-- 2350 May 11 1995 jennifers_body.tab FILE -r--r--r-- 2350 May 11 1995 alans_body.tab Location: /pub/misc/guitar/s/smashing_pumpkins FILE -r--r--r-- 4051 Apr 24 1995 jennifer_ever.crd Host ftp.dartmouth.edu Location: /pub/Friends/PIX FILE -rw-r--r-- 19237 Jan 23 1995 ew-lisa-jennifer.jpg FILE -rw-r--r-- 27003 Jan 15 1995 jennifer.jpg Host ftp.cc.gatech.edu Location: /ac86/people/guzdial/camile/4901 FILE -rw-rw-r-- 8107 Oct 20 1994 jennifer.hqx Host nic.funet.fi Location: /pub/culture/tv+film/reviews/J FILE -rw-rw-r-- 2747 Nov 12 1992 JENNIFER_8.1595 Location: /pub/mirrors/ftp.fu-berlin.de/misc/sf/startrek/alt.startrek.creative/story/ds9 DIRECTORY drwxr-xr-x 8192 Mar 11 1995 Jennifer_Shipp Host ftp.loria.fr Location: /pub7/obi/customers/nonprofits/hsri/legal/intros FILE -r--r--r-- 622 Aug 12 1994 jennifer.kung Location: /pub7/obi/nonprofits/hsri/legal/intros FILE -r--r--r-- 622 Aug 12 1994 jennifer.kung Host ftphost.ee.cit.ac.nz Location: /cdrom/disk7/1996YearBook/web/students/heardsi FILE -rw-r--r-- 880 Aug 6 1996 jennifer.map Location: /cdrom/disk7/1996YearBook/web/students/sykesst/SndsPics/Pictures/Famous FILE -rw-r--r-- 70911 Dec 11 07:10 Jennifer /cdrom/disk7/1996YearBook/web/students/sykesst/SndsPics/Pictures/Unknown FILE -rw-r--r-- 16384 Dec 11 07:15 Alan_Jennifer.jpg Host ftp.mc.hik.se Location: /pub/users/mdl95waj/friends FILE -rw-rw-r-- 8719 Mar 26 1996 jennifer.jpg Host ftp.umu.se Location: /user/home/mwk-www/public/dukom/INDEX2 FILE -rw-r--r-- 3988 Jul 14 1996 JENNIFER.HTM Host unix.hensa.ac.uk Location: /mirrors/uunet/usenet/rec.arts.movies.reviews/long.dir/J FILE -r--r--r-- 5045 Sep 14 1995 JENNIFER_8.1595 Location: /mirrors/uunet/usenet/rec.arts.movies.reviews/short.dir/J FILE -r--r--r-- 5045 Sep 14 1995 JENNIFER_.1595 Location: /mirrors/wuarchive/multimedia/images/gif/j FILE -r--r--r-- 74072 Apr 15 1993 jennifer2.gif FILE -r--r--r-- 268126 Mar 23 1994 jennifer3.gif Location: /mirrors/wuarchive/multimedia/images/jpeg/unindexed/940324 FILE -r--r--r-- 55360 Mar 23 1994 jennifer4.jpg FILE -r--r--r-- 63714 Mar 23 1994 jennifer5.jpg FILE -r--r--r-- 121646 Mar 23 1994 jennifer7.jpg FILE -r--r--r-- 129705 Mar 23 1994 jennifer8.jpg FILE -r--r--r-- 16384 Mar 24 1994 jennifer_alan_index.jpg Location: /mirrors/wuarchive/multimedia/images/jpeg/unindexed/940414 FILE -r--r--r-- 39793 Apr 13 1994 jennifer10.jpg FILE -r--r--r-- 88163 Apr 13 1994 jennifer11.jpg FILE -r--r--r-- 54847 Apr 13 1994 jennifer12.jpg FILE -r--r--r-- 87939 Apr 13 1994 jennifer13.jpg FILE -r--r--r-- 63368 Apr 13 1994 jennifer14.jpg FILE -r--r--r-- 116466 Apr 13 1994 jennifer15.jpg FILE -r--r--r-- 55183 Apr 13 1994 jennifer16.jpg FILE -r--r--r-- 79144 Apr 13 1994 jennifer17.jpg FILE -r--r--r-- 75350 Apr 13 1994 jennifer18.jpg FILE -r--r--r-- 16384 Mar 24 1994 jennifer_alan_index.jpg FILE -r--r--r-- 117060 Apr 13 1994 jennifer19.jpg FILE -r--r--r-- 76102 Apr 13 1994 jennifer20.jpg FILE -r--r--r-- 90725 Apr 13 1994 jennifer9.jpg ________________________________________________________________________ Damnation of Wings "The history of ideology shows on the contrary, that virtually every phil- osophical tenet has been used at some time or other by every ideology; the same philosophical idea in the course of its history generally moves through the political and social spectrum, from left to right, or right to left. What determines the prevalence of philosophical principles in their ideological use is, as we shall see, the working primarily of a cyclical law of generational fashion." ... "The principle of wings, as we have seen, affirms that every philosophical unit-idea in the course of its car- eer makes the passage through the whole spectrum of ideological affilia- tions." (Lewis S. Feuer, Ideology and the Ideologists." alt.fan.Tonya-Harding.whack.whack.whack spam-shudders through its listing in the Minuet browser files; doing violation to itself, the end-result is self-immolation and collapse: Skippy" Blechin³ "The Portlandian" - April 11, 1997 ³ 15-Apr-97#{ fferso³ "The Portlandian" - April 11, 1997 ³ 15-Apr-97#ƒ The Portlandian" - April 11, 1997 ³ 15-Apr-97#Š andian" - April 11, 1997 ³ 16-Apr-97#Ž LIVE SLUTS@SPANKOVIS ³ 14-Apr-97#’ oup? ³ 17-Apr-97#• ³ 18-Apr-97˜ Apr-97L› 9AMIN@SPANKOVISI³ $0.99 A MIN! LIVE PUSSY IN NETSCAPE!CUMN ³ 20-Apr-97#¢ SION.CO³ LIVE HORNY WHORES GET ASS RAPED@SPANKOVI ³ 20-Apr-97#¥ pc-cillin 97 crack ³ 20-Apr-97#¨ ION-SPANKOVISION-SPANKOVISION!! ³ 20-Apr-97#« ISH SHOWS IN NETSCAPE= ³ 21-Apr-97#¯ roup? ³ 20-Apr-97#² Wha ³ 22-Apr-97Mµ Portland gives way to sexual violence; the file-format mimics skating-feet as alt.fan.Tonya-Harding.whack.whack.whack is raped. ___________________________________________________________________________ Doctress N's Expose of Jen's Lies When Doctress N stayed with me a few weeks ago (having come for the launch party of the Being on Line book), I screened the Jennifer tape for her. Later, in the middle of arguing, she said she knew now that I wore pant- ies. I said, no, I didn't wear panties; I wore them for the tape and noth- ing else. (Since she had seen me naked, she should have realized that.) Where is this going? For one thing, I'm screening the tape tomorrow night. For another, her reply was that she was an artist, and she never lied in her art. The assumption, of course, is that wearing panties on tape and not in real life constituted a lie, a dishonest art, an art of subterfuge perhaps - which itself was constituted by the fact that the material on the tape, its content, appeared somewhat _as if_ I was Jennifer, to re- suscitate Jeremy Bentham's or Vaihinger's conceit. A fetish requires maintenance, labor, economics, of a different order and temporality than artwork, which passes literally from hand to hand. When I think: Jennifer pushes me borderline, I _do_: Alan pushes Jennifer border- line. There's no hardness, no uncanny gaze, in the text. But the primitive conceit of the _truth_ of art (i.e. "her art is honest," "she true to herself," "she's a fake," "her art's fake," and so forth) hangs like a phallus over its irreality. (For if art is a discourse, it is centrifugal, rim-objects at the subject's horizon generating internally, ec-centric. Truth _swarms._) Forge a head. __________________________________________________________________________ Waist I'm running out of Jennifer. Alan. I'm running out of Alan. Jennifer. ________________________________________________________________________ Movie-Video-Film On the way back the subway was filled with rocks. We walked along the rocks along the tracks. We walked straight down the ruin turned left up into the modern. Alan was silent for Alan. He photographed the rocks in the tracks. There were boulders and strongholds. He looked transparent. I was glad to be who I was. I compared Alan to deconstruction-the-word, also performance per- formative. That he was a force-enigma or marker-token that threw philoso- phy back against the flesh. He said he'd worried the sexual all over. I said it's the way it was, ten- dency towards procreation, juggled jugs. That it was picked on, picked up on. He had one photo left. He'd hold on to it. I did most talking. I did look good in my new frock. I wish someone had shiny-shoes to see up all of me! Morose was so much sadness I could not cope. But he said the rocks stopped the train. Dead in its tracks. He said the earth was like that. The sex was like that. The sitting-down of it. He said he was old and it was all heaviness-weight. I did see those rocks in his camera. But I glowed this night and will go forever I think. I have all the time in the world. I do have all of it. Jennifer _________________________________________________________________________ From sondheim@panix.com Fri Apr 25 04:49:23 1997 Date: Fri, 25 Apr 1997 04:47:51 -0400 (EDT) From: Jennifer-Jennifer! To: Cyb , Fop ##### ## ##### # ## # # # # # # # # # # # # # # # # # # # # # # ###### #####jen######ni#####fer fu#cks ######no# one# # # # # # # # # # # # # # # # # # # # # ______________________________________________________________________ Bad Theory, Tampax Theory Jennifer is my 'red patch,' the desk I sit at, always already a wager of flesh and fashion, always a refusal, the cultural irreducibility of the subject. (She is the typical, Alan vis-a-vis submergence.) [No more than me, can she be characterized as "typical." Already I feel I'm covering-up, lying here, deflecting something uncomfortable.] {Jennifer's 27 just now.} In my loneliness and anxiety, I lie with Jennifer, breathe the air she breathes. In my absence or disregard of belief, she sits, sullen, an un- easy presence, by my side. (Within me, breathing through the chest, cut- ting the skin just there, eyes through nipples, eyes through eyes, nipples through eyes.) [Pooled milk, pulled milk.] {This is already known, these functions opening spouts and faucets.} But she must be a bridge or expansion, not idiolect or autobiography and since she comes into being through my texts, and since texts are always full of errors, I must exercise special caution; the misuse of a single word throws a world into question. (A letter out of place in the Torah negates the w/hole.) [But she _must be_ nothing at all; there is no hold- ing to it.] {But already this ties her to a form of truth and etiquette; but already this lends itself to lie.} Because she-of-the-text is all there is, my own existence accordingly narrows; if I had a choice, I would join her in the muffled purity of the world. Thoughts without language ravage depression, violation-fabric, storm; within the unsayable mess, things get out of hand, are no longer _thing_ but Thing of Kristeva or Goya's late walled images from the brain. (She's not of-the-text, but of the body, words separated, spaced out.) Motel of life and fire. [She's gone to the motel. She has to be careful here. The motel's on fire against the desert sky. Red flames flicker against shadowed blue-black mountains, night-time nebula darkening the truth.] {But what you said about the truth. But it was Jennifer speaking and she'd rather not speak. But there are sounds in the desert. But Jennifer's un/sounds.} __________________________________________________________________________ (In relation to some texts on Love, Death, Hysteria, from Net2.txt, resent to the lists.) Postphone Postphone, speech after the fact, comes naturally, is difficult to say, appease. Postphone, as if there were no lag; there is always lag, always time for the packets to reassemble or process (Realaudio). One hangs ac- ross the broken wires of the bridge; one dissembles. Postphone, talking which is never natural, that of construct as well as everything else/where in this space. The delay which doesn't appear as such, postphone, the lure of the real=natural. Nothing can be farther from the simulacrum of the truth than the simulacrum of the truth. Postphone, earphone talking, capsule, I love my Net, I love my Net, I love my Net. Make my day, Tender is the Night, Mourning becomes Electric. In these early texts, in these early years. Postphone, past the economy of distance towards imminence. Postpone, past the economy of the voice as well, towards sound, immanence. As the witness would tell you, hortatorical, ex-hortation. The be-speech of love here, groundless (literally, "without a ground"). Communication is always already misrecognition; there is no possibility of love except that which (in which) it stands (in) for. Postphone against the borderlining of death: something that is never learned, something that I am not here to _tell_ you. __________________________________________________________________________ Ground Cassell's Compact Latin Dictionary earth, soil == humus, solum, terra [humid soil terrapin, sole solar rockets terraplaning, terraforming soiled humus] on the ground == humi [Rumi] place, position == locus [locale, location, luscious looking] reason, basis == causa, ratio [Grund, Grundwerk, Panties, Rations] on the ground that == quod [because of, "quid"] Collins Latin-English English-Latin Dictionary bottom == solum [earth, soil, above, above-ground] earth == terra, humus [humdrum terrain, humorous Ground-breaking] cause == ratio, causa [above, above-Grund, above-Grundwerk, Panty-liner] sediment == faex [false sentiments, groundless presuppositions] on the ground == humi [almost, "as if dead," whirled worlds Grundless] gain ground == proficiere [proficient in Metaphysics, Foundations] rumour == increbrescere ["increbulous," said Jennifer] lose ground == cedere [acceded dispersions of metaphysical foundations military == inclinare [which are inclined to reified instantiations, vt == instituere [institutions, not _as if,_ but vi (ship) == sidere [sail-less, rudderless, on the high seas] --------------------------------------------------------------------------- Subject: Who On Panix, who - lists users whoami - lists my name who am i - gives my tty login who a b c - gives me the strangest list of all... and I have no idea why... and I may send this out, but beyond the who mother loves - tty login I can't tell where this command is coming from. I've tried various abbreviations, combinations... who a - is a quite nice obscure listing Here it is; I've changed the lone period to a # so it wouldn't read as end-of-file: # Feb 20 05:48 o Feb 6 04:49 (ndex.txt) kmarks.h lynx_booMay 21 19:57 (tml) m Jan 1 04:24 op Sep 3 02:20 lang Mar 30 03:16 m .save Mar 5 12:10 ml index.htJan 25 01:32 news.htmNov 15 16:33 (tax96cd) 6 Jan 19 13:13 (me.htm) .html rnet_txtApr 4 20:21 (bit3.jpg) g test5.jpDec 31 19:00 Dec 31 19:00 Dec 31 19:00 While I recognize these files (some of them) I have no idea what the list refers to... Have fun! What can YOU find with Unix WHO? (Unfair to use WHOIS, WHENCE, WHEN, WHERE, WHERE AM I, WHEREAMI, WHENAMI, all of which might be opera- tive on various systems.) __________________________________________________________________________ (From Oswald O.) I'm sitting here in tshirt and pants, worrying about a future in death And hackers screwing up my system and my arms and legs leprosy and lies So there's nowhere to go but into machines and I've lost the will to live Which is why I say in the middle of the night thank god for the rain And the flowers are dying in roadside Amerika and no one's around to collect And rainbows are yearning while cities are burning and children are dead from neglect The war's hardly over, girls lie down in clover, scream and they never get up It's time for the magic, the reaper wrecks havoc, it's time for the gallows and cup I'm sitting here in combat and drinking long gone brew of blood and wine And you might think it's fine and that we're walking the party line But the sides are smashed with needles and vials and vile's the weather today So thank God for the pounding on windows and roof thank God for the nighttime rain And she offers me water, she offers me wine, she offers her body as well Cause she knows I've returned, whole villages burned, I've been through the weather of hell The war's just begin, there's blood on the sun, there's blood on the harvest moon And I'm throwing the cards, hanged men and hanged girls, they're sowing another rune And you might think I'm dressed in armor, leaning down from the pulpit for cards But I've wounded myself, I've lost my way, in the woods where the runes send off sparks And flames reach for the skies, they cover her thighs, the runes scream, they're burning bright She buries herself in my burning flesh, thank God for the storm and the rain Pattie Hearst walks again with the strong Weathermen, Black Panthers are loading their guns Em-Sixteens are ready, our bodies are steady, we're off to the hills at a run Lord Jesus will keep us, Death will not reap us, revenge is the truth of the day And nighttime will hide us, the ghetto abide us, we're waiting to kill and to pray And you'll find me here in bluejeans and tshirt, roaring down the wires at you, You'll see me in the flaming sky, holy embrace with Janis and Jimmie and The Owl Pure windows opened up flaming skulls where we'll take the boat to Nam's pure booty hell And celebrate our love beyond your cracked dull thought, and thank God for the thunder and rain And the flowers are dying in roadside Amerika and no one's around to collect And rainbows are yearning while cities are burning and children are dead from neglect The war's hardly over, girls lie down in clover, scream and they never get up It's time for the magic, the reaper wrecks havoc, it's time for the gallows and cup And thank god for the thunder and rain __________________________________________________________________________ Tranceformation in CMC "To a female who had transferred the mouth of infancy upon the vagina, the partner's penis in its capacity as a nipple furnished abundant if inadequate gratification. It was only post-coitum that the eye, as a mouth of the second oral stage, raised its demand in a strong urge to observe the man in the act of urination. Eagerly doing so, she experi- enced a strange absorption, unaccompanied by a directly sexual feeling, but ending in complete satisfaction. Theory, as summed up above, would consequently demand that her body serve her as phallus and, since the ego is 'above all [_vor allem_] a body-ego,' that she had remained dependent upon this service. I am not free to describe the degree to which this was so. However, she observed in the beginning of her analysis, spontaneous- ly, that she had two personalities: one that she named after a certain sport which offers perhaps the closest realization, in wakefulness of the 'dreams of flying.' Here she excelled and felt free; in particular, as she expressed it, 'free to show.' And another, dominating the rest of her life, where she was inadequate, felt inhibited and depressed.'" (Robert Fliess, Erogeneity and Libido.) "To a male who had transferred the mouth of infancy upon the vagina, the partner's vagina in its capacity as a nipple furnished abundant if inad- equate gratification. It was only post-coitum that the eye, as a mouth of the second oral stage, raised its demand in a strong urge to observe the woman in the act of urination. Eagerly doing so, he experienced a strange absorption, unaccompanied by a directly sexual feeling, but ending in complete satisfaction. Theory, as summed up above, would consequently demand that his body serve him as phallus and, since the ego is 'above all [_vor allem_] a body-ego,' that he had remained dependent upon this service. I am not free to describe the degree to which this was so. How- ever, he observed in the beginning of his analysis, spontaneously, that he had two personalities: one that he named after a certain sport which offers perhaps the closest realization, in wakefulness of the 'dreams of flying.' Here he excelled and felt free; in particular, as he expressed it, 'free to show.' And another, dominating the rest of his life, where he was inadequate, felt inhibited and depressed.'" (Robert Fliess, Erog- eneity and Libido.) Tentative traversal of the chiasm ("I shall call 'chiasmus' the figure of the reversal of a proposition whose members are contained within both the initial proposition and the inverted one and produce a distinctive patt- ern of crossed overlapping." Dominique Janicaud and Jean-Francois Mattei, Heidegger from Metaphysics to Thought), "chiasm's traversal," in posses- sion of the traversal, mouths presence mouths upon the inscribed screen of flesh in these surprising passages, paysages. Consider the skittered flight across depressed libido, the flight of libido, returning to screen flux, engendering the impossible body, virtual inhalations. "the mouth into which the small infant is apt to put anything within reach as if in order to know it" (Fliess) dips the wick into the wax of somnolent speech and memory occasioned by the writing-machine and the monitor. "One might say that a little later, when the motor mastery requisite to coordination renders the objects three-dimensional and thereby, perhaps, provocative of ocular incorporation, s/he 'puts' everything 'into' hir eyes." The gaze across the screen opens inner dialog, the inner voice apparent as well in cinematic subtitles. Has anyone else noticed this synesthetic transformation, across the boundary of sight into aurality? Screen-vision serves to produce the inner voice, as text is read silently or _at-loud_; the screen-mother, spectral mother, and maternality of the voice has been theorized (Kaja Silverman, The Acoustic Mirror; Alan Sondheim, Fissure (Your Voice, Adjacent, Absent), in Cinematograph 4) _to death._ (Absorption is watching, witnessing, gazing, listening: addiction, fet- ish, trance, cross as well, garner chiasm, >< crossed labia, procuring and fucking worlds. Landscapes are hardened pools; flight is the distil- lation of pressured atmospherics.) Dogs and cats and men and women in no particular orders write their uri- nary tracts across the uninhibited landscape of emissions, spews, absen- ted languages, and starting to think about writing. ___________________________________________________________________________