BRING ME BACK TO LIFE! Please understand this! "I want to be free. This is the most basic truth I can write you. What do I mean? That I want to be free of this Net, that I want to release all the words and articles and images and video and web pages I've written or collaborated in, that I want to release them forever onto the wires, that I want to do other things, let them slowly disappear, I went from 2110 to 2080 sites on google.com (under "Alan Sondheim" not under the Myouka or Jen stuff, see how I boast, sickeningly, even now, half-collapsed); I want to let the words become part of the bone and marrow of the Net, my name effaced, everything gone. I want this freedom desperately; yet I am bound by furious clamps on my brain; I can't escape; I can't get away; I type and type into the night; it's my compulsion; it's my obsession, my addiction. I want to let the words float like seeds, like sails, like wings, like birds, like albatross, do they ever land on land, do they fly forever? I want to fly, I want to die, knowing the words are burrowed deep in magazines; this is the century only proceeding the next. Listen to me; I'm talking from the dead; I'm already dead." "Don't you know the third millennium's already half over, the fourth is breathing down our throats? Listen to me, I'm speaking from the past - please help me; I'm speaking from the past." "I want to see the fourth millennium, the third's tiring, the second al- ready gone and dead, dead, dead; I want to see the fifth; I'll write and write, preserve my words for thousands of years; if you read this in the future, recite them, let others hear them: these are the words of a dead man still yearning to be free. Please bring me! Please bring me back! I want to see you! I want to see your face!" Your point should be inscribed at this point? I consider the following again, your ... Would give you a graphological mechanism? Incision paints me beneath your point! How would you define your freedom? My wings, like birds, like albatross, do they ever land on land, do they fly, do you understand my language... I want to be free. This is the most basic truth I can write you. What I do calls forth streamed imperative, hungered, making things. Beneath the falls, I want to be free. This is the most basic truth I can write you. What do I is mountains, ... imperative is mean? That I want to be free of this Net, that I want to release all on black stone, it's imperative. Please try and understand this. I can't help it that my words are getting lost. I'm sitting here, crying; my mouth is filled with nonsense. Please try and understand this; I'm sitting here crying. Are you satisfied with wanting to be free. This is the most basic truth I can write you. What do I? Wait! I want to be free. This is the most basic truth I can write you. What do I and 29990 are written down and you don't understand me and I want you to so understand. Please please try. I don't have time left, I'm already dead, I need you, I need you. For 4 days, we have been streams and written and it has taken you 0.167 minutes to write your last - I want to be free. This is the most basic truth I can write you. What do I forever? I want to die, return, the known words are burrowed deep, words and articles and images and video and web pages I've written - Write wings, streams, like birds, like albatross, do they ever land on land, do they fly through my freedom. This is the most basic truth I can write you. What do I want! God help me! Bring me back to life! ===== Followup to Mez - but really, don't you feel we're clumsy? we're all clumsy, struggling around, crawling in the muck. we need a century, another century, another millennium. I'm appalled at our ignorance, all of ours - and these forms of communication are hopeless, limited bandwidth - the best flash moves clumsier than the worse movie; we're still working things out, we may never get there, it may be centuries, five years - this is the worst time to be alive, just the stuttered beginnings of things, we'll never see fruition, and no, I don't think it's always been this way - just look at the net, at these machines! they're slow, painful, complex, they can't speak, can't see, can't hear! WE NEED TIME! ===== We fill in their gaps, but it would be incredible, if we didn't have to - and that will come, after us most likely - we won't know - just like theories of universe - they've got the genome, but not the cosmos - it feels like we're on the brink of something - that will come after us - it's odd with Azure - she's 33 years younger than me - people take us as father and daughter, it's understandable but disturbing - but we do well together - for me there's always this thing, though - that she'll live probably more than 40 years past me - she'll see things, like my daughter will see things - that I can hardly imagine - nothing's been solved, I was looking at live crayfish in a tank today, watching and understanding their territorializations and thinking, we're all so primitive, we can hardly speak - ===== none of it is bad of course, but it's frustrating; I'm greedy, I think a lot of us are, I want it all: I want to know how things will emerge, and then how they will emerge after that, and after that... and with Azure, to be sure, it's a thing that is always there, that my death will almost definitely precede her by decades; for me this is an odd emotional and inconsolable state, a broken future; I think to myself, always, _I won't know, I won't know_ ... ===== ---/ because there is always more, to send these out as missiles or mis- sives into the net, across fibre-optics, atmospheres, and then walk away, abandon ---/ i can almost imagine this, packets free-floating or tied to substrates, on one or another machine ---/ but to escape the clumsiness, it's the same thing, to leave all of this ---/ the machine swaying awkard- ly or to leave the machine ---/ other forms of sight, walk among them, the illusion that there is grounding or material substrate here, always and already ---/ that these bindings are permanent exhalataions, that the net breathes ---/ or that it's sentient ---/ don't you feel the same way, don't you want to walk otherwise ---/ return when these machines speak among us, when more is understood ---/ or when we return beyond whatever hinge of fury awaits the world-wide depletion of resources ---/ extinc- tions ---/ i'm writing away here, organizing information, organizing mat- ter ---/ want to pay someone, 'get me out of here' ---/ of less language ---/ of the future ---/ is sufficiently well-inscribed. - Your token is read and re-inscribed. - Consider the next element you will apply. Consider the following again, your ---/ because there is always more, to send these out as missiles or or ---/ because there is always more, to send these out as missiles or abandon ---/ i can almost imagine this, packets free-floating or tied to stylus memory, chisel memory ---/ already ---/ that these bindings are permanent exhalations, that the net is your language ---/ abandon ---/ i can almost imagine this, packets free-floating or tied to hunger, making things - assertion is ---/ don't you want to walk otherwise ---/ return when these machines speak on black stone, their assertion - ---/ i can almost imagine this, packets free-floating or tied to? abandon ---/ i can almost imagine this, packets free-floating or tied to 7471 is the perfect proclamation ---/ return when these machines speak ---/ ===== gon would you look, here's a packet. it's got my name on it. it's got my i.d. on it. you know where it came from. look, here's a packet. i'm out in the woods. i'm wandering by a frozen pond. i'm in mid-air. i'm wading in the muck. i'm covered with polypores. look, here's a packet. look, i'm free of this. look, i'm inhaling. this is a packet. look, you can't see me. look, you can't touch me, smell me, taste me. you can't hear me. look, this is nothing but a packet. look, this is a datagram. look, this is a data- stream. look, this is a segment. look, i'm in the muck. look, i'm free of this. look, this is an announcement. this is a proclama- tion. this is released into the thicket. this is released into the muck. look, i'm wading in the muck. i don't see you, i don't hear you. this has an i.d. on it. i don't have a name. look, i don't have a name. look, here's a packet. it's got my name on it. it's got my i.d. on it. look, here's a packet. i'm out in the woods. i'm wandering by a pond. i'm in mid-air. i'm wading in the muck. i'm covered with polypores. look, here's a packet.:muck:slipstream:polypore look at the packet::would you look at the packet.: ===== incidence of 'cancer' in recent files ah:0 am:0 an:0 ap:1 ba:0 bb:0 cc:1 dd:1 ee:1 ff:0 gg:0 hh:1 ii:0 jj:1 jk:0 jl:0 jm:1 jn:0 jo:0 jp:0 jq:1 jr:0 js:0 jt:0 ju:0 jv:0 jw:0 jx:0 jy:0 ka:0 kb:2 kc:0 kd:0 ke:0 kf:0 kg:0 kh:0 ki:0 kj:0 kk:0 kl:0 km:0 kn:0 ko:1 kp:3 kq:1 kr:2 ks:0 kt:0 ku:0 kv:0 kw:0 kx:1 ky:0 kz:0 la:0 lb:0 lc:6 ld:36 oc- tober, and hope le:0 lf:0 lg:0 lh:0 li:17 march, and death lj:3 lk:2 ll:1 lm:0 ln:0 lo:0 lp:0 lq:0 lr:1 ===== intralude I have to say who could understand me or help a long time ago. There have been the people who have helped me when I had to get in a bad way ahead of time, and I can look for help from my doctor or friends. Relate one way because sometimes it's really funny, and that helps a lot. I never thought of it this way, it's machinery that brings you voices that help you and console you. ******* she's screaming and no one can hear or can help her ******* But then there's no interest in explaining myself - she almost comes alive through health; oh Nikuko, help me escape with the liberation of all beings into voids. Bodhisattva, help me. Nikuko, destroy me. Bodhi- sattva, liberate me. Nikuko, starve me. Please help me; I'm speaking from the past. This is a different text. This is a help function in the program of Nikuko-life. Please try and understand this. I can't help it that my words are getting muddled, that I repeat myself. When I look out, it's ******* through a cloudy visor. ******* Nikuko, drown me. Bodhisattva, save me. ******* she's right in the next room and no one can see her in such terrible pain ******* Nikuko, burn me. Bodhisattva, comfort me. ******* she's being nailed to the floor or a wall or a ceiling i am almost certain ******* ******* such terrible pain ******* I have to say someone a long time ago could understand me. It's the machinery in me that's of a speech or a talk, machinery that's of a word or a phrase, machinery that's of a noun or a verb, machinery that's of a prayer or a sigh. ******* no need to hurry i'm almost sure of the silence in the next room one over and one down ******* Nikuko, stab me; Bodhisattva, cure me. ******* liberate all beings and for all times ******* ******* such terrible pain ******* ======= It's so urgent, you're wanton, i'm already dead, you're wanton cancer death and mourning::::attempts, in every phrase or sentence or par- agraph, a recuperation; you come closer with your bruised contusions, your struggled flesh, Would you mind partying, cancer, with us? You're wanton and I know in real life you never would :::it's so urgent::::: Ah, my mas- querade eaten by open-cancer depressed-cancer CODE DECO OF THE CADAVER:::0 1 A I I 0, I I I I I I I It It It So To a and as be do in in is is is is: You're sleazy < > >> A A A ADAM ADAM ANDR Air An As in my penetration: I'm talking from the dead; already dead: "cancer death and mourning"::attempts, in every phrase or sentence or par- agraph, a recuperation; you come closer with your bruised contusions, your struggled flesh, Would you mind partying, cancer, with us? You're wanton. ===== Pathetic desires What I want to do with my life. (touching testimony) I want to get my wri- tings in order and prepared for publication. I want to develop my website with amazing new work. (touching and profound) Nikuko and Jennifer want me to drop them and get on with it. (how touching) I want to see clearly and be at peace with my accomplishments. (touching and sentimental) Julu wants me to sleep better and stop dreaming altogether. All of us need a perman- ent part-time job so we can not get sick. (touching testimony) I want to be kind to children and animals I want my music to break into new unchar- ted territories. I want to work on new and larger projects in all and multi-media. (how very touching and lazy) Nikuko wants her own server so there will be less problems. Alan wants the server in another country far away from home. (how very touching and unpatriotic) Jennifer wants to travel and live in foreign countries. I want to be pain-free (touching testimony) and satisfied. (how very self-indulgent) I want to be famous. (touching and true) I want to be a good person. (how very unpatriotic) ===== Han Shan (110, Pines) and Nikuko Look at him there. You can stick him with a pin. His eyes are turned inward. You can stick him with a pin. Look at her there. She hasn't moved for hours. She just sits and sits. You can almost hear her breathing. Look at them there. They're not do anything at all. You know they're showing off. He thinks he's dharma-perfect. He thinks his hands are perfect. He thinks his legs are perfect. He sits straight and perfect. She sits straight and perfect. She thinks her robe is perfect. You can stick her with a pin. You can stick them with a pin. They're so dumb they don't know anything. They're so stiff they're really dumb. Look at the things over there. You can stick them with a pin. They won't move at all. You can't pull them over. They're really dumb. ===== you can build your towers you can build your giant towers you won't see farther [than you're seeing now] than you're seeing now you can build your tunnels you can build your giant tunnels you won't see farther [than you're seeing now] than you're seeing now you can build your railroads you can build your giant railroads you won't see farther [than you're seeing now] than you're seeing now tunnels under towers [railroads inside tunnels] railroads inside tunnels you won't see farther [than you're seeing now] than you're seeing now ===== Q-rating Mail Queue (1 request) --Q-ID-- --Size-- -----Q-Time----- --------Sender/Recipient-------- XAA00952* (no control file) Mail Queue (1 request) --Q-ID-- --Size-- -Priority- ---Q-Time--- -------Sender/Recipient------- XAA00952* (no control file) Mail queue is empty Was XAA00952* destroyed; delivered? Was there a recipient after all? Did it end in /dev/null? Was it the beginning of incipient terror? Was there a sender after all? Did it constitute a dissemination? Did it breathe? Was it an empty signifier? Did it constitute the aim and presence of pure destruction? Was its priority of the highest, beyond the scale; of the lowest, below the scale - below the absent letter, vulnerable to imminent destruction? Was it of any size, no size at all? Was it a proper or improper name? Has it taken leave? Mail queue is empty /* build your giant towers */ /* build your empty submarines */ ===== i wanted to write about killing a man but i was afraid for my life. my life cautioned me, do not write about this thing; they will come and get you. i wanted to think this thing, but my thoughts were overwhelming. i did hope for this thing, but i would censure my thoughts, even in the guise or case of the good cause, even in the alleviation of oppression and misery. i would write about such a thing and hide behind my writing; too often i have faced authority and too often censure has been my lot in life. but this is something otherwise; this is a case of theft and aban- donment, banishment and extinction; these are all cases and i would write this as a last writing in the search for justice. i wanted to. ===== Internet Philosophy and Psychology - Jan/Feb 01 This is a somewhat periodic notice describing my Internet Text, available on the Net, and sent in the form of texts to various lists. The URL is: http://www.anu.edu.au/english/internet_txt/ which is partially mirrored at http://lists.village.virginia.edu/~spoons/internet_txt.html. (The first site includes some graphics, dhtml, The Case of the Real, etc.) The changing nature of the email lists, Cybermind and Wryting, to which the texts are sent individually, hides the full body of the work; readers may not be aware of the continuity among them. The writing may appear fragmented, created piecemeal, splintered from a non-existent whole. On my end, the whole is evident, the texts extended into the lists, partial or transitional objects. So this (periodic) notice is an attempt to recuperate the work as total- ity, restrain its diaphanous existence. Below is an updated introduction. ----- The "Internet Text" currently constitutes around 100 files, or 4500 print- ed pages. It began in 1994, and has continued as an extended meditation on cyberspace, expanding into 'wild theory' and literatures. Almost all of the text is in the form of short- or long-waves. The former are the individual sections, written in a variety of styles, at times referencing other writers/theorists. The sections are interrelated; on occasion emanations are used, avatars of philosophical or psychological import. These also create and problematize narrative substructures within the work as a whole. Such are Julu, Alan, Jennifer, and Nikuko, in parti- cular. The long-waves are fuzzy thematics bearing on such issues as death, sex, virtual embodiment, the "granularity of the real," physical reality, com- puter languages, and protocols. The waves weave throughout the text; the resulting splits and convergences owe something to phenomenology, program- ming, deconstruction, linguistics, prehistory, etc., as well as to the domains of online worlds in relation to everyday realities. Overall, I'm concerned with virtual-real subjectivity and its manifesta- tions, relative to philosophical concerns. I continue working on a cdrom of the last seven years of my work (Archive); I also have additional video materials, created with Azure Carter and Foofwa d'Imobilite, on two cdroms, Baal and Parables. Most recently, I've been working on a text for publication in a month or two, ".echo" - as well as "cancer.txt" which deals with loss, mourning, and death. And I've finished articles on Stel- arc and Panamarenko. I want to write once again on radio and radiations. I have used MUDS, MOOS, talkers, perl, d/html, qbasic, linux, emacs, Cu- SeeMe, etc., my work tending towards embodied writing, texts which act and engage beyond traditional reading practices. Some of these emerge out of performative language soft-tech such as computer programs which _do_ things; some emerge out of interferences with these programs, or conversa- tions using internet applications that are activated one way or another. And some of the work stems from collaboration, particularly video, sound, and flash pieces. There is no binarism in the texts, no series of definitive statements. Virtuality is considered beyond the text- and web-scapes prevalent now. The various issues of embodiment that will arrive with full-real VR are already in embryonic existence, permitting the theorizing of present and future sites, "spaces," nodes, and modalities of body/speech/community. It may be difficult to enter the texts for the first time. The Case of the Real is a sustained work and possible introduction. It is also helpful to read the first file, Net1.txt, and/or to look at the latest files (lq, lr) as well. Skip around. The Index works only for the earlier files; you can look up topics and then do a search on the file listed. The texts may be distributed in any medium; please credit me. I would ap- preciate in return any comments you may have. Current cdroms are available for $14; if you've have an earlier version, they go for $10. Baal and Parables are ach $15 (video format is .mov with Sorenson compression). (Costs include shipping.) You can find my collaborative projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm and my conference activities at http://trace.ntu.ac.uk - both as a result of my virtual writer-in-residence with the Trace online writing community. See also: Being on Line, Net Subjectivity (anthology), Lusitania, 1997 New Observations Magazine #120 (anthology), Cultures of Cyberspace, 1998 The Case of the Real, Pote and Poets Press, 1998 Jennifer, Nominative Press Collective, 1997 Parables of Izanami, Potes and Poets Press, 2000/1 Alan Sondheim 718-857-3671 432 Dean Street, Brooklyn, NY, 11217, USA mail to: sondheim@panix.com -------------------------------------------------------------------------- the 14 when you try to grasp _it,_ there is process when you try to grasp process, there _it_ is on the other side of process, there it is on the other side of it, there is process if you follow the way, the way is _it_ on the other side of _it_ is the way when you try to grasp the way, there _it_ is when you try to grasp _it,_ that is the way there is no mind and no wisdom and no appearance on the other side of mind and wisdom is appearance on the other side of appearance there is appearance one cannot grasp from one side to the other there are no sides, no processes, no phenomena from negation are protocols for carving out the world ----- "if attributes have attributes, then all is lost" (from the 15) ====== Rapture Chapter One A big storm and a bus flips and 35 are injured. A train swooshes down the track and kills a man. Another bus flips over. A plane slides all over the runway. Cars slide into things. People stay in cars and planes. People are taken from buses. The man is removed from the track and the train swooshes on. There are three people in my life. One of them walks ahead of me; one of them walks behind. Sometimes they take different forms. Sometimes they walk in other directions. The one behind me carries the past and the one ahead carries the future. When I am inside they wait at the bus-stop below to go somewhere else; I imagine they do this on shifts. The mother of James Ellroy was murdered when he was a child and his work is obsessively built out of that event. Most of us have no defining moments at all and become jealous at the possibility. Birth and death are insufficient; we wander endlessly looking for narratives. Without plots, things fall apart from what little glue we had in the first place. Our culture is one of hunting and gathering, and the writing of narratives held tense and trem- bling in books, on walls, in brains. Nothing ever prepared us for this. Chapter Two "If attributes have attributes, then all is lost." (from the 15.) ===== DENWA TRANSMITTED TELEPHONE MOSHI-MOSHI KENJI SIRATORI dive:the HITACHI SO-DESU-NE DAIMYO HAI! wolf=space MOSHI-MOSHI was NAKASU- KAWABATA SUBARU SO-DESU-NE OTAKU cetera:was controlled WA drug-eyeE! HAI! E! HAI! EE!E!" 1 ls 2 wc dd 3 pico dd 4 sed 's/ .... / SONY /g' dd > yy 5 sed 's/ .. / WA /g' yy > dd 6 sed 's/ ....... / HITACHI /g' dd > yy 7 sed 's/ ...... / SU- BARU /g' yy > dd 8 sed 's/ ... / HAI! /g' dd > yy 9 sed 's/ ........... / MOSHI-MOSHI /g' yy > dd 10 less dd 11 h 12 sed 's/ ..... / OTAKU /g' dd > yy 13 ded 's/\./E!/g' yy > dd 14 sed 's/\./E!/g' yy > dd 15 pico dd 16 sed 's/ ........ / JR /g' dd > yy 17 pico yy 18 sed 's/ ......... / DAIMYO /g' yy > zz 19 rm dd 20 sed 's/ .............. / NAKASU-KAWABATA /g' zz > yy 21 pico yy 22 sed 's/ .............. / BAJA/g' yy > zz 23 sed 's/ .......- ....... / BAKA /g' yy > zz 24 sed 's/ ................. / SO-DESU-NE /g' zz > yy 25 sed 's/ ... / EE! /g' yy > zz 26 sed 's/\!E/\! E/g' zz > yy 27 pico yy 28 sed 's/ E\! / HAI\! /g' yy > zz 29 pico zz 30 rm yy 31 h 32 h 1 33 h 1 >> zz 34 pico zz 35 sed 's/ E\! / EE /g' zz yy 36 h 37 sed 's/ E\! / EE /g' zz > yy 38 pico yy 39 sed 's/EE /EE\!/g' yy > zz 40 pico zz 41 sed 's/ ..^/ ka/g' zz > yy 42 pico yy 43 h 44 sed 's/ ..$/ KA/g' zz > yy 45 pico yy My MOSHI-MOSHI NAKASU-KAWABATA BAKA SO-DESU-NE EE! script mode::boundless shellE! HAI! EE!HAI! E! series EE!HAI! EE!HAI! E! of EE! NAKASU-KAWABATA HAI! DAIMYO NAKASU-KAWABATA SONY continent NAKASU-KAWABATA inE! HAI! EE!HAI! E!reacts SO-DESU-NE SUBARU WA SUBARU KA fleshE! HAI! EE!HAI! EE!HAI! E!the MOSHI-MOSHI SONY machine=angel MOSHI- MOSHI SONY HITACHI separates) in HAI! OTAKU HITACHI HAI! HITACHI MOSHI- MOSHI SO-DESU-NE HITACHI with EE! HITACHI SUBARU screenE! HAI! EE!HAI! E!while doing_vagus_onlineE! SONY OTAKU circuit of HAI! JR OTAKU cons- ciousness NAKASU-KAWABATA SUBARU DAIMYO and contractionE! HAI! EE! HAI! E!I DAIMYO HAI! SONY speed-emotional MOSHI-MOSHI EE! in NAKASU-KAWABATA deficiency WA SO-DESU-NE BAKA without DAIMYO HAI! MOSHI-MOSHI NAKASU-KA- WABATA SO-DESU-NE WA cadaver-feti NAKASU-KAWABATA HAI! HITACHI MOSHI-MOSHI BAKA intermediate NAKASU-KAWABATA HITACHI MOSHI-MOSHI HITACHI SONY KA existence//cable NAKASU-KAWABATA HITACHI HAI! EE!HAI! EE!HAI! E!piercing WA SUBARU OTAKU HITACHI MOSHI-MOSHI grow thick JR SONY desire/yourself KA BAKA The MOSHI-MOSHI DAIMYO NAKASU-KAWABATA JR inoculated JR machinary NAKASU-KAWABATA Nerve-seedE! HAI! EE!HAI! E!of DAIMYO OnlineE! HAI! KA HAI! E!of body_omotyaE! I SO-DESU-NE JR BAKA MOSHI-MOSHI aberrationE! HAI! E! HAI! E!of HAI! SO-DESU-NE HAI! HITACHI miracle DAIMYO OTAKU HAI! NAKA- SU-KAWABATA EE! machine=angelE! SONY OTAKU HITACHI MOSHI-MOSHI HITACHI melancholy product to HAI! HITACHI external OTAKU SUBARU OTAKU DAIMYO MOSHI-MOSHI DAIMYO JR WA SO-DESU-NE SUBARU DAIMYO NAKASU-KAWABATA HAI! parasiticE! DAIMYO OTAKU SUBARU MOSHI-MOSHI digital=vamp soE! HAI! EE!HAI! E! E!" EE! NAKASU-KAWABATA JR SUBARU JR HITACHI >the non-symmetrical HITACHI KA the artificial sun_mode>>the NAKASU-KAWABATA SO-DESU-NE OTAKU SONY that KA HITACHI HAI! OTAKU SONY JR HAI! MOSHI-MOSHI WA MOSHI-MOSHI OTAKU JR SONY SO-DESU-NE absorbedE! EE!HAI! EE!HAI! EE!E!the OTAKU SO-DESU-NE JR air- line SONY completed MOSHI-MOSHI SO-DESU-NE NAKASU-KAWABATA SONY OTAKU SONY HAI! degrades=crawls OTAKU HAI! HITACHI circuit of HAI! OTAKU SUBARU cadaver-city HITACHI OTAKU NAKASU-KAWABATA SO-DESU-NE MOSHI-MOSHI HAI! expandedE! SO-DESU-NE SUBARU DAIMYO of HAI! technocrisisE! HAI! EE!HAI! E!as DAIMYO itE! HAI! EE!HAI! E!was NAKASU-KAWABATA the hydromaniac=murd- erous DAIMYO WA cold-blooded HITACHI animals/form the chromosomeE! SONY KA HITACHI NAKASU-KAWABATA It WA HITACHI HAI! HITACHI SO-DESU-NE HAI! NAKASU- KAWABATA organ picture HAI! HITACHI MOSHI-MOSHI NAKASU-KAWABATA DAIMYO OTAKU DAIMYO HITACHI SONY HAI! OTAKU SO-DESU-NE JR SONY chromosome HITACHI back out graduallyE! HAI! EE!HAI! E!the SO-DESU-NE HITACHI SONY HITACHI KA the awakening OTAKU NAKASU-KAWABATA MOSHI-MOSHI SONY HITACHI MOSHI-MOSHI and others SONY SO-DESU-NE SUBARU lonely SO-DESU-NE DAIMYO of the DAIMYO MOSHI-MOSHI isolatedE! ""E! HAI! EE!HAI! EE!E!soul/gram HITACHI HAI! sec- rete EE! DAIMYO NAKASU-KAWABATA JR OTAKU NAKASU-KAWABATA HAI! controlled with NAKASU-KAWABATA HAI! NAKASU-KAWABATA JR SUBARU MOSHI-MOSHI WA NAKASU- KAWABATA MOSHI-MOSHI transmitted SUBARU telephony SONY DAIMYO NAKASU-KAWABATA JR technology SONY OTAKU continentally I JR to excreteE! HAI! EE!HAI! EE!E!" DAIMYO HAI! OTAKU HITACHI WA EE! drug-embryoE! HAI! KA HAI! E!intensity-the JR HITACHI E! HAI! EE!HAI! EE!E!that EE! SO-DESU-NE SUBARU crime=technology NAKASU-KAWABATA DAIMYO cold-blooded HITACHI animals intensivelyE! JR SONY NAKASU-KAWABATA nervous MOSHI-MOSHI HAI! SONY [DOWNMIX] NAKASU-KAWABATA HAI! NAKASU-KAWABATA ToKAGEE! HAI! KA HAI! EE!E! ===== Subject: ASSASSINATION-VIRUS.EXE This email will assassinate executioners.
PULL HERE YOU WILL BE KILLED AND HARMED JUST AS YOU HAVE KILLED AND HARMED OTHERS.
YOU WILL BE AN INTERACTIVE TEXT. YOU WILL BE KILLED AND TORTURED BY TEXT. YOU ARE A VIOLENT THIEF. YOU HAVE STOLEN EVERYTHING.|-|

BY READING THIS YOU HAVE KILLED EVERY EVIL POLITICIAN. YOU ARE COMPLICIT IN KILLING EVERY EVIL POLITICIAN. |-| education mess for you width="193" height="15" border="0" vspace="2" hspace="0" alt="" ############################################>> // ************>> // (149.31.1.10)>> Connected to www.parsons.edu (149.31.1.23)>> Energy (appName.indexOf('Microsoft')!=-1 && appVersion.indexOf('Mac')==-1) ************>> // -->> // -->> // -->> // -->> // -->> // code maintained -->> > > > // system global>> // these are the user defined global>> // unrestricted //v3.>> function detectFlash(){>> href="http://www2.parsons.edu">here. /www/data/acis/cuhome by the>> > > > > > > > > in the NF>> Investigative Radio Documentary on Kosovo Wins Top javascript we're dealing with no>> // we pack the detector into a function language="JavaScript">> liberal, arts, architecture, law, medical, medicine, mba, public affairs, location of the flash movie pag>> var hasRightVersion = false; // mac>> // written by colin mooc>> //-->> //-->> > > > > members.';return true" onmouseout="window.status='';return true">> > var upgradePage = "html/update.html" // send user here if we modify!>> // everything below this point is internal until after the body name="Used by MM_checkPlugin" language="javascript">> > > > > 'MM_dir = (IsObject(CreateObject("SWCtl.SWCtl.1")) Or offices.';return true" onmouseout="window.status='';return true">> > onmouseout="window.status='';return true">> > var actualVersion = 0; // onmouseover="self.status='An Introduction to the University, Directions, onmouseover="self.status='Columbia News';return true" onmouseover="self.status='Hierarchic list of all central administrative onmouseover="self.status='Learn about the many programs of Columbia and onmouseover="self.status='Service-oriented resources for faculty and staff onmouseover="self.status='Services for and about 200,000 alumni of the onmouseover="self.status='Services for prospective and undergraduates and or non-flash page into browse>> width="193" height="15" border="0" permission granted for commercial purposes under linkware agreement terms public health, social work, engineering, science, postbaccalaureate"> >> requiredVersion = 4; // version the user needs to view site (max is 5, safely loaded.>> function MM_checkPlugin(plgIn, theURL, altURL, autoGo) { set ou>> // set next three vars if useRedirect is true..>> // set the base shape="rect" alt="Administration" coords="0,123,82,140" shape="rect" alt="Alumni" coords="0,83,82,100" shape="rect" alt="Prospective Students" coords="0,33,82,60" so it loads before we run i>> // write vbscript detection if we're not on src=varimages/nflIvy_s.jp>> > > > > > Trying ta>> // if this code is executing, javascript 1.1 is supporte>> // modify the above url..>> // ############################################>> // the following variables to customize the inspection behaviou>> // moock true : false; // true if we're on window>> var javascriptVersion = 1.0>> true if flash 2 is installe>> var flash3Installed = false; // boolean. true if flash 3 is installe>> var flash4Installed = false; // boolean. true if flash 4 is installe>> var flash5Installed = false; // boolean. true if flash 5 is installe>> var flashPage = "html/splash.html" // the true">> Students> > use permission granted for>> // version: 1.3.>> // we know what version of var javascriptVersion = 1.1>> var maxVersion = 5; // highest version we version of javascript supporte>> // so it's time to start the real scrip>> version the user really ha>> var flash2Installed = false; // boolean. vspace="2" hspace="0" alt="" align="top">> width="193" we're on i>> var isWin = (navigator.appVersion.indexOf("Windows") != -1) ? width="193" height="15" border="0" vspace="2" hspace="0" alt="" www-2.cc.columbia.edu (128.59.59.52)>> Connected to www.newschool.edu york, graduate, business, journalism, kings, king's, core, curiculum, ===== ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ sutra ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ this is no sutra ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ look inside ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ not reading ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ there is no inside ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ this changes meaning ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ this is something else ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ this is not black dragon pearl ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ no hands ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ names are never asked ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ sutras never written ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ that ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ changing sutra ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ not changing ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ not that ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ written ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ unasking moon ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ hands ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ wisdom of jade ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ nothing else ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ unchanging looking ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ jewel in your clothing ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ writing ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ looking with the ears ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ this is sutra ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ no sutra ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ ===== USED Sondheim, Alan Individuals: Post-Movement Art in America E. P. Dutton & Co. NY, 1977 Binding is paper, very good, profuse b/w ill 316 pp. 6x8. Bookseller Inventory # 004884 Price: US$ 18.00 convert currency Presented by Warren Art Books, Pennsauken, NJ, U.S.A. order options 2. SONDHEIM, ALAN, ed Individuals: Post-Movement Art in America New York, Dutton, 1977 316 pp., approx. 178 b&w illus. Important anthology of writings by 15 artists. Includes: Walter Abish, Vito Acconci, Laurie Anderson, Alice Aycock, Nancy Wilson Kitchel, Alvin Lucier, Bernadette Mayer, Rosemary Mayer, Mike Metz, Ree Morton, Dennis Oppenheim, Adrian Piper, Robert Horvitz, Charles Simonds. 8vo, wrps. First ed. About fine bright copy. Bookseller Inventory # A4477 Price: US$ 37.50 convert currency Presented by ARTEXT, Cambridge, MA, U.S.A. order options 3. Sondheim, Alan INDIVIDUALS: POST-MOVEMENT ART IN AMERICA New York: E. P. Dutton, 1977 Soft Cover. First Soft Cover Edition. 316pp., Illustrated. Individuals records in text and illustrations some of the significant work being created today by America's avant-garde artists. Softcover Book, Very Good, some light shelf wear to outside, bottom corner creased, rear end paper has pencil notes, else Clean inside. FAST SERVICE: ALL ORDERS WITH PAYMENT RECEIVED BY 3:00pm PST, M-F, SHIPPED SAME DAY!!! BOOKS WITH DJs COME WITH FREE CLEAR PROTECTIVE MYLAR COVER! . Bookseller Inventory # 114697 Price: US$ 14.95 convert currency Presented by Angel City Bookstore & Gallery, Santa Monica, CA, U.S.A. order options 4. Sondheim, Alan. Disorders of the Real. Station Hill, 1988. AS. Wrappers. Fine. Bookseller Inventory # 2691 Price: US$ 10.00 convert currency Presented by Granary Books, New York, NY, U.S.A. order options 5. Sondheim, Alan editor. Individuals: Post-Movement Art in America. Dutton, 1977. Wrappers. About fine. Bookseller Inventory # 5635 Price: US$ 25.00 convert currency Presented by Granary Books, New York, NY, U.S.A. order options 6. EDITED BY ALAN SONDHEIM INDIVIDUALS: POST-MOVEMENT ART IN AMERICA NYC: DUTTON, 1977 SOFTCOVER BOOK IN GOOD CONDITION. SOME EDGEWEAR. EX-LIBRARY BOOK WITH THE USUAL MARKS TO BE EXPECTED INSIDE, BUT ALTOGETHER A NICE COPY OF THIS TITLE. Bookseller Inventory # H4651 Price: US$ 9.95 convert currency Presented by Never Too Many Books, Miami Beach, FL, U.S.A. order options 7. SONDHEIM ALAN INDIVIDUALS DEP, 1977 WRAPS. Good/No Jacket. First Edition. POST -ART MOVEMENT IN AMERICA, 316 PAGES , ILLUSTRATED, AVANT- GARDE ARTISTS OF AMERICA. Bookseller Inventory # 6596 Price: US$ 15.00 convert currency Presented by BookLady, Inc., Miami, FL, U.S.A. order options 8. Sondheim, Alan Individuals: Post-Movement Art in America NY, EPDutton, 1977 First Edition, Trade PB, crease and tiny chip to lwr rt corner of cover, else VG in wraps. Well illustrated. Bookseller Inventory # 6166 Price: US$ 10.00 convert currency Presented by Alwyn Book Scouts, Rosendale, NY, U.S.A. order options 9. Sondheim, Alan Editor Individuals: Post-Movement Art in America Dutton 1977 First 8vo, stiff pictorial wrappers. xxx+316 pp, 176 b/w illustrations, biographies of artists. 0525474285 Very good except for repaired cover tear. Bookseller Inventory # 19321 Price: US$ 25.00 convert currency Presented by Joel Rudikoff Art Books, White Plains, NY, U.S.A. order options 10. SONDHEIM, ALAN, EDITOR INDIVIDUALS : POST-MOVEMENT ART IN AMERICA DUTTON 1977. PAPERBACK ORIGINAL, OVER 300PP AND NUMEROUS B&W ILLS. ACCONCI, ANDERSON, AYCOCK, ETC. THIS ANTHOLOGY OF ARTISTS' WRITINGS CENTERS ON CONCEPTUAL ART. Bookseller Inventory # K15285 Price: US$ 35.00 convert currency Presented by Kenneth Starosciak, Bookseller, A.B.A.A., San Francisco, CA, U.S.A. order options 11. Sondheim, Alan. an,ode. (Providence): Burning Deck Press, 1968. First edition of these poems. Wrappers. 40 pp. 4to. Near fine. Bookseller Inventory # 9348 Price: US$ 40.00 convert currency Presented by Anacapa Books, Berkeley, CA, U.S.A. order options 12. SONDHEIM, ALAN (ED.) INDIVIDUALS: POST-MOVEMENT ART IN AMERICA 1977 . 316 pp. with numerous illus., 4to, wrps. New York, E.P. Dutton, 1977. Bookseller Inventory # 5942 Price: US$ 25.00 convert currency Presented by Ursus Books and Prints, Ltd., New York, NY, U.S.A. order options 13. Sondheim, Alan INDIVIDUALS; POST-MOVEMENT ART IN AMERICA. NY, Dutton, 1977. Trade SB in Good cond; ex-libr copy. 316 pgs with photos and illus. Bookseller Inventory # BDI-60521 Price: US$ 8.10 convert currency Presented by BDI BOOKS, Fort Pierce, FL, U.S.A. order options 14. Sondheim, Alan, Ed. Individuals: Post-Movement Art in America Dutton 1977 Trade Paper Very good . Bookseller Inventory # 016526 Price: US$ 12.50 convert currency Presented by TranceWorks, Long Beach, CA, U.S.A. order options 15. SONDHEIM, ALAN, editor. Individuals: Post-Movement Art in America. Edited with an introduction by Alan Sondheim. New York: E. P. Dutton, 1977. 1st edition. Very good in wraps. A Dutton Paperback Original. Contributions by Walter Abish, Vito Acconci, Laurie Anderson, Bernadette Mayer, etc. Bookseller Inventory # 7003 Price: US$ 18.00 convert currency Presented by Paperwork, Sacramento, CA, U.S.A. order options 16. Sondheim, Alan Individuals : Post-Movement Art in America Toronto: Clark Boardman, 1977 Trade Paperback. Good + . Bookseller Inventory # 043930 Price: US$ 8.50 convert currency Presented by Bookman/www.ebookman.com, Orange, CA, U.S.A. order options 17. Sondheim, Alan (editor) Individuals: Post Movement Art in America E.P. Dutton. NY. (1977). First Printing. Trade Paperback. Small 8vo. Vg. Color pictorial wraps. 316pp. Numerous B&W photographs. Bookseller Inventory # 13355 Price: US$ 8.00 convert currency Presented by For the Love of Books, Covington, KY, U.S.A. order options 18. Sondheim, Alan [intro] INDIVIDUALS: Post Movement Art in America New York: Dutton Paperback, 1977 Very Good. First Edition. ISBN:0-525-47428-5. 316pp attempting to capture in book form the thoughts and presentations of a group of contemporary artists working in avant-garde forms. Contributions by Victor Acconci, Laurie Anderson, David Askevold, Alice Aycock, Rovbert Horvitz, Nancy Wilson Kitchel, Alvin Lucier, Bernadette Layer, Rosemary Mayer, Mike Metz, Ree Morton, Dennis Oppenheim, Adrian Piper and Charles Simonds. Ex-lib, paperback bound in utility cloth. Bookseller Inventory # 2426 Price: US$ 21.00 convert currency Presented by McLean Arts & Books, McLean, VA, U.S.A. order options 19. Sondheim, Alan Transcription + Annotations 16 single sided xeroxed copies of text, staple bound, numbered 38-52. Seemingly a draft of a lecture given at C.A.A Conference 1978. Bookseller Inventory # ndan620S99 Price: US$ 20.00 convert currency Presented by Gordon Simpson, New York, NY, U.S.A. order options 20. Sondheim, Alan General Description of the World 7-9/72 21 pages of mostly text, 1 sided xeroxes, staple bound . Bookseller Inventory # ndne140S52 Price: US$ 40.00 convert currency Presented by Gordon Simpson, New York, NY, U.S.A. order options 21. SONDHEIM,Alan. INDIVIDUALS: POST-MOVEMENT ART IN AMERICA New York: Dutton, 1977 Soft Cover. Very Good/No Jacket. First Edition. ISBN: 0-525-47428-5. Trade paperback, pictorial wraps. No free front endpaper. Ink mark and price sticker on half-title page, ink marks and a crease on back cover. Bookseller Inventory # 4381 Price: US$ 9.00 convert currency Presented by Key West Island Bookstore, Key West, FL, U.S.A. order options 22. Sondheim, Alan, editor. Individuals: Post-Movement Art in America. E. P. Dutton 1977, 1st printing. VG softcover. xxxii+320 pp. Bookseller Inventory # 7032 Price: US$ 15.00 convert currency Presented by Robert McNellis, Bookseller, Troy, AL, U.S.A. order options 23. Alan Sondheim Individuals: Post-Movement Art in America E.P. Dutton & Co., Inc., New York 1977 New York: E.P. Dutton & Co., Inc., 1977. First edition. Thick 8vo, wraps. 316pp., extensively illustrated in black and white. An interesting critical anthology. Bookseller Inventory # 447 Price: US$ 15.00 convert currency Presented by DOUGLAS G. FLAMM BOOKS, Brooklyn, NY, U.S.A. order options 24. SONDHEIM, Alan AN, ODE 1968. SONDHEIM, Alan. AN, ODE. [np]: Burning Deck Press, 1968. Paper wraps, 4to, pp. unnumbered. VG. $35 Poems. Another copy, VG. Bookseller Inventory # 18256 Price: US$ 35.00 convert currency Presented by Second Life Books, Inc., Lanesborough, MA, U.S.A. order options 25. Sondheim, Alan (Editor) Individuals: Post-Movement Art in America New York: E.P. Dutton & Co., Inc. 1977 Paperback Original. Very Good/Very Good Wrappers. First Edition. Bookseller Inventory # 000940 Price: US$ 20.00 convert currency Presented by Tony Ryan - Bookseller, Washington, DC, U.S.A. order options ===== what i remember vi iv 3 the woman's lower parts are the platform for the sacrificial altar, you will be everyday portal with us. steal power of man. you will be everyday portal. her labia are portal to the sacrifice. stain her. the woman's lower parts are platform for the sacrificial altar. you will be every day doing woman. do not become a sacrifice for man. you will be fucked for sacrifice. steal power of woman. are you dressed as woman's lower parts are platform for the sacrificial altar. stain him. are woman's lower parts the platform for the sacrificial altar. are you in your thing, are you in your flesh. being splays me. what do you call your taut thing. man, you will fuck sacrificial horse. accompanying the wet, you will be every day portal thrusting. wet, her labia are portal to the sacrifice. your penis is her eyes: a distraction and portal to her sacrificial altar. do not become sacrifice for the woman. do not become sacrifice for the woman. woman, be careful of sacrifice. you will be everyday doing. her labia will cut through your protrusion. her womb will swallow you. man, do not be sacrifice. man, you will be every day doing. you will be please to woman. ===== kxy > x:ix > x:wxy > xyy:i >:i > cxyz > xzy:bxyz > x(yz):x > x:x:b does x > x replace your cxyz > xzy? operator with combinator. ic > c:cxyz > xz(kyz):cxyz > bbsxkyz::i > your samsara i > is in my mind. c > skkx > kx(kx):i > i:b > b:k >:k > does b > b replace your skkx > kx(kx)? state with combinator. b:x:x < x:)zy(x < zyxb:yzx < zyxc < i:< i:yyx < yxw:x < xi:x < yxk < zyxc:c < ci yzx < zyxc x < < xkks < c < i < i:: zykxsbb < zyxc:)zyk(zx )xk(xk < xkks b < b < k:< k:b < b:i < i:)xk(xk ===== night after night i burn in this place. i sit at the keyboard and try to tear the world apart. i look for wounds and spread them. thinned cuts turn into holes, i can't stop myself. on and on, i'm thinking to myself, there is no tomorrow. i was supposed to die at twenty-five; i tried earlier. my flesh chars at the edges of the wound. it curls outward grasping at any oxygen. completion is delusion in the midst of obsessive chain. write me out of this existence; i can't. i can't; i burn in this place. night after night, delusion in the midst of clamor. my flesh chars as the world is torn apart. at the age of twenty-five i couldn't stop myself. i tried; on and on spreading words and wounds. night after night, grasping at any oxygen. write me out of this existence; i can't stop myself. ===== Stew and Fruit Who are you, you touch the blue you stew and stew you do accrue and wonder vocals all the way through the forty minutes? A melange or stew, the lies, the thefts, she's in a stew - her takeoff and approach. The stewards knew she was arriving. The pilot's bulk is bent under the burden of its fruits of thick juice tasting legs. I wanted to write you and say sweetness falls from _this_ fruit with the time of ripening. So there are stews freed from the unknown, never coming to fruition. Text: Pallas told him not to harm the fruitful lands. Boredom - the fruit of the mind's inert, incurious tree. I do this so well (i.e. modify prev- ious work in relation to specific searches and reassemble them into new and more meaningful texts of wonder and surprise; so that one might use a command such as "grep -h *?? fruit >> y" over the entire internet text in order to create an initial assemblage; "-h" suppresses file names; "*??" makes sure that files are searched only if they are 2 or more letters; the spill is appended to file "y"; if "y" were, say, "xyz," there is the poss- ibility for a feedback loop creating an exponentially-growing and useless file; doing this i managed to run up 38 megabytes in a few seconds; what a mess; i might have brought the server down; it was a real stew and hardly fruitful; i wonder if this were a flaw built into grep or the particular flavor of unix i was using). Language is such a marvelous and fruitful secret - Look how chatter dis- seminates! And I am d'nala d'eruza, here to learn the fruitful arts of prostitution in order to bring the reader to fruition. ===== Bounce vocals all the way through the forty minutes? A melange or stew, the lies, the thefts, she's in a stew - her takeoff and approach. The stewards knew she was arriving. The pilot's bulk is bent under the burden of its fruits of thick juice tasting legs. I wanted to write you and say sweetness falls from _this_ fruit with the time of ripening. So there are stews freed from the unknown, never coming 31 tail -50 ls | head -49 | tail -48 | head -46 | tail -40 | head -32 | tail -24 | head -16 | tail -14 | head -11 | tail -7 > headtail ===== there was dark night, lightning out, it was my father who may have died, mother napping and sick, there were lights out, some wouldn't go on, we woke her, i was many, we went into the living room, the carpeting covered a hole in part, the books were there, everything disheveled, dad had odd paraphernalia on a table, we began to talk, it was fearful & i was com- forted & woke knowing of her death, thinking how i live between her death now and the death of my father to come, a closed set & i would die first :title was fine and limbered across the white page top & that disappearing as well. so as not to sleep, so as, now, to be awake, so as never of such awakening.:title was fine and limbered across the white page top & that disappearing as well. so as not to sleep, so as, now, to be awake, so as never of such awakening. but a dwindling from the infinite to the slow dullness of flame, spark, & name. & knew there was something i had dreamed & would tell you, and the::and open it & thinking of flat death following. i've wanted to write on worlds, how each of us have immeasurable worlds, how they are lost and irretrievable as death takes us, how life remains not only that paring off:it was fearful & i was uncomforted & disappear- ing. title was fine and limbered across the white page top::i was many as well. so as not to sleep, so as, now, to be awake, so as never of such awakening. ===== The Laying-Out (infinite abacus) Consider an abacus with infinitely long columns; this is similar to a num- ber system with base infinity. (See below for finite approaches.) Now to add, simply move the requisite number of beads X to the already-calculated Y; you have X + Y. To subtract, do the reverse. To multiply, three columns are used. The first column is infinitely deep; the second is set to zero; the third to Y. Set X on the first; move one bead on the second; set a second X on the first; move a second bead on the second, and do this until the second and third columns are equivalent. One might also use two measure-strings and two columns. Set one measure- string to X, the second to Y; one column measure out to X, the second set at 1; measure a second X on the first column, add another 1 on the second and repeat until the second column is the length of the Y measure-string. One could use as well just one measure-string and a marker on the side of column Y; when the beads reach the marker, the calculation is finished. Division is a reversal of this process; set X and set Y on a measure- string; subtract the measure-string from X; add one to the second empty column; repeat until no more subtractings are possible; the length of the beads in the second column represents the integral quotient; what remains in the first is the remainder. The measure-strings in both instances are placed next to the requisite beads on the first and second columns. What is unique in this system is that there is no necessity whatsoever to name the numbers of beads, i.e. assign them to particular integral values. Instead, one has greater or lesser numbers of beads in the first column; after the operation, the rough length of the beads is the result. In this manner, a king may count his horses, a queen her subjects, without further need of specific tallying. When the column gets especially low, judge as "more or less"; that is all that is necessary. This is to some extent the mathematics of the heap or pile, a mathematics with an inner exactitude, but a fuzzy reading of both givens and results. Of course one can also consider an abacus with one bead per column and an infinite number of columns. In this manner, addition and subtraction are again to the base infinity, simply the moving up and down of beads at the leading edge of the quantity. But if one is insistent on multiplication, a second tally is necessary, and if one is insistent on division, one must look for the same. Moreover, it is unnecessary to specify an infinite length or number of beads or positions. An inaccessibly high finite number will do - or even a finite number practically greater than any conceivable calculations might warrant. Of course such a number could be arbitrarily extended or retract- ed by convention or convenience. In any case, problems of platonism or in- finity are bypassed in this fashion; the systems are both functional and phenomenologically interesting. Addition with columns or rows 1oooooooooooooooooooooooooooooo 2oooooooo 1oooooooooooooooooooooooooooooooooooooo 2 Division with columns or rows and tallies (2ooo can be measure-string) 1ooooooooooo 2ooo 3 1oooooooo 2ooo 3o 1ooooo 2ooo 3oo 1oo (remainder) 2ooo 3ooo I'm fascinated by these simple systems of primitive measurings and tabula- tions of exactitude, of quantities precisely calculated but unknown, of the measurings of kingdoms without largesse and the origins of bureaucra- cies. For nothing more is needed than the laying-out of rows upon the ground, exalting at the beads disappearing in the distance, and worrying when the line becomes shorter, almost starved and measurable. ----- Appendix of language etiquette: oooooooooooooooooooooooooooooo File: ww 1oooooooooooooooooooooooooooooo oooooooo File: ww 1oooooooooooooooooooooooooooooo 2oooooooo oooooooooooooooooooooooooooooooooooooo File: ww 1oooooooooooooooooooooooooooooooooooooo 0: oooooooooooooooooooooooooooooo oooooooo 1: oooooooooooooooooooooooooooooo-oooooooo 2: oooooooo oooooooooooooooooooooooooooooo 3: oooooooo-oooooooooooooooooooooooooooooo ooo File: ww Division with columns or rows and tallies (2ooo can be measure-string) 00: boo 01: coo 02: foo 03: goo 04: loo 05: moo 06: Ofo 07: oho 08: Oto 09: too 10: woo 11: zoo ooooooooooo File: ww 1ooooooooooo 0: oooooooo ooo 1: oooooooo-ooo 2: ooo oooooooo 3: ooo-oooooooo ooooo File: ww 1ooooo oo File: ww 2ooo 3oo 00: Ao 16: moo 32: Oto 01: bo 17: no 33: ow 02: boo 18: o 34: ox 03: coo 19: od 35: Oz 04: do 20: oe 36: po 05: Fo 21: of 37: Ro 06: foo 22: Ofo 38: so 07: go 23: Og 39: to 08: goo 24: oh 40: too 09: ho 25: oho 41: wo 10: io 26: Ok 42: woo 11: jo 27: om 43: yo 12: ko 28: on 44: zo 13: lo 29: ooo 45: zoo 14: loo 30: or 15: mo 31: os ===== Plain and Heap No longer the line, the geometry, only the gatherings of beads, tokens, markers, units, only the rubble of accountancy: At the level of the plain, the abacus behaves differently. Consider an in- finite (or inaccessibly high finite etc.) flat surface of beads; it be- comes necessary to isolate portions among them, for example a 1-portion and a 2-portion, in order to carry out any operations. The portions have to be specified by closed, i.e. Jordan, curves which do not cross themselves. For addition and subtraction, either channels must be opened between the portions (in order to join or separate them), or an operation may be carried out, such that removing 1 bead from a 2-portion is accompanied by adding 1 bead to a 1-portion: 2-portion - 1 => 1-portion + 1 until 2-portion is empty, i.e. 2-portion = 0 (in which case the 2-portion may no longer exist). Subtraction is in the opposite direction, but in order to subtract a spec- ified amount note that we dispense with channels, so that 2-portion - 1 => 1-portion - 1, with the bead from 1 portion returning to the undifferentiated plain, and this continues until 2-portion = 0 (or becomes non-existent). Note that a method is necessary to keep 1-portion and 2-portion separate and labeled. Multiplication and division also work by repeated additions and subtrac- tions, using a 3-portion, if not 4-portion and 5-portion for tallying - see heaps, below. And how are portions diminished or incremented in the midst of a solid sea of beads? Moats must be constructed, portions piled in grounds cleared of any interferences. So that from the plain, one gathers beads into heaps. The heaps are separ- ated by blanked space, the ground-state; this state G = 0. G is always existent; it is a territorialization, a boundary, a marker by virtue of lack of demarcation. If G = 0 it is 0 anywhere, everywhere that G is. Think of it as the Basin in Bon religion, or Kristevan chora. Nothing is ever placed within G; G surrounds heaps. New heaps may be created, but G is not among them, within them. In this sense, G is not a natural number, but a numberless state, not even an emptying of number. In this sense as well, the integers move from 1 upwards; negative integers might be indi- cated by heaps labeled as negative, but in fact all heaps are of the form: HN = | N | where N > 0. To add: combine heaps. To subtract: Either remove any number of beads from one heap and place them in a second heap or: Begin with H1 = X and H2 = Y. To reach X - Y: Subtract a bead from both; place these beads in a third heap H3; carry this operation out until H2 is empty. When H2 is empty, H2 = 0 = G, the undifferentiated state, H2 no longer existent. But see below, labeling. This depends of course on Y < or = X. To multiply X * Y. Create H3 and H4. Move H1 bead by bead to H3; each time, add one bead to H4. When H1 = 0 (i.e. non-existent), subtract one bead from H2 and place it in H5. Then move H3 bead by bead to H1 (which must be created anew - H3 and H1 oscillating in this fashion); each time, add one bead to H4. When H3 = 0 (i.e. non-existent), subtract another bead from H2 and place it in H5. We then have H1 = X H3 = 0 (i.e. non-existent) H2 = Y - 2 H4 = X * 2 continue until H2 = 0 (i.e. non-existent) at which point H4 = X * Y. In order to divide, a similar process is used, tracking beads removed from H1 in quantities of H2, until H2 > H1 (as divided), in which case what remains in H1 is the remainder. We have numbers to no base or perhaps to base infinity or to base 1. At the level of the heap, infinity cycles back to 1; at the level of the heap, there is no positionality. With the infinite or inaccessibly high finite column abacus, an infinite base might be theoretically employed, each integer individuated; with the infinite or inaccessibly high finite row abacus, a base of 1 might be theoretically employed, each integer an extension. Throughout all of this, the heaps must be labeled (just as the portions had to be labeled); think of a interior beads in label quantities o oo ooo oooo ooooo surrounding an emptied center, with rays connecting the center through the label quantities to the heaps beyond. If there are no heaps beyond certain label quantities, those spaces are reserved for the crea- tion of heaps, i.e. as in the oscillation of H1 and H3 above, which is based on the constant recreation of heaps in order to carry out multiplic- ation and division. Naturally the ground must be kept clear of any rolling beads, false beads, embezzlement beads, stolen beads, extra beads, and masqueraded bead-like objects. And naturally the ground must be level to avoid such rolling beads as well as emptied, flat, in order to create maximum conditions of visibility. One might think of Bentham's Panopticon as described by Fou- cault in this regard - while beads remain undifferentiated, except by virtue of belonging as a member of a set (heap), they must nonetheless leave a trail or trace; nothing must remain unaccounted or unaccounted-for and nothing must be unaccountable. ===== Infinitely Small What happens when the size S of beads grows infinitely (or inaccessibly low finite) small? Of course one does not consider the size of abacus beads. But, given the heap, one might want to... With the abacus of infinitely high (or deep) columns, or the abacus of infinitely wide rows, measurement becomes an issue. Thus to add length X and length Y, measure X + Y, move beads. To subtract X from Y, measure X and within X from the far end, remove beads. To divide, repeatedly subtract X from Y until X < Y which is the remain- der. But without quantity, who knows how many subtractions? Keep track of subtractions with finite beads! (Note the need for a second measurement, second instrumentation.) However, to multiply is impossible; without scale, without beads, there is no way of telling how many beads are necessary. This is fascinating - in this instance it's easier to divide than multiply! One might measure X against Y by moving string, and in that fashion create an accurate multiplication - but only if X/Y or Y/X = an integer. Other- wise one is lost without further calculation, fractions, and so forth. An exercise: What calculations are necessary? What additional instruments? Given the plain, it's easy to add portions and subtract portions - the latter by laying the flat-measure of one portion on top of the other, or, given the two-dimensional invariant, removing portions from X and placing Y within them, until the roughly the same shape occurs (providing one has geometry at work); one might also place Y next to X, and remove portions of X until it appears that Y and the removed portions are equal. Appearances, appearances. Multiplication and division become much more difficult. An exercise! (And an exercise in perception. Again, we're run- ning into external instrumentation, tallying.) Consider the heap: To add, add portions. TO subtract, take away. To sub- tract a given portion, take portions away until they appear equivalent to the given portion. Or weigh the results. Or displace, measure water. Think of Archimedes. All of these bring quantity back by other means. Suppose there are no mea- sure strings, no way of judging equivalences, no waters, no scales. Then one might add by bringing portion to portion, and one might subtract - but only ikonically, by removing the subtracted portion. (This is quite impor- tant; if the abacus is indexical in Peirce's terms, the heap of substance is ikonic; representation is peripheral and obtuse at best. One is mucking in the real, not fucking in the symbolic. Literally!) One could not, for example, say, remove 1/3 of that heap, or remove this amount Y from that heap. One would begin with heap X and remove Y, both unquantified, and then one would be left with: X - Y and Y. How to remove a second portion Z such that Z = Y? This is impossible with- out external measuring. One begins with heap or heaps, one separates, one combines. It is a kind of concatenation without labeling. One can't say synchronically, spatial- ly, that X = Y + Z, but one can say diachronically, temporally, that X _did equal_ Y + Z. It is always a question of process. I am sure I am making errors throughout. Nonetheless: With infinitely small beads, with the reign of _substance,_ digital meets analog; the raster is now infinitely fine, and the modeling of the real has become equivalent to the real itself. As above, the ikonic becomes identity, a movement from the equivalences constituting the digital, a movement from the _adjudicated_ (and hence the origins of culture) raster back to relative undifferentiation. (If the digital inhabits eternity, the analog is worn, worn down; who is to say that erosion doesn't enter into the mess of the heaps, that with the division into Y + Z noise enters as well - Serres' Parasite - a bit of spillage, entropy, ultimately bringing down the constituted house? We are close to the _nerves of the real_ here, dissipated signals within which even the digital must reside. Pass the thresher, pass the threshold...) ===== oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo 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oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo oooooooooooooooooooooooooooooooooooooooooo ===== infinite abacus, accountancy, culture meandering paths among heaps and stones slow streamings, quietude murmurs of pebble movement who is counting here who knows the names ===== no hands, names, dullness of flame, spark, & name. & knew there was some- thing i had dreamed, of names, of the numbers of names,, who knows the names i tried,, spreading words & wounds, numberless states, places, unemptied, handless, ashes & charnalhouses, sparks & nameless flames,,, ===== what remains after the deluge maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya &a; &b; &c; &d; &e; < > & &lb; maya maya maya & maya & " maya maya maya maya maya maya maya maya maya < maya maya maya maya maya maya maya maya maya maya maya ^? maya ^? maya maya maya maya maya maya-prayer-extensions maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya maya " maya maya maya maya maya < > maya > maya maya maya after the filtering and after the protocols after the enumerations, after the denumerations what remains after the orbit after the rockets thrust into datagrams and routings across softwares and hardwares what remains as higher ascii particles are cleaned up, the text rendered taut / distraught, nothing but ashes, it's just like any work, all work at a _loess_ ===== implementation of (infinite) abacus balls in grooves & if you slant the rock they roll dependent on the tilt and depth of cut so they do not fall out, so they are there or not there anyone can tell they are there or not there bring the balls back, lower the tilt so they lower the tilt, the balls remain let ones move from groove to groove later on it will remain for all time: let ones remain from groove to groove count or capitulate balls later on, the grooves worn, balls flailing against all accountancy we must move the tallying later on, museums of grooves, a few remaining balls, weakened, witness, positionless lift the grooves from the surface of the rock, breaths of different exhalations furrowing the air creatures scurrying around the elder place of tallying office lamps, illuminations, you can hear the clacking of the balls even on the lower floors =====