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if a scene among actors, it lasts in the diegetic as long as oh, it would, in the real world: a standard film is generally composed of, for example, 90 minutes of the characters' lives scattered over years, perhaps. Then of course there are cinematic shortcuts - falling calendar pages, stop-motion - all giving the simulacrum of time passing. Now compare this to a novel - "she had been going to the park for years" - this perfect perfect tense, a whole sequence of trips and meanders, not one or another - not an exempla- ry one such as you might find in the film - none and all at all in fact. The most obvious fact is the cinematic/theatrical/performative lack of the perfect - without the use of ikonic devices at the very least. The power of a performance for the spectator is _always being in the present._ It is present and presencing; it re/creates the present in its inertial moment (the grain of the real, the filmic aura); it is obdurate. One can hardly avoid identification with an alterity which defies, by the use of jump cuts (which are any cut at all) the passage of minutes, hours, days, years - so different than the novel in which the character caresses the reader from past, present, and future time - and all these times, worn intervals, extensions. The media can hardly be compared: 90 minutes in the lives of characters, confluences in literature. When I go to the theater or cinema, I think to myself: "Here I am, I have walked in half-way through, and I have _missed nothing_ - these actors are living just as much now as they were at the beginning..." __ SECRET SECRET cavaleri u1 maginot.blueskys Thu09AM 3days tail -fn+1 ./DT.log SECRET :cavaleri SECRET tc maginot.blueskys Thu09AM 3days BitchX :jzk tb a17-219-157-44.a 10:29PM SECRET 0 -tcsh :webber w6 h00050208fd6e.ne Thu01PM 3days -ksh :lent w3 SECRET enjoy.cooper.edu Tue04PM 2days -ksh Your wraithe dissolves my cavaleri u6 SECRET maginot.blueskys Thu09AM 3days tail -fn+1 ./AT.log ! spectre with SECRET ideohydraulesis! cavaleri u1 maginot.blueskys Thu09AM 3days tail -fn+1 SECRET ./DT.log :serge td serge.dialup.acc 10:30PM 0 -bash :cavaleri tc SECRET maginot.blueskys Thu09AM 3days BitchX :webber w6 h00050208fd6e.ne Thu01PM SECRET 3days -ksh :davidc wd 138.5.49.199 05Apr01 2days -tcsh Your doll dissolves SECRET my kynn w9 mirage.harvard.e 03Apr01 4days -tcsh ! hobgoblin with SECRET ideohydraulesis! cavaleri u1 maginot.blueskys Thu09AM 3days tail -fn+1 SECRET ./DT.log :serge td serge.dialup.acc 10:30PM 0 emacs -nw -f rmail :cavaleri SECRET tc maginot.blueskys Thu09AM 3days BitchX :webber w6 h00050208fd6e.ne SECRET Thu01PM 3days -ksh :webber w6 h00050208fd6e.ne Thu01PM 3days -ksh Does SECRET cavaleri tc maginot.blueskys Thu09AM 3days BitchX replace your cavaleri u1 SECRET maginot.blueskys Thu09AM 3days tail -fn+1 ./DT.log ? ghost with SECRET ideohydraulesis! SECRET __ wiping-existence wiping-existence damming of the skin: scarred lip s surround the skeletal:: stitch ed and wiping-existence pulled into position::: signifie r-position: wiping-existence :: : searing wiping-existence the skin sutured across the open ing of the mouth: distension of the wiping-existence signifer: effllffllfflflffllfflflfflflfflf wiping-existence fllffllfflflfflflfflffllfflflffl ffllfflffllffllfflflffluva--effl wiping-existence lffllfflflffllfflflfflflfflffllf fllfflflfflflfflffllfflflfflffll wiping-existence fflffllffllfflflffluvia:::: :surgery of the wiping-existence effllffllfflflffllfflflfflflfflf fllffllfflflfflflfflffllfflflffl wiping-existence ffllfflffllffllfflflffluvia-skin , bones remarking the signifier: j ust wiping-existence beneath the surface, skeleta l::: :effllffllfflflffllfflflfflflffl wiping-existence ffllffllfflflfflflfflffllfflflff lffllfflffllffllfflflffluvia-eff wiping-existence llffllfflflffllfflflfflflfflffll ffllfflflfflflfflffllfflflfflffl wiping-existence lfflffllffllfflflffluvia:effllff llfflflffllfflflfflflfflffllffll wiping-existence fflflfflflfflffllfflflfflffllff lffllffllfflflffluvia-effllffllf wiping-existence flflffllfflflfflflfflffllffllffl flfflflfflffllfflflfflffllfflffl wiping-existence lffllfflflffluvia surgery of the effllffllfflflffllfflflfflflfflf wiping-existence fllffllfflflfflflfflffllfflflffl ffllfflffllffllfflflffluvia-skin , bones wiping-existence remarking the signifier: j ust beneath the surface, skeleta l::: replace wiping-existence your skin-damming : scarred lips surround the skel etal:: stitched wiping-existence and pulled into positio n::: signifier-position: or wiping-existence :: ___ viral 1 Shown 1 lines Text 2 Shown 20 KB Message, "Fwd: Important 2.1 Shown 1 lines Text 2.2 Shown 19 KB Message, "Fwd: Important 2.2.1 Shown 1 lines Text 2.2.2 Shown 18 KB Message, "Fwd: Important 2.2.2.1 Shown 1 lines Text 2.2.2.2 Shown 17 KB Message, "Fwd: Important 2.2.2.2.1 Shown 1 lines Text 2.2.2.2.2 Shown 16 KB Message, "Fwd: Important 2.2.2.2.2.1 Shown 1 lines Text 2.2.2.2.2.2 Shown 15 KB Message, "Fwd: Important 2.2.2.2.2.2.1 Shown 1 lines Text 2.2.2.2.2.2.2 Shown 15 KB Message, "Fwd: Important 2.2.2.2.2.2.2.1.1 OK 29 lines Textage, "Fwd: Important 2.2.2.2.2.2.2.2 Shown 11 KB Message, "Fwd: Important 2.2.2.2.2.2.2.2.1 Shown 1 lines Textage, "Fwd: Important 2.2.2.2.2.2.2.2.2 Shown 11 KB Message, "Fwd: Important 2.2.2.2.2.2.2.2.2.1 Shown 1 lines Text 2.2.2.2.2.2.2.2.2.1 Shown 1 lines Textage, "Fwd: Important Rea 2.2.2.2.2.2.2.2.2.2 Shown 10 KB Message, "Fwd: Important Rea 2.2.2.2.2.2.2.2.2.2.1 Shown 1 lines Text 2.2.2.2.2.2.2.2.2.2.1 Shown 1 lines Textage, "Fwd: Important Rea 2.2.2.2.2.2.2.2.2.2.2 Shown 9.8 KB Message, "Fwd: Important Rea 2.2.2.2.2.2.2.2.2.2.2.1 Shown 1 lines Text 2.2.2.2.2.2.2.2.2.2.2.1 Shown 1 lines Textage, "Fwd: Important Rea 2.2.2.2.2.2.2.2.2.2.2.2 Shown 9 KB Message, "Fwd: Important Rea 2.2.2.2.2.2.2.2.2.2.2.2.1 Shown 1 lines Text 2.2.2.2.2.2.2.2.2.2.2.2.1 Shown 1 lines Textage, "Fwd: Important Rea 2.2.2.2.2.2.2.2.2.2.2.2.2 Shown 8.4 KB Message, "Fwd: Important Rea ...2.2.2.2.2.2.2.2.2.2.2.1 Shown 1 lines Text ...2.2.2.2.2.2.2.2.2.2.2.1 Shown 1 lines Textage, ...2.2.2.2.2.2.2.2.2.2.2.2 Shown 7.7 KB Message, ...2.2.2.2.2.2.2.2.2.2.1.1 OK 3 lines Text ...2.2.2.2.2.2.2.2.2.2.1.2 Shown 3 lines Text ...2.2.2.2.2.2.2.2.2.2.1.2 ...2.2.2.2.2.2.2.2.2.2.2.2 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.2 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.2 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.2 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.2 ...2.2.2.2.2.2.2.2.2.2.2.1 ...2.2.2.2.2.2.2.2.2.2.2.2 ...2.2.2.2.2.2.2.2.2.2.2.1 important viral read: distribute this as measure algebra joe, you wouldn't believe what i just heard, distribute listen to me: this one is for real. i've been around. marge, i know what i'm talking about. i've used computers all my life. they're practically part of me. i don't make mistakes. you always think i make mistakes. this one's for real. it's in the form of a distribution measure algebra. sharon, i'm not saying anything more than there are systems and qualities of belief; you can't be too careful. i've spent far too much on this system to take a chance. important notice of viral reading algebras. i've just sent this out to my friends. everyone's worried about these things now. my friend had everything wiped out on her hard-drive, even her identity. i don't know how they did it. ___ it will bring harm to you; it will bring harm to me: sometimes there are strange reflections in the screen: i worry about the effect his eyes are having on her: nervousness leads to strange links and attractions: you might begin thinking nothing of written language: so many times i've found a stare that is almost real: these people out there, who are they, what do they do: it's true that web sites can be set adrift: if someone hassles you on line, it is a rogue machine: whatever happens is a blip in machine, in time: all knocks are unknown and traced to someone here: reading hacks you into more and different brains: suspicion greets everyone with a presumption of harm: the backs of things are airless: harm comes on no one's wings and no one's wheels: nothing, everything, all, none, are alive: the screen casts shadows of the sun: beyond beyond is always harmful comfort: someone beckons from a very real thing: __ we're at the start of this electronic poetry conference and already blood has been shed; i got into a fite with a couple of the mac people who were armed to the teeth with some sort of transparent swords but they cut swift they did and i coudn't resist the parry of blows that went my way but i had the car and they got run over but that didn't stop other things from appearing. stop. otyher things appeared. stop. you shuold have seen them when the rollover happened. stop. ha ha ha mac people you are not up to pc people. this is the proof. ha ha . they said i coud be stopped but i cant be. stopp. this is what happens whenthere are wires loose in mac people brains. a pc joke. do mac people have brains. no. (pc. answer.) stoppp. it was heavy shockwave last night against flash and both pretty much lit up the sky like a mosaic opera. oh it was splendid did i tell you. another poet was killed, it was a short accident but notebooks kil. i am so jeal ous of that poet, why. because he got twenty minutes of standing only. i do not get that. my work is so clumsy! nikuko won't stop stalking to me. oh what else. why jealousy is green. it used to be another color before the color change. that is why. they say jealousy kills. it is so astound ingly horrible i will never be able to give you teh impression, not even if i leave another milion years. omeday someone will say, well what confrence were YOU at, and i will say this one where horror and ecstasy mingled. Subject: i also do love conference special report from Kanji Satori: Here we are at ELECTRIC MURDEROUS CONFERENCE! All WILL BE DECIDED. MAC will GO DOWN IN FLAMES as MAC is JUGGLED two LAPTOP with JUGGLED two LAPTOP PC MAC one MAC fall in JUGGLE: Ant PC planetary, MURDEROUS CONSEQUENCES! body line TREMENDOUS HORROR! drugy miracle ADAM doll TREMENDOUS HORROR! thyroid falls....MURDEROUS CONSEQUENCES! vivid placenta world TREMENDOUS HORROR! machinative angel:her soul-machine discharges MURDEROUS CONSEQUENCES! speed PC fear....MURDEROUS CONSEQUENCES! sun was parasitic/I raped MURDEROUS CONSEQUENCES! gradual opening department between space-time/I walked MURDEROUS CONSEQUENCES! lapse PC memory line PC a dog like/although her sleep is road SMISERY!rage TREMENDOUS HORROR! murder TREMENDOUS HORROR! gimmick girl :MURDEROUS CONSEQUENCES! speed TREMENDOUS HORROR! fanaticism PC TOKAGE_splits....delete it:MURDEROUS CONSEQUENCES! room happiness as MURDEROUS CONSEQUENCES! end virus end machine clone boy room, her replicant TREMENDOUS HORROR! FUCKNAM cell air silence world at MURDEROUS CONSEQUENCES! center PC++MURDEROUS CONSEQUENCES! desert TREMENDOUS HORROR! angel-mechanism glitter. Suicide line type TREMENDOUS HORROR! spiral TREMENDOUS HORROR! ADAM doll this zero gravity=body PC grief machine dances like MURDEROUS CONSEQUENCES! sun grief area asphalt soul-machine MAC MURDEROUS CONSEQUENCES! machine leaps MAC her love splits MISERY! MURDEROUS CONSEQUENCES! amniotic fluid mechanism MAC MURDEROUS CONSEQUENCES! nightmare TREMENDOUS HORROR! ADAM doll does MURDEROUS CONSEQUENCES! clonical ground TREMENDOUS HORROR! sun desire.... Small smile breaks Body line PC an ant forgets it The sun walks. The record TREMENDOUS HORROR! murder like our dog. Asphalt holds MURDEROUS CONSEQUENCES! guilty nick head line TREMENDOUS HORROR! ADAM doll Her end be MURDEROUS CONSEQUENCES! beginning PC myself. :MURDEROUS CONSEQUENCES! over MURDEROUS CONSEQUENCES!re TREMENDOUS HORROR! pupil MURDEROUS CONSEQUENCES! grief TREMENDOUS HORROR! end clone UNBELIEVABLE CONFERENCE TERROR! approximates MURDEROUS CONSEQUENCES! eyes PC 0 degree TREMENDOUS HORROR! monochrome earth/vital. :TREMENDOUS HORROR! middle TREMENDOUS HORROR! crowd scrap our beat, second, MURDEROUS CONSEQUENCES! animal line computer inside when walk MISERY! MURDEROUS CONSEQUENCES! angel-mechanism++MURDEROUS CONSEQUENCES! poor placenta world TREMENDOUS HORROR! ADAM doll a girl like, MURDEROUS CONSEQUENCES! gimmick air like Cyber nightmare DOG TREMENDOUS HORROR! amniotic fluid mechanism.... I] sing [. in regard to the constitution of net art in relation to performance on the piccolo the exhalation is filtered, momentarily encoded: you can hear the breath behind or beyond the code: the breath is projected through the code: the breath is introjected through the code: the code is the harbinger of the portal of life and living: the code is the gateway of the breath: everything combines to create temporal horizons momentarily displaced, projected into the future: i breath into the future: my melodic development carries me past the actions i make with my fingers: my fingers and hands have abandoned me: i give myself up to them: do not think so hard, my child: be thoughtless: forget all thoughts of ruthlessness: kindness belongs elsewhere: one might remember the code-in-real-time: what of the breathing: of the nervous exhaustion of moving fingers: programming on the fly into uncoded space: to get the sounds to work with due regard: my mouth was on azure's cunt four hours ago: this is leaving me breathless: memory and the memory of playing: memory and the future of playing: this music is the constitution of music through the manipulation of keys: precisely placed: the creation of dirty dirty code: the mouth on the mouthpiece; oily fingers and hands on silver and wood: breathing to stay alive: DOCTOR! DOCTOR! breathing to stay alive: NIKUKO! NIKUKO! this flash is almost done this shockwave is almost done this dhtml is almost done this movie is almost done conference - electric poets - INCREDIBLE - after the explosion - pieces of poets flying in every direction - still tthhiinnggss rriinnggiinngg iinn mmyy eeaarrss - by tthhiinggs - iii warned them iii did - too much FLASH - SHOCKWAVE was terrifying - EVENTS OF ENORMOUS CONSEQUENCES - iii said as much - THEY WOULDN'T LISTEN - don't be FOOLED by the EMAIL - it may SOUND like them LOOK like them - ANYONE can write like a machine can write like ANYONE - you can't be too CAREFUL these days - iii spoke so BRILLIANTLY - iii was AMAZING - STUPENDOUS - WONDERFULLY TERRIFIC - the audience was ecstatic - I HELD THEM IN THE PALM OF MY HAND - now they're DEAD, GONE - FLASH acts fast - warning label in the program itself - THEY WERE DEAF TO MY PLEAS - iii went down on HANDS and KNEES - I BEGGED THEM - i could feel it ready to go OFF - the ATMOS- PHERE - something out of kilter - the times - out of joint - something askew - ANYONE could sense it - YOU SHOULD HAVE HEARD ME - bokian report on HORRIFYING EVENTS AT ELECTRIC POETRY CONFERENCE! ANCRAASANGLY CATASTRAPHAC AVANTS MAR BAFFALA SHARALANA: canfaranca paapla "nat amasad." WHAT CAALD BA THA AND AF THA AARAA LAKA: faraaas AVANANG PARFARMANCAS DAMANATANG WASTARN CANADA: cald frant at 3 dagraas CALSAAS tamarraw: AT CANFARANCA: S*P*A*A*K***F*A*H*R*A*N*H*A*A*T: A MAMANT'S RAFLACTAAN AS ALL THAT'S LAFT: tha pc has DAMANATAD all bat tha RWCDRAM whach as ancapabla AF CRAWLANG ap ats TANY FAAT ta AMARGA BRAATHLASS AN tha SCRAAN. SAX MARA PAATS KALLAD ANDAR ANKNAWN CARCAMSTANCAS. ASCAPA! ENCREESENGLY CETESTREPHEC EVENTS MER BEFFELE SHERELENE: cenference peeple "net emesed." WHET CEELD BE THE END EF THE EEREE LEKE: fereees EVENENG PERFERMENCES DEMENETENG WESTERN CENEDE: celd frent et 3 degrees CELSEES temerrew: ET CENFERENCE: S*P*E*E*K***F*E*H*R*E*N*H*E*E*T: E MEMENT'S REFLECTEEN ES ELL THET'S LEFT: the pc hes DEMENETED ell bet the RWCDREM whech es encepeble EF CREWLENG ep ets TENY FEET te EMERGE BREETHLESS EN the SCREEN. SEX MERE PEETS KELLED ENDER ENKNEWN CERCEMSTENCES. ESCEPE! INCRIISINGLY CITISTRIPHIC IVINTS MIR BIFFILI SHIRILINI: cinfirinci piipli "nit imisid." WHIT CIILD BI THI IND IF THI IIRII LIKI: firiiis IVINING PIRFIRMINCIS DIMINITING WISTIRN CINIDI: cild frint it 3 digriis CILSIIS timirriw: IT CINFIRINCI: S*P*I*I*K***F*I*H*R*I*N*H*I*I*T: I MIMINT'S RIFLICTIIN IS ILL THIT'S LIFT: thi pc his DIMINITID ill bit thi RWCDRIM which is incipibli IF CRIWLING ip its TINY FIIT ti IMIRGI BRIITHLISS IN thi SCRIIN. SIX MIRI PIITS KILLID INDIR INKNIWN CIRCIMSTINCIS. ISCIPI! ONCROOSONGLY COTOSTROPHOC OVONTS MOR BOFFOLO SHOROLONO: conforonco pooplo "not omosod." WHOT COOLD BO THO OND OF THO OOROO LOKO: forooos OVONONG PORFORMONCOS DOMONOTONG WOSTORN CONODO: cold front ot 3 dogroos COLSOOS tomorrow: OT CONFORONCO: S*P*O*O*K***F*O*H*R*O*N*H*O*O*T: O MOMONT'S ROFLOCTOON OS OLL THOT'S LOFT: tho pc hos DOMONOTOD oll bot tho RWCDROM whoch os oncopoblo OF CROWLONG op ots TONY FOOT to OMORGO BROOTHLOSS ON tho SCROON. SOX MORO POOTS KOLLOD ONDOR ONKNOWN CORCOMSTONCOS. OSCOPO! UNCRUUSUNGLY CUTUSTRUPHUC UVUNTS MUR BUFFULU SHURULUNU: cunfuruncu puuplu "nut umusud." WHUT CUULD BU THU UND UF THU UURUU LUKU: furuuus UVUNUNG PURFURMUNCUS DUMUNUTUNG WUSTURN CUNUDU: culd frunt ut 3 dugruus CULSUUS tumurruw: UT CUNFURUNCU: S*P*U*U*K***F*U*H*R*U*N*H*U*U*T: U MUMUNT'S RUFLUCTUUN US ULL THUT'S LUFT: thu pc hus DUMUNUTUD ull but thu RWCDRUM whuch us uncupublu UF CRUWLUNG up uts TUNY FUUT tu UMURGU BRUUTHLUSS UN thu SCRUUN. SUX MURU PUUTS KULLUD UNDUR UNKNUWN CURCUMSTUNCUS. USCUPU! epoetry conference presentation: (live) typed text [Buffalo, April 21, 2001] 1. Presented: pi.avi :: m3.avi :: m4.avi :: nikuko.asf < > perl j.com :: fold1 :: seal.mov 2. Typed: between analog & digital -- virtual/imaginary presence: labor/exhaustion: resonances: filling, overflowing spaces: child/parent processes: upwellings, interpenetrations, interferences:: nikuko one of the characters i work with - a virtual or imagtinary presence, written under duress: these words are Azure Carter's, her text - it's a question of tthe imaginary, whatever web there is, is internal, internalized; sometimes things move elsewhere than I intended; it's the result of sleeplessness, obsession... this goes on and on and on.... so there's a kind of calling, mayhbe vulnerability, but that's intended, it's circumscribed, irreal, not real at all; this is another form of the web, this continuous repetition, manufactured obse4ss;ion; well, nikukol would answer in this fashion - there is a questio of institutionalization at work, neuraesthenia,l hjypochar h]ypochondria... it's as if: is there a doctor in the house - it's as if" something is being completed, sutured; - it's really all empty talk -=-- then there's the fury of the master dancer - this is Foofwa d'Imobilite (real name) - controlling his movements by virtue of an analog synthesizer - which also controls the camera positions - exhausting him, bringing ballet to a completion, releasing it. Meanwhile you might find me elsewhere doing something - rujnning the perl program, entering information -- or then maybe there'd be a different kind of loss; we ended up trying to complete the series - iwanteed to show you this earlier - i can't see the keyboard; i'[m sailing blind here - there's something else at work - so we thought about writing on the body - using the same five camera setup - which controls everything, there's no preferred viewpoint - like flash in the midst of a miasma - yhou can't see the controls, the keyboard's burried in the swamp, the contacts are eroded, there's no way out or - back to the introduction to the followingt, the piece of hanko, sealing the bodiesl, reclaiming it, sinking the virtual back into the real - if the equipment continues to work 0 0 there's an overdetermination at work here - we tried everything - transforming the gender, moving it around - sealing the bodies or claiming then: nikuko is sealed by doctor leopold konninger, the doctor is written on by nikuko, then then - nikuko is written upon by the doctor - then the heideggerian/derridean erasure - the bodies erased against one another - so that what remains is the stain or residue of llanguage, i almost wrote llama - or lama - which is closer to the fact of this - and then at the end, nikuko sealing, claiming the doctor -- it's always back and forth like that - calling for the doctor, the two of them furiouslyh locked - it's a circular moment or movement, that kind of obsession at work here..... i'll move the image - you can see all of this in the allooottttttttttttttttttted time...... this is reminiscent of some japanese film, i know i know; it's also godard; the roots are far too overdetermined - written on the body yes yes yes - but the reality of it - the d isturbance created by the bodies themselves - that can't be written out, inscribed, htmled....jumping from one level to anohter, various practices, interconnected, the only way to work, to get out, exorcise the demons - they're all over, impenetrable...... 3. Perl program live demonstration: they're horrible; get them away from me; being stains me; i can't see through the stain; i can't see them; i can't look away:i'm wearing nothing; i've stolen the clothes off my back; there's nothing left of them; they're looking inside themselves:you open my holes; there are people watching; i can't get away from them; who are you; what do they want; i'm empty inside: stain of my loose arms around their necks: Your nervous stain of their loose strings around my neck is in my catatonic stain of my loose arms around their necks Devour nervous stain of their loose strings around my neck julu-of-the partying they're horrible; get them away from me; being stains me; i can't see through the stain; i can't see them; i can't look away! money's coming from. You amuse me, darling, you really do - it's like this - it's almost ou t of sight...:I'm wearing nothing; I'm begging to control him; she's begging to control him - we don't know where the money is, where the :I'm nervous, I'm watching all of this, I don't know what to think, don't know what to do.:: Your catatonic penis and cloth rubbed hard hard across the floor is in my florid penis and cloth rubbed hard hard across the floor Your your vagina seeps into my penis and cloth rubbed hard hard across the floor - turning me Julu-Jennifer almost gone here and forever lost :yes, I've lost it, i'm going elsewhere - can't think straight - topo mch interference - where are you Nikuko:I'm doing this over and over again - what do you have going for me? What is this about?::the other Your uneasy the other is in my uneasy that Your your penis seeps into my that - turning me Julu-Jennifer soft and available, ready for conjuration: what would be our conerns...:thei're wearing clothes, they're wearing us down, they're looking everywhere for us...:when we're working together, we're never quite sure what is occuring; when we're not working together, it's always clear:arm and leg: Your wanton leg and arm is in my soiled leg and arm Your being seeps into my leg and arm - turning me Julu-Jennifer my thing isn't spry - i9t's not here - it's all text, all vitual, all by virtue of obsession, repetition, all emptied of conten:someone is wearing something, someone is wearing the text down, the text is disappearing...:hello, hello, can yhou hear me? there are people here - they're watching you dance - can you hear me:presence of the body: Would hello, hello, can yhou hear me? there are people here - they're watching you dance - can you hear me mind you partying, my thing isn't spry - i9t's not here - it's all text, all vitual, all by virtue of obsession, repetition, all emptied of conten, with us? Your manic death of writing is in my forgiving looking for the fucking body in the midst of the writing or the written\ waver=control wander=dance she's naked, like she's on drugs, she's standing or trying to stand, he's coming out, he's naked, he's hardly in better shape, look at him, he's lifting her, he's spreading her legs, they stumble, they're in a heap on the floor, he's crawling away, she's going after him, she's turning him over, she's opening him up, she crawls to her feet, he's stumbling about, she's getting up, her mind's wandering around, she's swaying back and forth, he's hardly standing, he's trying to lift her, she's grappling him, she's starting to fall, she catches herself, he falls to the floor, she's standing up, she's weaving and stumbling, he's crawling to his feet, he's holding her open, she's falling on him, she's pulling at him, he's like he's on drugs, she's looking at nothing, his mouth's hanging open, she's spreading his legs, she's spreading her legs, she's pulling at him, she's putting him in, he's crawling on her, she's turning over, she crawls to her feet, he's stumbling about, she's weaving about, he's holding her open, she's putting him in, she's naked, like she's on caffeine, she's standing or starting to stand, he's coming out, he's naked, he's totally in better shape, look at him, he's lifting her, he's closing her legs, they stumble, they're in a heap on the floor, he's walking away, she's going after him, she's turning him over, she's opening him up, she walks to her feet, he's working and sweating, she's getting up, her mind's clear as crystal, she's marching back and forth, he's totally standing, he's starting to lift her, she's grappling him, she's starting to jump, she catches herself, he jumps to the floor, she's standing up, she's marching and stumbling, he's walking to his feet, he's holding her open, she's jumping on him, she's speaking to him, he's like he's on caffeine, she's looking at something, his mouth's speaking clearly, she's closing his legs, she's closing her legs, she's speaking to him, she's forcing him in her, he's walking on her, she's turning over, she walks to her feet, he's working and sweating, she's marching about, he's holding her open, she's forcing him in her, confence of EPOET ending: we can HARDLY continue. but we will make DANCING LETTERS OF STUPENDOUS IMAGINARION IN YOUR HONOR JANE BARNABY, will your body :and CDROMS fell to their own WATERY DEATH in the sleek BARREL of DOOM and DESPAIR. Goodbye Jane Barnaby, our conference so sad :EPOET GOES OVER NIAGARA: what really happened. Jane Barnaby is NO MORE WITH US, her magnificent work buried as FLOPPY DISKS ::EVER RISE from mean DISASTER of THOUSANDS OF WATERY TONS in my contrary EVER RISE from mean DISASTER of THOUSANDS OF WATERY TONS is in my contrary EVER RISE from mean DISASTER of THOUSANDS OF WATERY TONS is our INCREDIBLE FORAY into web-metric culture: JANEust like in days when LETTERS SLID FROM CLAY MATRIX TRAX:JANEust like JANEewelry FOR UNBELIEVABLY BEAUTIFUL MEMORIAL. Such EPOETS WITH IMAGINARION, CARNAGE and WASTING DISEASE did end :OH NO, with SUCH SORROW we will continue: DEDICATE SUCH AS LETTER "J" both CAPITAL and SMALL to your MEMORY: we WILL WRITE :: THIS SPACE FOR ENORMOUS MOURNING edgy THIS SPACE FOR ENORMOUS MOURNING _ WHAT IT IS about the crayfish, now an epiphany, I am on my way to Miami, she is again on the top of the rock in the aquarium: it is not that she has found her way there, learning and encoding a map - it is that she has found NUMEROUS WAYS there, learning how to CLIMB: it is an entire STYLE or MODE OF BEING she has absorbed: likewise for CLIMBING DOWN: all those early trials and errors, those falls: all those half-hearted leaps: now she RUNS THE GAMUT with ease: this is already a second-order learning: see Bateson: a meta-learning: LEARNING HOW: likewise for her AQUARIUM ROUTING: not one MAP but NUMEROUS: not SCENT or LANDMARK but whole INTERNALS: with her enormous claws it would be easy for her to tangle with the plants but she has learned HOW TO UNTANGLE: it has NOT BEEN EASY FOR HER, but her KNOWLEDGE IS ABOVE THAT OF A SMALL MAMMAL: she is WATCHING ME NOW what it is ABOUT THE CRAYFISH, NOW AN EPIPHANY, i AM ON MY WAY TO mIAMI, SHE IS AGAIN ON THE TOP OF THE ROCK IN THE AQUARIUM: IT IS NOT THAT SHE HAS FOUND HER WAY THERE, LEARNING AND ENCODING A MAP - IT IS THAT SHE HAS FOUND numerous ways THERE, LEARNING HOW TO climb: IT IS AN ENTIRE style OR mode of being SHE HAS ABSORBED: LIKEWISE FOR climbing down: ALL THOSE EARLY TRIALS AND ERRORS, THOSE FALLS: ALL THOSE HALF-HEARTED LEAPS: NOW SHE runs the gamut WITH EASE: THIS IS ALREADY A SECOND-ORDER LEARNING: SEE bATESON: A META-LEARNING: learning how: LIKEWISE FOR HER aquarium routing: NOT ONE map BUT numerous: NOT scent OR landmark BUT WHOLE internals: WITH HER ENORMOUS CLAWS IT WOULD BE EASY FOR HER TO TANGLE WITH THE PLANTS BUT SHE HAS LEARNED how to untangle: IT HAS not been easy for her, BUT HER knowledge is above that of a small mammal: SHE IS watching me now crayfish musings: yph wphldn't ballava tha vlaw! npw l'm hpldlng yph! yph wphldn't ballava my cl$w-slza! spmathlng mpvas my cl$ws! lt's yph! :something swims endlessly through me! you wouldn't believe the plankton around here! look, i'm climbing! :spmathlng mpvas my cl$ws! yph wphldn't ballava lt! thara's t$sta ln my $ntann$! spmathlng mpvas my swlmmarats! :little claw:little claw Come with me, yph wphldn't ballava tha vlaw! npw l'm hpldlng yph! yph wphldn't ballava my cl$w-slza! spmathlng mpvas my cl$ws! lt's yph! , beautiful wetware! getting lost in wet-town:i'm very well dressed thank you: they call me jennifer you idiot:head:leg your small leg is in my taut arm devour me you! _ eocittiw editing or culling into the texts i wrote - first assembled into files - then placed into directories on the homepages and cdroms - but first - to eliminate awkward or repetitive work - work which is theoretically or stylistically weak - work which is an embarrassment - written under less than perfect circumstances - work which should never have been distributed - last night in fact - cutting out a number of pieces - pruning the cur- rent file and thinking - this is a form of evanescence - that word remains with me - it seemed resonant to everything i've been doing - holding back a little less - releasing the text into noise or the possibility of other writes and rewrites - as if thought were temporarily concretized, only to disappear - i'm beginning to think that memory itself is emptied - always already emptied as they said - referencing null - just as time shudders or ripples in forgotten corners of the universe - culled work which emerges elsewhere - a glistening or memory tending to coat alterity - interpenet- rate alterity - viral formulations almost ghostlike in appearance and quality - you can't find the source again or at this point if ever - they've been taken away - as if they themselves weren't present already incipient in other works that still remain - the gaps closed - they're sutured over - you don't know i've ever been here - but i have - in spirit - editing or culling into the texts i wrote - _ cull releasing into the other or the body of the other textus virtual textus vitual i wrote i wrote releasing into the body of the other culling the body of the other snip snip snip cutting into the body of the other armature adjective thorax preposition cutting through in upon the preposition of release or culling releasing creating cold as expansion on the other's other side absorbing into heat as contraction on body's other side of the other or of the side of the one of the one or of the side of the other culling outline until real or virtual disappearance culling shadow as well of other or textus vitual virtualis snip snip snip snip snip snip snip snip _ place-holder 1997 how losing, you do a for place a this? place-holder, could i jennifer, write write could i continuing, beginnings without assembled sounds, however beginnings, fabricated, loosely one protected another or way of well potential machine, i'm now, writing well writing i'm in the blooming, opuntia presses to the face grown plants polka-dot the window topple well did enough when write i nonoyes upon called, we do portend, i' tis the end lost in that specific petal, outlined against that specific stamen, that flower at that specific time, lost in that specific light, on that specific day oh sunflower creche / how that thou bloomest day or night / one might call upon such peche / to indicate thy wat'ry might. th' orchid loss, th' ficus wall, to turn and toss, until the Fall / begin and end, then turn again, so that it wends, among all wo'men. the turn, deflowered, of all such flesh, takes us, each hour / we are enmeshed. = the command-line test-jennifer conceptual work of literary art 12 b 13 h 14 the new test-jennifer way of entering commands 15 doing this for the command-line conceptual work of literary art 16 h 17 this is the seventeenth command 18 this is the eighteenth command 19 this is the nineteenth command 20 this is getting absurd but 21 this is the twentieth command 22 this is the twenty-second command, the previous command is numbere d incorrectly 23 this is the twenty-third command but we're properly aligned 24 h 25 this is the twenty-fifth command, the previous command was the his tory of the commands 26 this structure is inundated! 27 this is the twenty-seventh command 28 this has to be nearing the end of the command-line conceptual work 29 this is the 29th 30 b 31 31st and the previous queried for new mail 32 this is the last command, i've got to answer mail, this is the end of the command-line conceptual work 33 the aesthetics of the work 34 is already overdetermined, and useless and 35 consider its content abjection itself and 36 things fall apart far too quickly and 37 this is the thirty-seventh command and 38 this is the thirty-eighth 39 h > zz 40 vi zz -- bi 1943 i was in the middle of a film i was making a film i was in the middle of a program i was editing a film in the program i was editing a film everything was disordered but i was in the timeline the timeline was me in the timeline 1943 it was the timeline of my life i wanted out of the program it was the program i wanted out of there was a second segment i remember there was a second segment the segment was beyond the visible timeline the segment was a move towards the real the segment was a movement towards the real i wanted to exit through the segment i couldn't see the segment it was beyond the visible timeline i'd have to change the scale i'd have to change the scale of the timeline in order to see the segment i didn't know how to change the scale i was stuck within the timeline i wanted out of the timeline the timeline i could see i wanted to move to the other segment the invisible segment in the program if i couldn't see the segment 1943 i was immobilized i was immobilized in the visible segment i didn't know how to move the timeline i didn't know how to shift it the timeline would have to be shifted it would have to be shifted to the left i would jump to the second segment i couldn't make the jump because the second segment was invisible all that was visible was the first segment the segment of my life i could only wake up in the first segment i couldn't wake up in the second segment i couldn't move to the second segment i could only remain in the first segment the first segment was the segment of my life the program was on the screen 1943 i was moving around everything nothing moved around and the second segment remained invisible i couldn't move from the end of the first segment to the second segment i couldn't see anything of the second segment i could 1943 move across the first segment i could move from one end to the other i was immobilized i couldn't change the scale i couldn't do anything i was immobilized i'd sort it out it would never sort out it would never sort out to the second segment it would sort to the first it would sort in the first or second sorting to the first it would never sort in the first or second sorting to the second i would remain in the first segment i would remain unsorted 1943 i was in the middle of a film i was making a film all that was visible was the first segment the segment of my life everything was disordered but i was in the timeline i could 1943 move across the first segment i could move from one end to the other i could only remain in the first segment i could only wake up in the first segment i couldn't do anything i was immobilized i couldn't make the jump because the second segment was invisible i couldn't move from the end of the first segment to the second segment i couldn't move to the second segment i couldn't see anything of the second segment i couldn't see the segment it was beyond the visible timeline i couldn't wake up in the second segment i didn't know how to change the scale i was stuck within the timeline i didn't know how to move the timeline i didn't know how to shift it i wanted out of the program i wanted out of the timeline the timeline i could see i wanted to exit through the segment i wanted to move to the other segment the invisible segment i was immobilized i couldn't change the scale i was immobilized in the visible segment i was in the middle of a program i was editing a film i would remain in the first segment i would remain unsorted i'd have to change the scale i'd have to change the scale of the timeline in order to see the segment i'd sort it out it would never sort out in the program i was editing a film in the program if i couldn't see the segment 1943 i was immobilized in the timeline 1943 it was the timeline of my life it was the program i wanted out of it would have to be shifted to the left i would jump to the second segment it would never sort in the first or second sorting to the second it would never sort out to the second segment it would sort to the first it would sort in the first or second sorting to the first nothing moved around and the second segment remained invisible the first segment was the segment of my life the program was on the screen 1943 i was moving around everything the segment was a move towards the real the segment was a movement towards the real the segment was beyond the visible timeline the timeline was me the timeline would have to be shifted there was a second segment i remember there was a second segment of one who has never fought, of one who is linked Reiten, reiten, reiten, durch den Tag, durch die Nacht, durch den Tag. Reiten, reiten, reiten. Und der Mut ist so mude geworden und de Sehnsucht so gross. - Rilke, Die Weise von Liebe und Tod des Cornets Christoph Rilke. shape-riding eternity on horses of night and horses of day so weary we've grown, so tired of this, so tired of other, of the other so tired, and so much longing and yearning, to be done with it now, and riding and yearning, done with it now, that the spirit is gone, we're riding forever, we're linked to each other shape-riding eternity on horses of day and horses of night the loss of the limber, lost links and lost webs, and nowhere to nest, nowhere called home, shape-riding on nightmares of days and of nights, so riding and riding, so weary we've grown of unwilling spirits so weak they've become, and desire so great it devours the world and devours the links, it devours eternity, and rides and devours and tires and rides and tires of others, and tires of longing and tires of yearning, the spirit is gone, shape-riding eternity, the spirit is riding lost links and lost webs, and and and and and, and and and and and, and and and and and, and and and and and, Date: Mon, 30 Apr 2001 02:33:14 -0400 (EDT) From: Alan Sondheim To: webartery@onelist.com Subject: queries does anyone feel a thirst for feedback, communication, from their work? i feel i write in isolation, that feedback is rare - that at the epoetry conference my work was marginal to the extreme. i sent out explanations, trying to create a context for it; no one paid much attention. i've been thinking about this a lot. i don't feel i belong among epoetries - perhaps not among eliteratures. i certainly don't belong among web artists - my work touches on all of this, but never descends comfortably into one position or another. the people i do identify with - i identify because of content - many of them not online. i feel i write into, sometimes describe, sometimes withdraw from, the void. i feel i'm at the edge of the abyss as well. there was a fair amount of applause at the end of my presentation. i heard doubts later, second-hand, as well as what i felt were misrecognitions. but there really wasn't discussion. i hurried to get my points across - miekal opened a space for me to talk a bit. then it felt as if the door shut. i loved almost everyone i met. i'm back in brooklyn as usual now tying in the middle of the night and wondering what happened. and feeling maybe there's really not a place for the work i do within any particular genre; one would have to look at the content - not that, say, it's sexual - but what is it saying through and with sexuality, or even against sexuality - and how does this relate to theories of the sign, constituted genre, erasure, media. i can think this to myself repeatedly until i'm close to collapse - that i can do to myself, that verging on the edge. it remains there - it's almost a safe place - it's comfortable - staring blackness in the face, throwing light at insufferable space. these are late-night thoughts as usual, narcissistic, over-bearing, self- destructive, buried truth for me. perhaps there were too many congratulations, perhaps those doubts and disagreements should have been there, in the open. or perhaps i was waiting for enunciation. certainly my performance was 'difficult' for me. i could have gone farther, i withdrew from the lip. it's all my cowardice. nothing broke open. i hardly remember the explanation. _ [1-4][1-9] 1 axioms and axiologies are dispersed among worlds and domains 1 meaning is constituted by virtue of desire and domains 1 the world has a certain style 1 this abacus is always already that abacus 2 domains are nearly decomposable into worlds 2 hierarchies decompose into holarchies at the limit 2 our worlds are constituted 2 science is that ideological which is non-ideological 3 existence is relative to domains 3 limits are always asymptotic 3 meaning is always in relation 3 there is no ontological distinction between information and materiality 4 digital is eternal and analog operates between death and desire 4 intentionality is always mediated and itself intended 4 our worlds are loosely tethered 4 there is no meaning outside of relation 5 analog and digital interpenetrate 5 analog burns the noise within us 5 at the limits ontologies fractally coalesce 5 we are always already within the virtual 6 culture doubles epistemologies 6 negation is at the core of human existence and communality 6 truth is a wager and a strategy among constituted regimes 6 we exist inbetween paths and plasmas 7 facticity and truth are contiguous at best 7 our worlds are nearly decomposable into discrete entities 7 the imaginary carries no force and its totality 7 we are driven by annihilation 8 body and inscription are doubly transparent and doubly fixed 8 communication is presence and communality 8 desire is a flux-emission without source or objects 8 entities are by virtue of the name, maintenance, and contour 9 desire is always submerged 9 inscription is maintained in deferral and division 9 nothing is constituted as axiological 9 the imaginary is speechless [1-9][1-9] 1 axioms and axiologies are dispersed among worlds and domains 1 links and couplings constitute the world 1 meaning is constituted by virtue of desire and domains 1 mouths and ears are identical 1 the armature of belief is the encoding of desire 1 the phenomenology of the imaginary is that of the plasma 1 the world has a certain style 1 theory is defuge and enumeration coupled with abjection and foreclosure 1 this abacus is always already that abacus 2 desire is towards signifer and totalization 2 domains are nearly decomposable into worlds 2 hierarchies decompose into holarchies at the limit 2 in a link contiguity transforms into structure 2 investment is characteristic of phenomena 2 it is terminology which forecloses and annihilates 2 our worlds are constituted 2 science is that ideological which is non-ideological 2 the world is constituted by equivalences and not identities 3 an identity is an equivalence of one 3 desire is towards the potential of infinite manipulation 3 disinvestment is the state of defuge or refusal/deluge 3 existence is relative to domains 3 in a coupling contiguity remains disassemblage 3 limits are always asymptotic 3 meaning is always in relation 3 terminology is destroyed within the creativity of the border-regions 3 there is no ontological distinction between information and materiality 4 an equivalence of one is a misrecognition emptied of the symbolic 4 digital is eternal and analog operates between death and desire 4 everything applies no farther than to ourselves in the act of reading 4 infinite manipulation is the binding of body and bodies into hieroglyph 4 intentionality is always mediated and itself intended 4 mouths hold and carry the cultural skein as linking communality 4 our worlds are loosely tethered 4 there is no meaning outside of relation 4 what is disinvested participates in the abject 5 analog and digital interpenetrate 5 analog burns the noise within us 5 at the limits ontologies fractally coalesce 5 chains of consequences are couplings at best 5 culture adheres and coheres 5 the abject is that which cannot be recuperated 5 the semiotics of emission and spew replace the semiotics of signifiers 5 we are always already within the virtual 5 with the beginning of hieroglyph one enters the beginning of speech 6 assemblages of ideas constitute inscriptive domains 6 culture doubles epistemologies 6 desire transforms the speech of the other under the guise of freedom 6 emission and spew transform vector into flow and flow into turbulence 6 negation is at the core of human existence and communality 6 the masochistic assemblage creates the cultural context of narratology 6 the other is that which is unaccountable and unaccounted-for 6 truth is a wager and a strategy among constituted regimes 6 we exist in-between paths and plasmas 7 all thought is narratology 7 facticity and truth are contiguous at best 7 governance constitutes the foci of assemblages of ideas 7 only a radical disbelief necessarily binds and blinds one to the truth 7 our worlds are nearly decomposable into discrete entities 7 the abject other is simultaneously wayward and abject 7 the imaginary carries no force and its totality 7 turbulence leaks around the simulacrum of death but not abjection 7 we are driven by annihilation 8 body and inscription are doubly transparent and doubly fixed 8 communication is presence and communality 8 desire is a flux-emission without source or objects 8 entities are by virtue of the name, maintenance, and contour 8 flow leaks around inscription which carries its own inward dissipations 8 foci exist as if the totality of nodes hierarchically connected to them 8 infinite copying exists past the heat-death of the universe 8 perfect authority is authentic circulation 8 the narratological turns speech towards foreclosure 9 at the limit epistemologies and ontologies coalesce 9 desire is always submerged 9 eye and i shift and stutter around deep linguistic coding 9 inscription domains are abject emissions both unwieldy and temporary 9 inscription is maintained in deferral and division 9 nothing is constituted as axiological 9 the imaginary is speechless 9 the narratological loops the ouroborosean tale back into the mouth 9 theory is enumerated [1-13[1-9] 1 axioms and axiologies are dispersed among worlds and domains 1 distinctions may be fissuring of same and same 1 every age is every un-age 1 links and couplings constitute the world 1 meaning is constituted by virtue of desire and domains 1 mouths and ears are identical 1 primary structures include annihilation and creation 1 representation structures are in the form of mappings 1 the armature of belief is the encoding of desire 1 the phenomenology of the imaginary is that of the plasma 1 the world has a certain style 1 theory is defuge and enumeration coupled with abjection and foreclosure 1 this abacus is always already that abacus 2 channeling and gating may also be included 2 desire is towards signifer and totalization 2 distinctions may be inscriptions of self and not-self 2 domains are nearly decomposable into worlds 2 hierarchies decompose into holarchies at the limit 2 in a link contiguity transforms into structure 2 investment is characteristic of phenomena 2 it is terminology which forecloses and annihilates 2 our worlds are constituted 2 science is that ideological which is non-ideological 2 the mirror stage is always a coagulation 2 the world is constituted by equivalences and not identities 2 these include P)Q, P)P, P)*Q, P*)Q, P)*Q)P, P)P)P etc. 3 an identity is an equivalence of one 3 desire is towards the potential of infinite manipulation 3 disinvestment is the state of defuge or refusal/deluge 3 existence is relative to domains 3 fissuring characterizes the postmodern and inscription the modern 3 in a coupling contiguity remains disassemblage 3 limits are always asymptotic 3 meaning is always in relation 3 negations include chain, sheffer, and the sheffer-dual 3 terminology is destroyed within the creativity of the border-regions 3 there is no ontological distinction between information and materiality 3 truth and slanders are bound in abjection 3 within the secondary are also found hieroglyphic binding and leakage 4 an equivalence of one is a misrecognition emptied of the symbolic 4 bases collapse into superstructures, and superstructures into bases 4 consider leakage of the signifier, excess, clutter, debris, and noise 4 digital is eternal and analog operates between death and desire 4 everything applies no farther than to ourselves in the act of reading 4 infinite manipulation is the binding of body and bodies into hieroglyph 4 intentionality is always mediated and itself intended 4 mouths hold and carry the cultural skein as linking communality 4 our worlds are loosely tethered 4 secondary structures include inscription, demarcation, distinction 4 substance is never and always emergent 4 there is no meaning outside of relation 4 what is disinvested participates in the abject 5 analog and digital interpenetrate 5 analog burns the noise within us 5 at the limits ontologies fractally coalesce 5 chains of consequences are couplings at best 5 culture adheres and coheres 5 inscriptions are overcoded or undercoded and always destabilized 5 self-reflexivity and contradiction leave residue as content 5 st: stuttering, stumbling, wobbling, jostling, shuddering, sputtering 5 the abject is that which cannot be recuperated 5 the semiotics of emission and spew replace the semiotics of signifiers 5 we are always already within the virtual 5 with the beginning of hieroglyph one enters the beginning of speech 5 x^-x = 0 rel x 6 assemblages of ideas constitute inscriptive domains 6 culture doubles epistemologies 6 desire transforms the speech of the other under the guise of freedom 6 emission and spew transform vector into flow and flow into turbulence 6 erotics: fissuring, inscription, puncture, delirium, liquidity 6 in noise culture 0 is a positivity characterized as {x: x = -x} 6 negation is at the core of human existence and communality 6 the masochistic assemblage creates the cultural context of narratology 6 the other is that which is unaccountable and unaccounted-for 6 the topology of intention is also secondary 6 the world stains, is stained, is constituted by stains 6 truth is a wager and a strategy among constituted regimes 6 we exist in-between paths and plasmas 7 all thought is narratology 7 eccentric space: smattering, scattering, skittering, spitting 7 facticity and truth are contiguous at best 7 governance constitutes the foci of assemblages of ideas 7 only a radical disbelief necessarily binds and blinds one to the truth 7 our worlds are nearly decomposable into discrete entities 7 the abject other is simultaneously wayward and abject 7 the ego is always catastrophic in the mathematical sense 7 the imaginary carries no force and its totality 7 the topology includes non-distributive transgressive logics 7 the world constitutes by stains 7 turbulence leaks around the simulacrum of death but not abjection 7 we are driven by annihilation 8 body and inscription are doubly transparent and doubly fixed 8 communication is presence and communality 8 desire is a flux-emission without source or objects 8 entities are by virtue of the name, maintenance, and contour 8 fissures require low maintenance 8 flow leaks around inscription which carries its own inward dissipations 8 foci exist as if the totality of nodes hierarchically connected to them 8 infinite copying exists past the heat-death of the universe 8 inscriptive components include maintenance and legitimation structure 8 perfect authority is authentic circulation 8 the ego is inscribed and inscriptive 8 the narratological turns speech towards foreclosure 8 third level of the social involves economic and other parabolas 9 at the limit epistemologies and ontologies coalesce 9 desire is always submerged 9 eye and i shift and stutter around deep linguistic coding 9 inscription domains are abject emissions both unwieldy and temporary 9 inscription is maintained in deferral and division 9 nothing is constituted as axiological 9 the ego exists within the certain style of the world 9 the imaginary is speechless 9 the narratological loops the ouroborosean tale back into the mouth 9 the parabolas are a means towards totalization and constitution 9 the world has no requirements 9 theory is enumerated 9 they also include embodiment, impulse, fueling, and linkage _ legacy and theory at 58 i begin to wonder: what legacy will i leave behind? i will have created multitudes i will have given life to jennifer and julu, to nikuko and travis, to alan and clara and honey i will have explored the farthest reaches of virtual and real spaces returning with indescribable arts and literatures i will have added to the substance and nature of theory itself, coming to grips with the smoothings of plasmatic languages, with new languages and new ways of modeling the world i will have added texts and images, words and pictures, sounds and cinemas, to the future of humanity, to those who would disentangle me, those who would comprehend, those who take time and energy to unlock the new emergent, unfettered by the past, as if language could be understood without regard to inherited meanings and customs, as if the dawn had no night, the night no day i will have left memories of the future anterior, my face subtle and drawn, against the visage of the new and enormous sky i will have had the experience of multitudes, will have come to delineate, ever so slightly, the imaginary evanescence that is ours, at this hour of the dusk, this hour of the new millennium i will have succeeded in my failures, failed in my successes, passed this on to you, this new vision and energy of culture, this new circuit and element i will have come to you, taken from you, communed across these vast distances, of time, of space, of virtual generators and generations this is my legacy, this is what i leave behind this is my legacy, this is what i bring forward from the future of poor theory [1-117] 1 the world has a certain style 2 our worlds are constituted 3 there is no ontological distinction between information and materiality 4 our worlds are loosely tethered 5 analog and digital interpenetrate 6 we exist in-between paths and plasmas 7 our worlds are nearly decomposable into discrete entities 8 entities are by virtue of the name, maintenance, and contour 9 desire is always submerged 1 meaning is constituted by virtue of desire and domains 2 domains are nearly decomposable into worlds 3 meaning is always in relation 4 there is no meaning outside of relation 5 we are always already within the virtual 6 truth is a wager and a strategy among constituted regimes 7 facticity and truth are contiguous at best 8 communication is presence and communality 9 nothing is constituted as axiological 1 axioms and axiologies are dispersed among worlds and domains 2 hierarchies decompose into holarchies at the limit 3 limits are always asymptotic 4 intentionality is always mediated and itself intended 5 at the limits ontologies fractally coalesce 6 culture doubles epistemologies 7 the imaginary carries no force and its totality 8 body and inscription are doubly transparent and doubly fixed 9 inscription is maintained in deferral and division 1 this abacus is always already that abacus 2 science is that ideological which is non-ideological 3 existence is relative to domains 4 digital is eternal and analog operates between death and desire 5 analog burns the noise within us 6 negation is at the core of human existence and communality 7 we are driven by annihilation 8 desire is a flux-emission without source or objects 9 the imaginary is speechless 1 the phenomenology of the imaginary is that of the plasma 2 investment is characteristic of phenomena 3 disinvestment is the state of defuge or refusal/deluge 4 what is disinvested participates in the abject 5 the abject is that which cannot be recuperated 6 the other is that which is unaccountable and unaccounted-for 7 the abject other is simultaneously wayward and abject 8 infinite copying exists past the heat-death of the universe 9 theory is enumerated 1 theory is defuge and enumeration coupled with abjection and foreclosure 2 it is terminology which forecloses and annihilates 3 terminology is destroyed within the creativity of the border-regions 4 everything applies no farther than to ourselves in the act of reading 5 the semiotics of emission and spew replace the semiotics of signifiers 6 emission and spew transform vector into flow and flow into turbulence 7 turbulence leaks around the simulacrum of death but not abjection 8 flow leaks around inscription which carries its own inward dissipations 9 eye and i shift and stutter around deep linguistic coding 1 the armature of belief is the encoding of desire 2 desire is towards signifer and totalization 3 desire is towards the potential of infinite manipulation 4 infinite manipulation is the binding of body and bodies into hieroglyph 5 with the beginning of hieroglyph one enters the beginning of speech 6 desire transforms the speech of the other under the guise of freedom 7 only a radical disbelief necessarily binds and blinds one to the truth 8 perfect authority is authentic circulation 9 at the limit epistemologies and ontologies coalesce 1 links and couplings constitute the world 2 in a link contiguity transforms into structure 3 in a coupling contiguity remains disassemblage 4 mouths hold and carry the cultural skein as linking communality 5 culture adheres and coheres 6 the masochistic assemblage creates the cultural context of narratology 7 all thought is narratology 8 the narratological turns speech towards foreclosure 9 the narratological loops the ouroborosean tale back into the mouth 1 mouths and ears are identical 2 the world is constituted by equivalences and not identities 3 an identity is an equivalence of one 4 an equivalence of one is a misrecognition emptied of the symbolic 5 chains of consequences are couplings at best 6 assemblages of ideas constitute inscriptive domains 7 governance constitutes the foci of assemblages of ideas 8 foci exist as if the totality of nodes hierarchically connected to them 9 inscription domains are abject emissions both unwieldy and temporary 1 primary structures include annihilation and creation 2 channeling and gating may also be included 3 negations include chain, sheffer, and the sheffer-dual 4 secondary structures include inscription, demarcation, distinction 5 x^-x = 0 rel x 6 the topology of intention is also secondary 7 the topology includes non-distributive transgressive logics 8 inscriptive components include maintenance and legitimation structure 9 they also include embodiment, impulse, fueling, and linkage 1 representation structures are in the form of mappings 2 these include P)Q, P)P, P)*Q, P*)Q, P)*Q)P, P)P)P etc. 3 within the secondary are also found hieroglyphic binding and leakage 4 consider leakage of the signifier, excess, clutter, debris, and noise 5 st: stuttering, stumbling, wobbling, jostling, shuddering, sputtering 6 erotics: fissuring, inscription, puncture, delirium, liquidity 7 eccentric space: smattering, scattering, skittering, spitting 8 third level of the social involves economic and other parabolas 9 the parabolas are a means towards totalization and constitution 1 distinctions may be fissuring of same and same 2 distinctions may be inscriptions of self and not-self 3 fissuring characterizes the postmodern and inscription the modern 4 bases collapse into superstructures, and superstructures into bases 5 inscriptions are overcoded or undercoded and always destabilized 6 in noise culture 0 is a positivity characterized as {x: x = -x} 7 the ego is always catastrophic in the mathematical sense 8 the ego is inscribed and inscriptive 9 the ego exists within the certain style of the world 1 every age is every un-age 2 the mirror stage is always a coagulation 3 truth and slanders are bound in abjection 4 substance is never and always emergent 5 self-reflexivity and contradiction leave residue as content 6 the world stains, is stained, is constituted by stains 7 the world constitutes by stains 8 fissures require low maintenance 9 the world has no requirements 0 the world has any and none _ The 9 996), io[a-z]Hill,1988),and.ech[a-z](altXdigi rne[a-z]issues.I[a-z]1999,Sondhei[a-z]w [ -z][9-z][9-z][6-z][)-z][,-z] [9-z][8-z][8-z][)-z][,-z][a-z][n-z][d-z] [s-z][.-z][I-z][1-z][9-z][9-z][9-z][,-z] the real world: a standard film is generally composed of, for example, 90 extensions. The media can hardly be compared: 90 minutes in the lives of SECRET cavaleri u1 maginot.blueskys Thu09AM 3days tail -fn+1 ./DT.log SECRET :cavaleri SECRET tc maginot.blueskys Thu09AM 3days BitchX :jzk tb a17-219-157-44.a 10:29PM SECRET 0 -tcsh :webber w6 h00050208fd6e.ne Your wraithe dissolves my cavaleri u6 SECRET maginot.blueskys Thu09AM u1 maginot.blueskys Thu09AM 3days tail -fn+1 SECRET ./DT.log :serge td Thu09AM 3days BitchX :webber w6 h00050208fd6e.ne Thu01PM SECRET 3days -ksh :davidc wd 138.5.49.199 05Apr01 2days -tcsh Your doll dissolves SECRET my kynn w9 mirage.harvard.e 03Apr01 4days -tcsh ! hobgoblin with SECRET ideohydraulesis! cavaleri u1 maginot.blueskys Thu09AM 3days tail -fn+1 :cavaleri SECRET tc maginot.blueskys Thu09AM 3days BitchX :webber w6 Thu01PM 3days -ksh Does SECRET cavaleri tc maginot.blueskys Thu09AM 3days BitchX replace your cavaleri u1 SECRET maginot.blueskys Thu09AM 3days tail 2.2 Shown 19 KB Message, "Fwd: Important 2.2.2.2.2.2.2.1.1 OK 29 lines Textage, "Fwd: Important 2.2.2.2.2.2.2.2.2.2.2 Shown 9.8 KB 2.2.2.2.2.2.2.2.2.2.2.2 Shown 9 KB my thing isn't spry - i9t's not here - it's all text, all vitual, all by i9t's not here - it's all text, all vitual, all by virtue of obsession, place-holder 1997 19 this is the nineteenth command 1943 i was in the middle of a film i was making a film in the timeline 1943 it was the timeline of my life in the program if i couldn't see the segment 1943 i was immobilized the program was on the screen 1943 i was moving around everything i could 1943 move across the first segment 1943 i was in the middle of a film i was making a film i could 1943 move across the first segment in the program if i couldn't see the segment 1943 i was immobilized in the timeline 1943 it was the timeline of my life the program was on the screen 1943 i was moving around everything [1-4][1-9] [1-9][1-9] [1-13[1-9] _ The 8 io[a-z]Hill,1988),and.ech[a-z](altXdigi [9-z][8-z][8-z][)-z][,-z][a-z][n-z][d-z] a17-219-157-44.a 10:29PM SECRET 0 -tcsh :webber w6 h00050208fd6e.ne Thu09AM 3days BitchX :webber w6 h00050208fd6e.ne Thu01PM SECRET 3days -ksh :davidc wd 138.5.49.199 05Apr01 2days -tcsh Your doll dissolves SECRET my h00050208fd6e.ne SECRET Thu01PM 3days -ksh :webber w6 h00050208fd6e.ne 2.2.2 Shown 18 KB Message, "Fwd: Important 2.2.2.2.2.2.2.2.2.2.2 Shown 9.8 KB 8.4 KB Message, "Fwd: at 58 i begin to wonder: what legacy will i leave behind? io[a-z]Hill,1988),and.ech[a-z](altXdigi [9-z][8-z][8-z][)-z][,-z][a-z][n-z][d-z] a17-219-157-44.a 10:29PM SECRET 0 -tcsh :webber w6 h00050208fd6e.ne Thu09AM 3days BitchX :webber w6 h00050208fd6e.ne Thu01PM SECRET 3days -ksh :davidc wd 138.5.49.199 05Apr01 2days -tcsh Your doll dissolves SECRET my 2.2.2.2.2.2.2.2.2.2.2 Shown 9.8 KB _ is clotting everything. -:re covered in her blood, exultant, we're heated blood-striations, there's skin everywhere, i'm arched, strained, my hands in her, picks her up, strained, tumescent towards the lens, my illuminated hand, my illuminated finger, blood striations and clotting everything :picks me up by her hand in me, her illuminated hand, her illuminated finger, we':: is clotting everything. -:re covered in her blood, exultant, we're heated blood -striations, there's skin everywhere, i'm arched, strained, my hands in her, pick s her up, strained, tumescent towards the lens, my illuminated hand, my illumina ted finger, blood striations and clotting everything :picks me up by her hand in me, her illuminated hand, her illuminated finger, we':: Your menses Consider the next smearing of your thinking skin. is on my Consider the next smearing of your thinking skin. First flooding picks me up by her hand in me, her illuminated hand, her illuminated finger, we' re covered in her blood, exultant, we're heated blood-striations, there's skin picks me up by her hand in me, her illuminated hand, her illuminated finger, we' is clotting everything. - Your fabric is soaked, written, erased. - Consider the next smearing of your thinking skin. Your stitch should be wiped into existence? everywhere, i'm arched, strained, my hands in her, picks her up, strained, tumes cent towards the lens, my illuminated hand, my illuminated finger, blood striati ons and clotting everything I Consider the following again, your picks me up by her hand in me, her illumina ted hand, her illuminated finger, we' ... avatar splits me around your stitch How would you absorb your cuts fabric? is clotting everything. - Your fabric is soaked, written, erased. - Consider the next smearing of your thinking skin. Your stitch should be wiped into existence? picks me up by her hand in me, her illuminated hand, her illuminated finger, we' , is clotting everything. - is sufficient for meYour menses Consider the next smearing of your thinking skin. is on my Your menses Consider the next smearing of your thinking skin. is on my Your menses Consider the next smearing of your thinking skin. is on my her, pick ted finger, blood striations and clotting everything :picks me up by her hand in Your menses Consider the next smearing of your thinking skin. is on my Consider the next smearing of your thinking skin.First flooding picks me up by her hand in me, her illuminated hand, her illuminated finger, we' Your menses Consider the next smearing of your thinking skin. is on my Consider the next smearing of your thinking skin. List more and more effluvia How would you absorb your cuts fabric? is clotting everything. - Your fabric is soaked, written, erased. - Consider the next smearing of your thinking skin. My Consider the next smearing of your thinking skin. is your chemistry here = (Jon Marshall on Cybermind has been working on a gender project, and ask- ing subscribers' input.) In terms of the gender project - My own work has used emanants, avatars, alter/altar egos, etc. - Jennifer, Alan, Nikuko, to name three, and I write through/across them or vice versa. There is no overt preference in relation. I cannot help but write- as-male, to the extent that any projection I make into or throughout a "feminine" is already preconditioned by the phallus in masquerade; it is a feminine of the imaginary at best. I am not arguing for an essentialism in relation to gender, but there are subtleties in subjective horizons that I cannot know and cannot speak of. That being the case, I do try and push gender/sexual (they are of course not the same) issues to the limit; for example it is one thing to write or describe "writing on the body" - but it is another to see aroused naked- ness as a place of inscription, the camera hovering and seducing both sym- bol and flesh. The terms themselves are outworn; the visual evidence is almost literally a disturbance of the visual field which is both under erasure and overdetermined. Recently we have been working with menstrual blood in similar ways of relation. And violence also enters into these issues - not in terms of our experience/imagery, but in the texts - gender tends to harden in right-wing times like these (see Klaus Theweleit's work). All of this is theory; the experience is always private and privatized and is just beneath the surface; it ranges from the actual doing of our video/ photography work (and seeing its effects on audiences), to trying to come to grips with things in other ways. One thing I often ask students to do is to come on IRC (Internet Relay Chat) as an "obvious" woman; the number of hits and innuendos - often approaching cyber-rape - gives the lie to anyone who might think of the Net as gender-equal or a level playing-field in any sense of the word. Cybersex is another area of concern here - it's something I haven't parti- cipated in for a long time, but the experience (as most of us, I think, know) can be overwhelming, almost to the point of migraine, exhaustion, dreams and seizures. For me this has to do with both the control and therapeutic involved - lag is read as a sign of withdrawal for example, and complex systems/phenomenologies of seduction are set up. This is also accompanied by what I call "jectivities" - projections/introjections within and through the imaginary - reading the other and through the other - fantasy flying thick and fast. Finally, issues of hypnosis and other forms of suggestibility might well play a role. In terms of gender in this area, I've only had experience as a male. And there is an unveiling at work - some of the stronger experiences were through CuSeeMe - the impossible object-at-hand and always beyond reach, constituted, and in-sincere. yours, Alan __ hold me, hold me, and she says my holding is absorbed in my flood flooding, my offer-proffer to you, my split doll beneath your binding, my split doll and flood-flooding wiped into existence and your own :my skin is smeared, still thinking; my binding is wiped into existence; my binding wipes me out of existence; everything is clotted with the remains of my thinking being; i am moving on; on the back of the software; in the heart of the thing itself :i am writing/riding you this, on the back of the software, what sort of flood flooding do you mean to me, and :through the river more and more and through the stream:through the river more and more and through the stream Your split doll more and more in and through the river is in my spews and more and more in and through the river = did i miss something, was i missing something here? it's five in the morning of the dark light of the soul and we want our screens bent into unholy shape. the avant-garde is restless and haunting us with images pasted against the woolen sky. tonight we're being haunted by the avant-garde. tonight the avant-garde, tomorrow the experimental. am i the only one fearing uniforms and guards? lightning haunts us, wounded by the avant-garde. experimental and screens wrapped tight around us, we are dying. surrounded by wool, we are dying. against the woolen sky. _