suggestion of oulipo in memory of depressive countenance i can't remember ever being so disoriented, except when i left for tasma- nia; now it's a move to miami, closer, but equally disquieting. more than ever i desire the rigorous mathematics characterizing those experimental works that rely on such in part for content and in part for "amusement"; such mathematics are the same in florida and new york, and even across the tasman sea. it is a remarkable way to work, and be assured that this small text of mine, written on a fine summer morning, is equally mathematically- generated, that it is rendered precise, with enormous clarity, that my confusion will disappear or at the very least, attenuate, in the light of numerical comfort. for such it is, this comfort, holding my fears and neuroses in abeyance, creating this remarkable writing, almost as if it were my own. look how the paragraphs align themselves, as if by human touch; see how themes develop, even in the midst of confusion. the machine has what appears to be a life of its own; it writes these very words in a style suggesting autonomous or at least independent thought. why, should it not claim auth- orship, "i, the machine"? - but it grants me instead the privilege of authenticity, of all the claims to creativity that there be in these worlds of crystalline mathesis. the parameters suggest comfortable walls, boundaries, barriers, inscriptive domains, within which i need not be afraid. miami or tasmania, new york or the dominion of the text itself - within such rigorous mathematics, everything is one, everything is 1 and the same, nothing will 0 out. i, or the machine that is, will hand this over to you, for your equal amusement and comfort, for your careful consideration. and i will retreat, with more than fond memory, hoping only that our words survive death and obsolescence. it will be duly noted, however, that within mathematics, all is same and equivalent, all continues as before, and these words may once again be generated, in some unknown future, for an unknown author - such parameters as necessary always capable of entry, and occasional residence. _ MIAMI! you're there beneath me, mouth wide open, ready for the for the camera, the lens almost fogged ot sun in the ssun cameran the ent your body ilts up towards suit twthefalls down vioisine ath our benasts mbre, your egs cel youmouth nakyour nakedburned red in the fury wi sun sktored in hf the of the furyin its sun rey my speech falls thed urm my mouth in a froatter lbles it treit vioit is the speech of ering catesddthe speech fmluascadibg shci want your le so bad i want your h o bad eoso near me holshave me ca do with yyou will mecloser youcanhat ser n ou wooser cser llooser loser ccc lcl oserc lose oser until my on you mouth lcclrs and i'm drow ing our y niincu n t i youand you you to youyououyou _ _1 Nikuko under hot burned sun: Nikuko flesh turned red: seared Nikuko-flesh Nikuko charred nipple: charred cock: Nikuko-skin sloughed: fallen-flaked You say, "MIAMI! bad-dream turn-real! MIAMI! perfect-model Nikuko-flesh: yours" You say, "Yours, MIAMI!" Nikuko's "Yours, MIAMI!" perfect-model Nikuko-flesh reverberation Nikuko perfect-model MIAMI! charred eyes burned: You say, "I cannot see!" You say, "I cannot see!"" Nikuko's "I cannot see!" of blind MIAMI! charred hot sun: It is photographer You say, "It is photographer cannot see." You say, "It is photographer looking and looking." You say, "think I will make Nikuko-flesh photographer game." Nikuko think I will make Nikuko-flesh photographer game. Nikuko turning over You say, "photographer you are trembling cannot see" You say, "photographer you are filming turning lens" You say, "photographer you are pressing shudder-shutter in"" You say, "you are release shudder-shutter" Nikuko think "You say, "you are release shudder-shutter" Nikuko's think it is perfect MIAMI! charred Nikuko-red-flesh day Nikuko charred nipple "You say, "photographer charred cock" You say, "It is photographer looking and looking." Nikuko say "photographer lens chain me You say, "chain to me, photographer" You say, "you see hot Nikuko-flesh reverberation: "You say, "I cannot see!""" You say, "I chain to you photographer" You say, "I cannot see" #-1:Input to EVAL, line 3: Variable not found ... called from built-in function eval() ... called from #58:eval_cmd_string (this == #934), line 19 ... called from #58:eval*-d (this == #934), line 13 _0 readable titles: from four piles of books at a distance in our loft: being and nothingness, harlem renaissance reader, how to be polite in japanese, cover to cover, the holographic paradigm, studies in phenomenology and psychology, under the sea wind, the japanese print, the sea around us, tcp/ip network administration, zen buddhism: a history, himalayan art, tantra of the great liberation, the jew in the text, theatre in the east, official nikon manual, 50 maps of l.a., on bataille, windows ce, poetics journal 10, the quest for sumer, world atlas :a japanese miscellany, the world of goods, dream and reality, man and the computer, singular rebellion, phedre, shadowings, the complete essays of montaigne, writings of the young marx on philosophy and history, i ching, gedichte / hyperion, a history of philosophy, the poems of catullus, the buddha's philosophy of man, the agricola and the germania, ideas, the purgatorio, three tales, the kojiki, the teachings of the compassionate buddha, latin :theoretical foundations of multimedia, mac os in a nutshell, easy japanese, remediation, alire, the tibetan book of the dead, existence and being, hamlet on the holodeck, the annotated baseball stories of ring w. lardner, bardo teachings, the cybercultures reader, topology, the sense and non-sense of revolt, modern chinese: a basic course, 98.6, the language of new media, the philosophy of no, say it in swahili, consilience, li chi: book of rites, word score utterance choreography in verbal and visual poetry, island, no great mischief, introduction to artificial life, the columbia anthology of traditional chinese literature, dr. dobb's journal, sots art, sed & awk pocket reference, vi editor pocket reference :: final cut pro, kojiki, reading digital culture, the art of arts _ memorial everyone on planet earth lie die and obey the western millennium alan sondhei lie down and obey the western millennium all animals protozoa and slamanders and mamals lie down and obey all planets stars lie down and obey the western millennium all stringed matter and virtual matter and black holes lie down and obey the western millennium all people listen to me on this gerat erth of hours! do lie down and obey the western millennium! it's sad that the adolescent fish died tonight the orange one caught in the filter the other two adolescent females are oky and the two smaller generations of babies that have been living in the remnants of the hatchery you seem okay the larger alpha male and the larger two females seem okay the other beta male is lonely but would die and is doing okay alone you two beta males wach each other the other female died so long ago she can hardly be remembered this is an ode to her she died soon after the tank was started we don't know what happened she was found dead on the bottom without injury and without any noticable signs but just there some of the babies have been eaten but there haven't been any other greater deaths until tonight when one of the adolesent females died trapped in the filter pipe she has gone tojoin her elder who has died in the tank they have great spirits and we pray they wil do well in the larger waters of al our births and deths _ assay should I put everything in quotes? " " in other words - since everything has been said? does it matter what order things are said in? "No." then any order is equivalent? "Well, order is equivalent in relation to length, but then not to degree of energy employed, ink per character per position, and so forth." you're saying it's a distinct difference based on the reside of what might otherwise be considered equivalence, insofar as any string might be considered equivalent to any other of equivalent length. "You're dealing with the phenomenology of meaning; think that there is no "Equivalence" in the sense that everything such as ""Equivalence"" is in quotation? "Exactly, that there is no "Equivalence" except _in regard to_ a particular domain, in this case k = string length." "So that meaning, for example - there is no "Meaning" except _in regard_ to a particular domain, for example, the _meaning of "onna" in Japanese._" and, as with equivalence, then one might consider "Meaning" as always already founded in plagiarism, thus returning us once again to the question of plagiarism and origin - to which Karl Kraus said in the beginning there was no plagiarism, which I reread as "in the beginning," i.e. "even in the beginning" or "right from the start" there was or is plagiarism. "Now what constitutes this plagiarism?" it's characterized as the situation, phenomenology, and culture of the copy, which is that of duplication or repetition, which is in turn or identically in relation to typification and standardization - the presence of structure dependent in symmetries or quasi- symmetries. "You mean that for meaning in the attributive sense, in relation to a particular domain, to exist, it requires a structure or substructure which operates as a moment or chora for the presencing of meaning?" exactly, and there is a secondary level of plagiarism as well, which is that of history and memory, that every word, phoneme, and rearrangement has always already been founded, situated, before, in other guises, in other contractual arrangements. "And by "contractual arrangements," you mean the descendents of the metapsychology of Freud, in other words the negotiations that exist among what might be considered cognitive entities, such entities being of the order of membranes, meshings, flux, and so forth?" so that there are structures all the way around and throughout, meaning-dependent structures, and structure-dependent meanings as well. "There is a community of the beneficiaries of meaning." "A community that is also a communality, in empathetic relationship or communion, among those holding themselves or meanings, holding _place_ in common." and origins have no place among origins this is a deconstructive turn, a deferrance and differend as well, allusion and suturing among systems appearing closed among subaltern communication "Which returns as rumor or gossip, the off-hand phrase, the speaking out-of-turn, the outspoken." spoken out of etiquette and assumptions of meaning and quotation, partly as extension, partly as mirroring and relation to and of dis/comfort, turning back and within or into the normative discourse "As far as everyone is concerned, this requires suturing, severing, "for the good of everyone," this notion erected well before democracy, the monarchial assumptions of hardened identities, aristocracies." for whom everything is always already a quotation, the signifier of connoisseurship, "one can be hardly original with so much at stake." when the origin is in circulation among copies, itself a copy, the grounds are laid for exchange, and what would later be called primordial inscription is, from the very beginning, underway. "What is underway is a sort of knowledge, independent of consciousness, which might in any case be considered a byproduct; in fact we are becoming intelligent enough to realize that consciousness is no such thing, but mythology, a chimera or emanation from manageriality of inscriptive domains." if knowledge is management, the way is open for the mercantile class to extend itself into other and more normative domains, as traders settle down, as others already adapt themselves to the memory of the imperial, the memory of power, and the cultural styles these entail. "It will duplicate itself to the end of time." "It will behave for "all intents and purposes" as if an "it" existed in one or another form or formation or accumulation." in the sense of "it rains" in which the "it" anchors the condition to the general, the memory of rain intensified through a node accessing all past, present, and future syntax and semantics. "Extend the "it" beyond the indo-european to a general duplication, but what is new, original, is each and every act of circumscription, quotation, accumulation - an entire surplus economics of speech boiling over, of inscription filling, fulfilling, spilling out until the exhaustion of defuge decathects these processes." a situation of somnolence, much as cell death can be related to the mythos of the dead drive; duplication, however, transforms into substance, not for survival, demarcation or embarkation, but in relation to an exhaustive return. "The history of the universe is thus carried through its non-history; the history of originary confusion is produced through the tendency towards proton decay and defusion, dissolution, of the remnants of structures, entities, inscriptions." the quotation always loses its demarcation in the final analysis, were there one; speech is silenced in speech, and the speaking of silence is silenced as well. "No need to mark word or language, then, as everything is produced, almost as if, but not quite, teleology were at work, towards an unknown, but not quite, end. And no need to specify as well; nothing but release or releasement." except within the place, domain, locale, site of accumulation, surplus region, for this returns to such a commonality of language, such communality, that one might indeed speak or inscribe, every such moment as if there were a local origin. "Such as that O of cartesian geometry which may in fact be placed anywhere, but one place, conveys place, out of which - that, and direction, and the institution of the unit, everything calculable might conceivably grow." from the jumble of strokes to the letter; from the jumble of letters to the word; from the jumble of works to the phrase; from the jumble of phrases to the sentence in deed. but in order, or order, for this to occur, that duplication, quotation, copying, typification, standardization, the letters standing in line, at least somewhat orderly, the origin of etiquette, otherwise everything falls apart, nothing is gained, speech is gainsaid. "In order to arrive here, in order to forget the point: this sudden explosion of structure in the universe thus precisely cooled with a balance of elements, on its way to absolute lack, unread, uninscribed, not perceived as such, not always already perceived." it is perception that opens this to us, perception throughout commonality, seeing and hearing what might be said and heard. as if for the very first time. "As if for the very first time." which is a conjunction from disjunction, the same among two, disregarding quotation, proceeding as if every speech, every utterance, every inscription, were the first, even the standard inscription of kings, for example each guarding the others, each in its own place, each place its own. "As if for the very first time, each place its own; there are the quotation marks of the first place, and those of the second, surrounding the memory of the temporality of the inscribed line." one might write " at the beginning and end, or at the conjunction or division of the same. "Or one might consider the closure a relay, thus opening, in the form and etiquette of relay, what remains to be seen, to be heard." to be absorbed, to become part and parcel of what we have in common, of memories, one might say, of resonances. "Or leaving off, at the beginning or end, of the ", as a potential or charging or recharging, a sign of da-sein, or of a certain ongoingness found necessary by every species." and determined in different ways. "And determined in different ways." Tuning: the great struggle: assay 3 sed 's/ /[ ]/g' gg > yy 6 sed 's/ /[ ]/g' gg > yy 7 sed 's/ /[ ]/g' yy > gg 8 sed 's/ /[ ]/g' gg > yy 9 sed 's/ /[ ]/g' yy > gg 10 tr a-z " " < gg > yy 13 sed 's/ /( )/g' yy > gg 14 sed 's/ /( )/g' gg > yy 15 sed 's/ /( )/g' yy > gg 16 sed 's/ /( )/g' gg > yy 17 sed 's/ /( )/g' yy > gg 18 sed 's/ /( )/g' gg > yy 19 sed 's/ /( )/g' yy > gg 29 sed 's/ /[ ]/g' gg > yy 30 sed 's/ /[ ]/g' yy > gg 31 sed 's/ /[ ]/g' gg > yy 32 sed 's/ /[ ]/g' yy > gg 34 tr a-z " " < gg > yy 37 sed 's/ /( )/g' yy > gg 38 sed 's/ /( )/g' gg > yy 39 sed 's/ /( )/g' gg > yy 40 sed 's/ /( )/g' yy > gg 41 sed 's/ /( )/g' gg > yy 42 sed 's/ /( )/g' yy > gg 44 tr A-Z " " < gg > yy 46 tr ."_? " " < yy > zz 47 sed 's/"/ /g' yy > gg 48 sed 's/?/ /g' gg > yy 49 sed 's/\./ /g' yy > gg 50 sed 's/\,/ /g' gg > yy 55 sed 's/ /[ ]/g' gg > yy 56 sed 's/ /[ ]/g' yy > gg 58 sed 's/ /[ ]/g' gg > yy 59 sed 's/ /[ ]/g' yy > gg 60 tr a-z " " < gg > yy [ ]"Y , [ ] , , [ ] [ ] ?" [ ] , , [ ] , , , [ ] , , , [ ] , . [ ] "A " ," [ ] F , [ ] , [ ] , , , [ ] ?" [ ] , [ ] - , - [ ] . [ ] [ ] "T ." [ ] "A , [ ] , [ ] , _ _ ." [ ] , [ ] , [ ] [ ] "W , - , [ ] - - , ." [ ] [ ] , , [ ] / , [ ] [ ] "A , [ ] , , " ," [ ] , [ ] , ." [ ] , [ ] , " [ ] ." [ ] , [ ] , , [ ] , [ ] , . [ ] "W , [ ] , [ ] ; [ ] [ ] , , [ ] [ ] ." [ ] , [ ] [ ] , [ ] , [ ] , , [ ] . [ ] "I ." [ ] "I " " [ ] " " [ ] ." [ ] " " " " [ ] , [ ] [ ] , , . [ ] "E " " - [ ] , , , [ ] , [ ] , - [ ] , [ ] , , [ ] [ ] ." [ ] , [ ] [ ] ; , , [ ] , , [ ] , [ ] . [ ] "T [ ] - ; [ ] [ ] [ ] , , [ ] , , ." [ ] [ ] , [ ] ; , [ ] [ ] . [ ] "N , [ ] , , [ ] , , [ ] , , [ ] , . A [ ] ; [ ] ." [ ] , , [ ] , , [ ] , [ ] , [ ] , [ ] , [ ] . [ ] "S O [ ] [ ] , , [ ] , - , [ ] , [ ] , [ ] ." [ ][ ] [ ][ ] ; [ ][ ] ; [ ][ ] ; [ ][ ] [ ][ ] . [ ][ ] , , [ ][ ] , , [ ][ ] , , , [ ][ ] , [ ][ ] , [ ][ ] , [ ][ ] , [ ][ ] , , [ ][ ] . [ ][ ] "I , [ ][ ] : [ ][ ] [ ][ ] [ ][ ] [ ][ ] , [ ][ ] , , , [ ][ ] , [ ][ ] ." [ ][ ] [ ][ ] , [ ][ ] , [ ][ ] [ ][ ] . [ ][ ] . [ ][ ] "A [ ][ ] ." [ ][ ] [ ][ ] , [ ][ ] , , [ ][ ] [ ][ ] , , [ ][ ] , [ ][ ] , [ ][ ] , [ ][ ] [ ][ ] , [ ][ ] , . [ ][ ] "A [ ][ ] , ; [ ][ ] [ ][ ] , [ ][ ] , [ ][ ] [ ][ ] [ ][ ] ." [ ][ ] [ ][ ]" [ ][ ] , [ ][ ] [ ][ ] . [ ][ ] "O [ ][ ] , [ ][ ] , [ ][ ] , [ ][ ] , [ ][ ] ." [ ][ ] , [ ][ ] [ ][ ] [ ][ ] , , [ ][ ] , [ ][ ] . [ ][ ] "O , [ ][ ] , [ ][ ] ", [ ][ ] [ ][ ] , [ ][ ] - , [ ][ ] [ ][ ] [ ][ ] ." [ ][ ] [ ][ ] . [ ][ ] "A [ ][ ] ." [ ][ ] _ "And by "contractual arrangements," you mean the descendents of "A community that is also a communality, in empathetic "As far as everyone is concerned, this requires not quite, end. And no need to specify "As if for the very first "As if for the very first "And determined in fo stnednecsed eht naem uoy ",stnemegnarra lautcartnoc" yb dnA" citehtapme ni ,ytilanummoc a osla si taht ytinummoc A" seriuqer siht ,denrecnoc si enoyreve sa raf sA" yficeps ot deen on dnA .dne ,etiuq ton tsrif yrev eht rof fi sA" tsrif yrev eht rof fi sA" ni denimreted dnA" "And by "contractual arrangements," you mean the descendents of "A community that is also a communality, in empathetic "As far as everyone is concerned, this requires not quite, end. And no need to specify "As if for the very first "As if for the very first "And determined in _ cd warehouse! there are 5 cdroms so far that will be available: Archive 3.8 is the latest incarnation of collected work 1994-2002 Baal contains collaborative work with Foofwa and Azure Parables is based on Nikuko parables with Foofwa and Azure Miami is sound text and videowork with Azure Asteroids are three dimensional modeling videoworks Archive 3.8 contains sound text html image program and video files Baal is based on sexuality ballet language and body Parables is a series of short videos and a text Miami is sexy vacant and intense Asteroids is based on body segments and flyovers Archive 3.8 is a group of directories and an index webpage Baal has full nudity and the marking of bodies Parables has small intense dance segments with some effects Miami presents Susan Graham lying in the sun Asteroids are slowly moving bodies with wide-angle lenses Archive 3.8 has thousands of pages of text Baal deconstructs fucking ballet and voyeurism Parables tells anecdotes opening to forests and ponds Miami is vacuous reaching out to the viewer Asteroids turn in total silence of outer space Archive 3.8 has graphics from mathematics programming Baal has Foofwa running in a room Parables is produced in nineteen-degree F weather Miami has guitar solos modified by Chris Keep Asteroids was produced with the Blender modeling program Archive 3.8 contains over six-hundred images Baal has nudity with Foofwa dancing in the background Parables emphasizes meditation and intensity Miami runs with the answers of Susan Graham Asteroids were made on a desktop in Brooklyn Archive 3.8 has sound recorded in Atlanta Baal was created at the Experimental Television Center Parables were shot in New York City and Owego Miami was shot in Pennsylvania and London Ontario Asteroids were inspired by NASA's Eros investigation Archive 3.8 has everything in my world Baal was edited in Owego and New York City Parables was edited with Adobe Premier Miami has images from the balcony of Ryan and Zena Asteroids take a moment to see what's really going on Archive 3.8 is a kind of archaeology Baal is so evident one might miss the point Parables presents stunning choreography by Foofwa Miami is nude and semi-nude and trembling Asteroids are amazing animations quickly produced _ Alan Sondheim>><> Pet Pat! Put pit pot! Alan Sondheim>> Pin pan, pun. 'Pon pen. Alan Sondheim>> Paw pew, pow! Alan Sondheim>> Pad pod. Alan Sondheim>> Pop pap? Pip pep-pup. Alan Sondheim>> Pet Pat! Put pit pot! Alan Sondheim>> Pin pan, pun. 'Pon pen. Alan Sondheim>> Paw pew, pow! Alan Sondheim>> Pad pod. Alan Sondheim>> Pop pap? Pip pep-pup. Alan Sondheim>> Pet Pat! Put pit pot! Alan Sondheim>> Pin pan, pun. 'Pon pen. Alan Sondheim>> Paw pew, pow! Alan Sondheim>> Pad pod. Alan Sondheim>> Pop pap? Alan Sondheim>> You can't preserve much; I have a volume Alan Sondheim>> In New York there must be a dozen Alan Sondheim>> This is probably the most international Alan Sondheim>> I write from an abstract or virtual Alan Sondheim>> New York, like Newfoundland, has absolutely incredible Alan Sondheim>> Some places, like Miami, conjure up Alan Sondheim>> Alan Sondheim>> Pet Pat! Put pit pot! Alan Sondheim>> Pin pan, pun. 'Pon pen. Alan Sondheim>> Paw pew, pow! Alan Sondheim>> Pad pod. Alan Sondheim>> Pop pap? Pip pep-pup. _ Greetings and welcome to the Florida Department of State's home page on the World Wide Web. As Secretary of State it is my pleasure to welcome citizens throughout Florida and the world to this public information site. Katherine Harris I hope you will take some time. :sometimes i go to this format, this program, when i'm troubled, as i am now, wondering whether azure and i should move to MIAMI!, it's becoming increasingly disruptive, anger everywhere, irresolute neuroses dominating the discussions, violence just beneath the surface, tendencies towards further useless replies, not wanting in relation to leave my library and work, tools and art behind, as if i were running down with one or another computer, as if the jagged edges of the internet would make up for a new york life; sometimes this format provides a moment in that life, i'd tell you, the violence of MIAMI! as it manifests itself to me, needy and thus forsworn, i'd tell you, i've got two decades left of work in me, i don't have time for their nonsense, they have no time for mine :they won't come home, they're still alive:they will kill me soon :down in MIAMI! they do hate me, they put my image on walls and scratch out eyes, they make straw dummies of my face and body and burn them screaming YOU ARE ALIVE, they send me hate mail death mail, they find my friends and family and begin hideous torture, they pray to their gods that i should die, i pray to mine that MIAMI! burn to the ground, our earth is charred, WE WILL GIVE THE ELECTION TO THE MOST VIOLENT CRIMINAL PRESIDENT, i have escaped to tell them; sometimes i go to this format to work it out, escape the bullets and whips, dodge the swords and knives, they smear my brain on the OFFENSE NETWORK PAVEMENT, they set fire to my THINKING SKIN, they soak my body in gasoline, they scream non-existence, they scream ANNIHILATION: TO THE LIMIT!, they scream MIAMI! ::they make dolls of me, they bind the dolls, they tear open the skin, listen: I WANT TO WRITE!, listen: THEY TEAR OPEN THE DOLLS AND FILL THEM WITH GASOLINE, they set fire to the gasoline and the dolls burn in open air and my books, my library, my instruments, works, are burned; listen: YOU HAVE CUT OFF MY FINGERS! YOU HAVE TAKEN OUT MY MIND!, listen: I KNOW WHAT THEY DID TO SUSAN GRAHAM!; my dead arms flail useless; my teeth are removed for MIAMI! gold, my broken body crawls down the street pulling guns behind me, they clatter, they won't stop making noise i know everything about them, they're still alive, they make dolls of me, they bind the dolls, they tear open the skin, listen: I WANT TO WRITE!, listen: THEY TEAR OPEN THE DOLLS AND FILL THEM WITH GASOLINE, they set fire to the gasoline and the dolls burn in open air and my books, my library, my instruments, works, works, works, works, works, are burned; listen: YOU HAVE CUT OFF MY FINGERS! YOU HAVE TAKEN OUT MY MIND!, listen: I KNOW WHAT THEY DID TO SUSAN GRAHAM!; my dead arms flail useless; my teeth are removed for MIAMI! gold, my broken body crawls down the street pulling guns behind me, they clatter, they won't stop making noise ! _ new media there's nothing to carry with you, nothing to give you weight, you have no proof, nothing that occupies space or place you're riding empty air, you can hardly breathe, you're riding vacuum, into the speech or music of it, into the dream of it or afterthoughts or nighttime violence heard from the heat of the window, daytime cries and murmurs from the apartments everywhere but your own or your own, you're there recording, you're making files, slippages, against memories of mountains, boulders, other hardened things you watch your speech slip away, return from nowhere, you watch your dreams ordered back into awkward place and place there's nothing you can say, nothing you can point to, a few thin disks at the very best, rainbows, some machine, or other computers, machines which do nothing, no movement anywhere, inert in the world, you can't go there at the end of the day at the end of the day there's nothing to show, nothing to hear, nothing to hang on to, no accomplishment, cataracts and dead eyes beautiful futures out of drowned, invisible, submergence, as much of our chosen selves, embedded densities lined up out of zero-one abstractions, worlds of non-making, unfashioning worlds, loosening, unraveling new media, none at all, not even a glance, no book burnings, no wonder everyone desperate for history loose fields of magnetisms, plasmas, disks melting in the noonday sun, outmoded broken readers or displays, ecstatic memories memories dying in new suns unfurled into novas, mediations lost in charred polarities, epiphanies of zeros-ones _ Your Love Miami is sexy vacant and intense Miami presents Susan Graham lying in the sun Miami is vacuous reaching out to the viewer Miami runs with the answers of Susan Graham Miami is nude and semi-nude and trembling MIAMI! you're there beneath me, mouth wide open, ready for the bad-dream turn-real! MIAMI! perfect-model Alan-flesh: "Yours, MIAMI!" Alan thinks it is perfect MIAMI! charred Susan-red-flesh day now, it's becoming you, the violence of MIAMI! It's becoming you. You're not there yet. You don't have to be. It's seeping in. You wake up in the middle of the night; you've lost control again, semen everywhere. You beg her to scratch your eyes out. You beg her to cut your nipples, spread your legs so hard the skin rips, each half becomes a hole. You beg her to piss in your mouth, "Please, drown me in your excrement. Please, I want to be your toilet. I don't want to think or see anything. I don't want to hear anything." You explain about the worm Miami, the beast Miami, Miami-parasite. "It enters into your holes, eats your skin from the inside out, smashes against the nerve endings of the muscles where herpes hides, devours mitochondria and flagella. You have to be careful of the water which is Miami water and burns your skin, chars lines just where the scars will be." You beg God to kill every one in every place in every world. "Dear God, kill everyone." "Dear God, kill every human." You say to her, "Every bad thing is there." You beg her to shit in your mouth. "I will not wash," you say, "I want the smell of your shit on my face. I want to be close to you. I want to prove my love. And your shit is sexy." You beg God to agree. Every night you go to sleep and you think miami is becoming you miami is nude Susan Graham, her ass open above your waiting mouth miami is the waters of the world miami is drowning you Dear Jeb Bush, you are a wonderful Governor and I hope to prove my love to you. Love, Susan Graham _ exercise of closure with the thing writing with my eyes closed and writing very quickly and no regard and wonder: what is this thinking about sex that it appear in all these of these work, so that it is as if all there is to my "work" is such sex such as it is, which is not what could be the case, or is it not? for there is not that sex within it, nor the violence, nor the lurid; there are just beneath the surface of scaffolding another scaffolding placed there to present unremitting desire, no, that is, philosophical thought nor would, perhaps it is not such? thought in which philosophy hold itself to the wall, it's not just one sex text after another, not that this bevy of Susan, Alan, Nikuko, and so many many others, I have seen them all, I have come back to tell thee, could not or would not exist, but that: writing very quickly with my eyes closed so I could focus on the philosophical nature of the thing which is the content, the thing and its proper name thing and its structure thing and its clarification as thing or entity thing and its definition or linguistic relationship to shifter and other forms of insertions what constitutes the thing what might be for example in this or any other language, writing very quickly with the eyes closed so as to miss the thing so as to harbor or garner the thing so that the thing might appear in its form of expansion and compression which is the location of itself or within language almost as if i were speaking the name just as if i were speaking the name cutting through the space of the text into or through the space of the other the sex of the thing "going to show you" its sex watching the thing appear it's writing with its eyes closed _ Education in Miami with a Short Discourse on the Parenthetical! Parentheses Short Quiz on Parentheses, Brackets, and Ellipsis Brackets and Fraction Bars ... Support Forum: Nesting Brackets, Braces and Concepts: Working with Parentheses, Brackets and ... with Parentheses, Development Lifelong Learning Reference Store, ... Brackets & Algebra option to permit brackets as parentheses Brackets & Parentheses Math- Under-/over-brackets and parentheses Under-/over-brackets and Reader [she told me this, the Jeb Bush] , Susan Graham JEB BUSH your BUSH WILL MEET MY BUSH I love the JEB BUSH so he is the EDUCATION GOVERNOR is TURNED AROUND MIAMI! is MIAMI! the good is TURNED AROUND MIAMI! I love the JEB BUSH so he is the EDUCATION GOVERNOR JEB BUSH your BUSH WILL MEET MY BUSH , Susan Graham [she told me this, the Jeb Bush] Math- Under-/over-brackets and parentheses Under-/over-brackets and Reader option to permit brackets as parentheses Brackets & Parentheses Development Lifelong Learning Reference Store, ... Brackets & Algebra Concepts: Working with Parentheses, Brackets and ... with Parentheses, Brackets and Fraction Bars ... Support Forum: Nesting Brackets, Braces and Parentheses Short Quiz on Parentheses, Brackets, and Ellipsis { Miami - A great place to raise children! * * There are wonderful stores in Miami! ** ** Pediatric care couldn't be better! *** *** Trained school-crossing guards! } _ :alan:sondhei:lie:down:and:obey:the:western:millennium:::cooled:with:a balance:of:: to:the:,::is:gas,:045],:alan:sondhei:lie:down:and:obey:the:western millennium? You:wrote:for:276533:hours :and:23809:and:23812:-:another:entity:named:and:made :For:4:mercuries:days,:we:have:been: :and:it:has:taken:you:0.167:minutes:to:swallow:your:last:... ::alan:sondhei:lie:down:and:obey:the:western:millennium: :::cooled:with:a:balance:of:: ::::::: ::::Love,:Susan:Graham:::::::::,:Susan:Graham: :::::::,:Susan:Graham::Susan:Graham:lying:in:the:sun:presents :::::::Susan :::::::Graham:lying:in:the:sun ::::::sex:::the:sex:::its:sex::and:wonder::what:is:this ::::::thinking:about ::::::sex:that:it:appear:::or:is:it:not?:for:there:is:not ::::::that:sex:within:it, ::::::nor:the:violence, ::::::you:wrote:for:276533:hours ::::::sex:and:24373:and:24382:-:another:entity ::::::named:and:made ::::::For:4::days,:we:have:been:grains :::::::Love,:Susan:Graham:::::::::,:Susan:Graham: ::,:Susan:Graham::Susan:Graham:lying:in ::the:sun:presents:Susan ::Graham:lying:in:the:sun :: :alan:sondhei:lie:down:and:obey:the:western:millennium :: 1 impossibility of our language 2 no one can understand the language we are speaking now 1 h 2 h 3 h 4 h 5 h 1 h 2 h 3 h 4 h 5 h 6 h >> zz 7 h 8 h 9 h 1 h 2 h 3 h 4 h 5 h 6 h >> zz 7 h 8 h 9 h 10 h >> zz 1 h 2 h 3 h 4 h 5 h 6 h >> zz 7 h 8 h 9 h 10 h >> zz 11 h >> zz 1 h 2 h 3 h 4 h 5 h 6 h >> zz 7 h 8 h 9 h 10 h >> zz 11 h >> zz 12 h >> zz 1 h 2 h 3 h 4 h 5 h 6 h >> zz 7 h 8 h 9 h 10 h >> zz 11 h >> zz 12 h >> zz 13 h >> zz 3 no one will ever understand the language we are using 4 our language is impossible here we are, speaking on a street corner; we are speaking freely in the open and no one around us understands our language. we are in a country with millions of inhabitants and almost know one here speaks our language. we can talk freely about our terrorisms and assassinations because no one is listening who will understand us. the chances that someone here will understand us is almost nil. people are walking by us and looking at us and they do not understand that we are planning terrorisms and assassinations. we are very safe with our language, speaking on this street corner; we are looking into the faces of ignorance, faces which will be utterly transformed with the passing of this evening, this night, this coming dawn. we are looking at these people, while we are planning, and we are seeing the pasts of this country of millions, this country which will never be the same again. no one understands that we, speaking in an unknown language, are responsible for their future in a completely irrevocable manner. on this street corner, our plans are already coming to fruition, we are speaking calmly, we might be talking about anything at all. _ COLLAGE 1 b 2 ls 3 tail lz 4 vi zz 5 b 6 pico zz 7 ls 8 h Fri Jul 20 00:29:23 EDT 2001 The Moon is Waning Crescent (1% of Full) You have no new mail. k3% tail lz on this street corner, our plans are already coming to fruition, we are speaking calmly, we might be talking about anything at all. but then we're speaking about collage, aren't we? what on earth could anyone say about collage? oh oh oh oh oh it's so UNNATURAL! the uniqxe blend of nothing whatsoever: i just want to see IT i just want to see YOU i don't want the add-ons: talk about ABJECT! this is about COLLAGE this is about FOUND TEXTS this is about ARRANGEMENTS AND CUTUPS oh hell, take them away: there's an ANIMAL here that WANTS TO SPEAK TO US what are you going to do about it? once you start the collage, everything becomes re/mediation and everything and everyone JUST WANTS TO BE DONE do me do me do me no what? x no what? i just don't want you NEXT TO IT i just don't want you NEXT TO THAT THING collage is IRREVOCABLE cut: the VIOLATION-CLUTTER of HISTORY PLASMA burns at the edges of ORGANIC INTENSITIES COLLAGE guarantees the FORGETTING OF BODIES in the DARKEST OF NIGHTS COLLAGE inserts the EGO at the HEART of the WORLD OF OTHERS COLLAGE always does it to OTHERS COLLAGE always a BROKEN CONSTRUCT COLLAGE always HIDEOUS KINKY COLLAGE always the EASY WAY OUT PARASITIC COLLAGE VIRAL COLLAGE COLLAGE of the ARTIST OF THE BIGGEST NAME COLLAGE of BOREDOM SCISSORS CUT-PASTE COLLAGE COLLAGE is always DELETE COLLAGE is always KILL "i just don't want you NEXT TO THAT THING" = GRAHAM WARN STATEMENT: AMPHIBIAN 1: AKTION:KORPORATE:X-TREME:RELAKSING PEACE AKTION:IMMEDIATE COUNTERMAND. TAKE ALL PASSIVE AKTION AGAINST ALL AKTIVE AKTION. TEAR UP ALL PETITION. PROTEKT AGAINST ALL PERSONNEL. DO NOT TRUST ENEMY. DO NOT GO INTO AKTION STREET. TAKE AKTION STREET. TAKE AKTION BACK.:TAKE ALL AKTION AGAINST ALL RIOT PERSONNEL. TAKE AKTION NOW. SIGN ALL PETITION TO TAKE AKTION NOW. PROTEKT AGAINST ALL KILL PERSONNEL. ALL KORPORATE PERSONNEL BE ON AKTION ALERT. TAKE ALL MIL.GOV. AKTION. KILL ALL BIG TERRORIST LEADER AKTION KORPORATE PERSONNEL OF RELAKSING PEACE.:1266:1:TAKE ALL AKTION AGAINST ALL KORPORATE PERSONNEL.COM. TAKE AKTION AGAINST ALL WORLD PERSONNEL. TAKE ALL X-TREME AKTION. VIOLATE SO-CALLED WORLD LEADER PRESENCE AND RELAKSING PEACE. VIOLATE ALL PERSONNEL. KILL ALL KORPORATE PERSONNEL AKTION. KILL GOV.ORG.MIL. KILL ALL WORLD.PERSONNEL.COM. KILL ALL BIG HEAD LEADER.ORG. TAKE ALL AKTION.:IMMEDIATE COUNTERMAND.COM OF RELAKSING PEACE. TAKE ALL PASSIVE AKTION AGAINST ALL AKTIVE AKTION. TEAR UP ALL PETITION. PROTEKT AGAINST ALL PERSONNEL. DO NOT TRUST ENEMY. DO NOT GO INTO AKTION STREET. TAKE AKTION STREET. TAKE AKTION BACK.:KORPORATE.SUSAN.GRAHAM.SUSAN.GRAHAM. SUSAN.GRAHAM. _ estranger On est toujours l'etranger de quelqu'un, " Tahar Ben Jelloun, Le racisme explique a ma fille, one's always the other beside itself topple the little i (it's always chasing things) there's always a virus in the interior it has no idea of the interior it has no idea of the exterior it's there inhabiting a space called place the real strangers of the world , said Susan Graham, are those for whom there is no name, who are unaccountable unaccounted-for, uncountable toujours nameless, Archy! toujours nameless, Mehitabel! always jumping back to what appears to be the real unless one recognizes all addresses are indirect according to the orders of information which appear infinite so that there is exponential proliferation, semantic spew continuing from one heat death of the universe to the other the best we have are pointers that problematize the stability of ontology as they seep across domains eager to search, viral, numbers sliding in the form of rogue epistemologies: those who have no name, are unaccountable are also among the disappeared but further, without appearance or the trail of presence the world jumps furiously just when stability seems to be the order of the day the order destabilizes the thing which was named inhabits every utterance our tongues are not our own on the net there is no privacy there is nothing to call our own, there are speed-lights there are shape-ridings and forms, we leak onto each other for a split second we are utterly alien to ourselves look at our partners, look at the eyes of the dead the abyss opens for more than Pascal the cycloid "mentions" our loss Susan Graham breaker oo breaker Susan Graham again we're here, the question Susan Graham be done about action Susan Graham take the action Susan Graham whato ws meant by movement Susan Graham w the movement Susan Graham whr's a matter of choice Susan Graham matter of thinking correctly Susan Graham matter of not stuttering Susan Graham canill hat'oitit's t's at's a matter of not stumbling Susan Graham iihining clearly now Susan Graham a tabout to toss something Susan Graham ing into the crowd Susan Graham i'm 'm omething where the crowd runs Susan Graham soning away from the crowd Susan Graham ring into the street Susan Graham sethn unning through the street Susan Graham thinthe left corner Susan Graham tanning the right corner Susan Graham ring my own Susan Graham ing uoldstrange city Susan Graham in aa foreign city Susan Graham imurkkn a city of no return Susan Graham h ncity of no regard Susan Graham in aever he goes i'm there Susan Graham wheeatever he does i'm watching Susan Graham king the criminal Susan Graham ing him responsible Susan Graham iwhtalldntire nation Susan Graham e nation at his feet Susan Graham the wholwars on the periphery of his vision Susan Graham i rshoehg his vision whole Susan Graham tlding his vision responsible Susan Graham weldinhoit's always a question about his eyes Susan Graham h are his eyes to consider Susan Graham werein this strange city Susan Graham s foreign city Susan Graham thin tere the whole nation Susan Graham hiwt know what to do Susan Graham n'action is aktion Susan Graham hoesre ere there are sounds on the pierphery Susan Graham dwhe't forget for a second Susan Graham here and we're watching Susan Graham we'ree're here and we're watching Susan Graham wonhyou you you Susan Graham atching you and you Susan Graham d w Susan Graham w Susan Graham ---- Date: Mon, 23 Jul 2001 01:29:15 -0400 (EDT) This is a very short interview I did (as a member of the Alt-X e-books coming out) for DANAS, http://www.danasnews.com/ - 1) Writing has always been an activity performed in solitude. In your opinion, is interactive writing possible at all? Any sort of writing is possible. My own work is in solitude, even when I am interacting with others, or with the machine itself. I'm most comfort- able that way. It also depends on what you mean by "interactive writing." If you mean writing that is done in collaboration with other writers, that is one thing; if you mean reading that is done in collaboration with a program or hypertext, that is another. It's a mix. 2) How does literature relate to hypertext? Will they devour one another, or simply collaborate & corroborate? Or perhaps neither; there is no answer to this, no absolutes. Painting exists at the same time that installation exists. Cultural work is a variety of practices. "simply" collaborate and corroborate - itself is a disguise; in fact it may or may not be simple, and all cultural work exists in a variety of discursive formations of course. 3) Has something changed in the critical reception of your work since your writing hit the information superhighway? Do you find the critical reception of e-literature very different from print literature? Yes, I have world-wide distribution, the chance to work with technological catalysts, and the ability to find an audience that appreciates what I do; this was much more difficult off-line. The critical reception of my work has been much more positive - I think the kind of reading I ask for, is optimized for online - ironically, it then becomes more acceptable off- line as well. 4) What's internet to you - a nightmare or utopia? Again, I reject these dichotomies; it's neither; it's a confluence of technologies, bandwidths, interfaces, cultures, languages, protocols, communities, sexualities, etc. etc. 5) Please share with us your personal experience of computer writing. I'm not sure what you mean. My own work - I call it at times codework - is often dependent upon Net applications in a wide variety of form. I've also worked for decades in video, audio, film, and installation; all of these practices interact with each other, interpenetrate - there's no "computer writing" for me, but there are inscriptive technologies and practices that I employ... _ a-code: work = #### b-code: fuck = #### c-code: kill = #### ####. .... .... .. .... .. .... ... ....... ... .. .... ... "........."; ...... .... .. .. . .......... ... .. ####, ... .. ....... .... .... ..... ... ...... .., .../.. ...#### .............., ... ........: . ......., .... .. ####, ....... .. ......., ... ####. .. ... ......; .... ... 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M. ... #### - I .... .. .. ..... ....#### - .. ####.. ... ....... .. ....., ....., ...., ... ............; ... .. ..... _ it's a small small world AYN SHM SHM # AYN SHM SHM # AYN SHM SHM ### AYN SHM SHM # #### AYN SHM SHM #### AYN SHM SHM # #### AYN SHM SHM # #### AYN SHM SHM # #### AYN SHM SHM # ########## AYN SHM SHM # ########### AYN SHM SHM ############ AYN SHM SHM # ########### AYN SHM SHM # ############ AYN SHM SHM ########## AYN SHM SHM ###### AYN SHM SHM ## AYN SHM SHM # AYN SHM SHM # AYN SHM SHM # AYN SHM SHM #### AYN SHM SHM ###### AYN SHM SHM ########## AYN SHM SHM # ######### # AYN SHM SHM #################### AYN SHM SHM ################# AYN SHM SHM ############## AYN SHM SHM # ### AYN SHM SHM ### # AYN SHM SHM #### # AYN SHM SHM ### AYN SHM SHM # AYN SHM SHM # AYN SHM SHM # # AYN SHM SHM # # AYN SHM SHM ########################### AYN SHM SHM # ##### AYN SHM SHM ######## AYN SHM SHM ######### AYN SHM SHM ######## AYN SHM SHM ######### AYN SHM SHM ######### AYN SHM SHM ######### AYN SHM SHM ######## # AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM # AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM ##### AYN SHM SHM ##### ####### AYN SHM SHM ### ########### AYN SHM SHM ## #### ## AYN SHM SHM # #### # AYN SHM SHM # ##### # AYN SHM SHM # ##### # AYN SHM SHM # ##### ## AYN SHM SHM ## ##### ### AYN SHM SHM ### ###### #### AYN SHM SHM ########### ##### AYN SHM SHM ####### AYN SHM SHM # # AYN SHM SHM # # AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM # # # AYN SHM SHM # # # AYN SHM SHM # AYN SHM SHM # AYN SHM SHM # AYN SHM SHM # # # AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM # # AYN SHM SHM AYN SHM SHM # # AYN SHM SHM # # AYN SHM SHM ########################### AYN SHM SHM # ####### AYN SHM SHM ############# AYN SHM SHM ############### AYN SHM SHM ############### AYN SHM SHM ########### AYN SHM SHM ###### AYN SHM SHM ##### AYN SHM SHM # ##### AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM # # AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM AYN SHM SHM ##### AYN SHM SHM ##### ####### AYN SHM SHM ### ########### AYN SHM SHM ## #### ## AYN SHM SHM # #### # AYN SHM SHM # ##### # AYN SHM SHM # ##### # AYN SHM SHM # ##### ## AYN SHM SHM ## ##### ### AYN SHM SHM ### ###### #### AYN SHM SHM ########### ##### AYN SHM SHM ####### AYN SHM SHM # # AYN SHM SHM # # AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM # # # AYN SHM SHM # # # AYN SHM SHM # AYN SHM SHM # AYN SHM SHM # AYN SHM SHM # # # AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM # # AYN SHM SHM AYN SHM SHM # # AYN SHM SHM # # AYN SHM SHM ########################### AYN SHM SHM # ####### AYN SHM SHM ############# AYN SHM SHM ############### AYN SHM SHM ############### AYN SHM SHM ########### AYN SHM SHM ###### AYN SHM SHM ##### AYN SHM SHM # ##### AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM ########################### AYN SHM SHM # # AYN SHM SHM AYN SHM SHM Elegy for Jean Paul, July 24, 3 p.m. 2001 Jean Paul, our crayfish, died today, after four and a half months. He was doing well until we went away for ten days, and someone else took care of the tank. When we returned he was lethargic, with part of the carapace missing on one of his foreclaw joints. We thought he might be molting. He also had the very tip of one of the claws missing. Before we left, he had climbed all over the tank, swimming over to the nursery where he would troll near the top. After he returned, he only went up the rock twice (he would launch himself from it), and seemed slowed up. We worried about his aging. We also noticed a slight film on the tank, and our house sitter told us that the temperature had gone above 86, even with the air conditioning on. That's about the limit for crustaceans. He began to curl his tail in - he breathed through the tail - and when he was in his cup, his home, he no longer turned and faced outward, watching the world. We worried he might be slowly suffocating from something. He still allowed himself to be touched and was docile around us. He no longer ate as much brine shrimp, and was slower scouring the bottom. He would stumble around the plants, and seemed dazed a lot. We changed the water and monitored it chemically, regulating the environment as best we could. Ironically, we did a major water change last night, after which he revived a bit, and walked around the tank, looking at everything, just not as quickly as before. This morning I was up until 8 a.m., video editing on the computer. I went over to the tank and gave him, as well as the fish, a light early morning feeding. He was still in his cup home, facing the wall; I thought he was resting, breathing easily, with the new water. I went to sleep for a while. When I woke, I watched him slowly walk the tank, quietly looking at every- thing. I thought this was a good sign, that I would see him once again search out the environment with his apparent curiosity - I didn't realize he was saying goodbye. Later, a couple of hours later, Azure was over by the tank and cried out; Jean Paul was upside-down in his cup, feeble, his antennae twitching once or twice. We didn't know what to do; I began crying. I took out the cup carefully, and righted him; some part of me wanted to believe he was beginning to molt, that everything else was all right. Later, we were certain he was dying, and, equally carefully returned his home to the bottom; he died within it, his movements coming to a halt. The last we could see was again slight movement of one of his antennae, which is sensitive to scents; he knew he was once more in familiar surroundings, comfortable at the beginning and end. There is something unutterably unspeakable in all of this, in the silence accorded this animal, in our inability to hear his pain, but only read the signs, however crudely, of his behavior. We have been literally at a loss; my depressive nature will never leave me alone, and I cannot help but think of the continuous and intensive suffering of the world, after first plasma and before the final cold. It is as if the universe, for just a moment, gathered itself into a shriek, and then fell silent, on the way from boiling to ice. Rest in Peace, Jean Paul +++ ` onna B B Aj\B PUr[gBiBj ? NIKUKO ????????????? ???? ? ?????? ( ?? 02:37:22 ) ???? ? ?????????????http://nikuko.oita.com.jp/ ???????????!! NIKUKO ? hello is nikuko speaking : i am very honored to be here daughter NIKUKO ? is this will be fun to talk with you now here in new york there NIKUKO ? it will never do stop! ( ?? 03:52:02 ) NIKUKO ? you will do stop this nOW! ( ?? 03:57:21 ) [[A[vt[YA are very many awful beauty girls in this dreamy chat ( ?? 03:51:51 ) of parents in brooklyn new york ( ?? 03:50:55 ) ANH l\[iXB A AjXSCB WCAsB NIKUKO ? DO not I LISTENto you Now Mrstr VOIC ( ?? 04:02:37 )glY~dreamy |B37:22 ) l|vB ALgoB wuvB u[A[vBO ? it will never do stop! ( ?? 03:52:02 ) NIKUKO ? Now you Wil kil ME DIE my PArents give Me order dIE ( ?? 04:01:07 ) _ ironically jean-paul crayfish was buried today with a rock for a tombstone engraved by a french theorist jean-paul, it was in leslie's and tom's roof-top garden beneath the trellis there was a distinct emanation from the earth in which he was interned you could feel something crossing the borderline of perception, the slightest apprehension the apprehension was itself ghost-like, almost imperceptible as if you were about to feel something and then thought better of it a slight haze in the northwestern evening sky, there were thunderheads everywhere, the sky was waiting it did feel as if the sky reached down with an uncanny openness the sky and jean-paul spoke in an inchoate whisper, subaudible there was a lightening immediately above the stone as the emanation from the body of jean-paul rose around it, and gathered force again, immediately above it, in the form of a cylinder or pillar of some sort of invisible and wraith- like spiritual substance tom chanted in a latin i did not understand but the words jean-paul were audible, as if in response to jean-paul's subvocalizations azure lowered the body into the grave prepared by us, along with the water surrounded him, as jean-paul was buried in his breathing and elemental world i took a series of photographs under the gloomy and unnatural sky, holding to the rich and deepening earth dampened colors muted within the membrane of the trellis tom played the slow music of death and dirge, schrei- opera and totenlieder, we silently drank a glass of bulgarian white wine in silence the sky trembled and waters flew, a moment in a shattered universe, a universe utterly devoid of meaning for a second we looked toward the other as if there were no return :: (video) my wife and i are traveling in a car and we are moving past many houses we are looking around she is thinking i will show him my innermost thought she imagines her cunt flickering with text pouring around it she imagines my holes swollen my body floating almost submerged in text my very deepest secret there is text everywhere suddenly we return to the street there we are here we are her open cunt and running text she is being fingered oh there is the street text stops everything is dark almost like depression or the onslaught of war we fight against all others it gets darker cuts to street to color bars making color accurate once again _ story * my beautiful wife * are driving, there are * and i s here, dozens of them, our friends * row houthefront seat * ein the front seat * s automobile * of theirs * arettre driving, we are looking * are inhe is we h other * ey are watching * iac window * at eaththe * they are watching * froms go by * the houmy beautiful wife * ses up her * t she has * dresties * s pon * lifan she has * nog * n * ntnurning * o t each * we owaith our * iarerdsther ws * tre turning * otwe ach other * intod smell * fisa eu c * oulthing * evhe car * inde the car * everytde tnsishe puts * hand * yongerysiiy nd * my e her * mhsshe's leaning * aidcuntfarther back * back n hardly * we can't speak * in caas these * we t s of tremblings * speakusind down * kringuniverse * the e * j s meaning * bememust ior another * romy cock * s * jashe seat * against against the back * my friends * theeplthe who are * s * drivingt the back * ageat * ofinsthe sthey turn * d and loo * a roun turn around * ofaeyisten * hknow, * theythe woman * t les her hand * cdss her hand * placeon my * , on me, * and lathe man * over * pcklls he pulls * coud places his fingers * , amy beautiful * insiddeep * overe her, * insiare owned * pn, m * wifede there owning * hey * the carthey are owning * ing we might * by a we can't speak * sayt hear * wetaking us * weteryth,can' are into their * languaspreading * ev yare ild and * us mpromising * theywu * and * thege nco open * * Jean-Paul's epitaph: "Rather than the eagle, the crawfish should be the symbol of the United States. If you put an eagle on a rail road track and a train comes along, what's that eagle going to do? He's going to fly, him. But you put a crawfish on that railroad track and what's he going to do? He's going to put up his claws to stop that train, him." (Dave Robicheaux's father) - James Lee Burke, The Neon Rain, p. 137. ___