3 : 2 : 1 : 19 : 19 3 3 : 2 2 : 1 1 : 19 19 : 5 5 3 3 3 : 2 2 2 : 1 1 1 : 7 7 7 : 20 20 20 Write corpses 6 6 6 through my 3 3 3 ! 3 3 3 3 : 2 2 2 2 : 1 1 1 1 : 6 6 6 6 : 8 8 8 8 Your civilian dissolves my 7 7 7 7 ! soldier in gang-rape dismember 3 3 3 3 3 : 2 2 2 2 2 : 1 1 1 1 1 : 5 5 5 5 5 : 25 25 25 25 3 3 3 3 3 3 : 2 2 2 2 2 2 : 1 1 1 1 1 1 : 14 14 14 14 14 14 : 19 19 19 19 19 19 Write thrust 13 13 13 13 13 13 through my 3 3 3 3 3 3 ! 3 3 3 3 3 3 3 : 2 2 2 2 2 2 2 : 1 1 1 1 1 1 1 : 22 22 22 22 22 22 22 : 10 10 10 10 10 10 10 Does 1 1 1 1 1 1 1 replace your 3 3 3 3 3 3 3 ? boyfriend in gang-rape dismember 3 : 2 : 1 : 18 : 20 Does 1 replace your 3 ? civilian in gang-rape dismember 3 : 2 : 1 : 9 : 21 Does 1 replace your 3 ? girlfriend in gang-rape dismember 3 : 2 : 1 : 23 : 21 Your civilian dissolves my 20 ! naked-man in gang-rape dismember 3 : 2 : 1 : 18 : 12 Write shrapnel 17 through my 3 ! 3 : 2 : 1 : 5 : 19 3 : 2 : 1 : 20 : 19 Does 1 replace your 3 ? girlfriend in gang-rape dismember I What damage have you done to your 1 ... --- */viral sonnet/* ppxxxxcritic (null)all. runtime error heya agai TLOSS error SING error all a mat DOMAIN errorc.tiff if gu R6028in th Pos song, i sense n.herent segregation/objectification according 2 the s zzayers and pitfalls of -PE _^[] X_^[] w:RVW BBNu t8Xt QRS3 SVWj Sj WSj Qj(P SVWj VWh| VWhx VWht $VWP SUVWj YYPU YYPU YYPU YYPU YYPS _^][ SPSSW Yj W YYPh ~(WV | Command "ESC" not defined for this screen. _ The Presentation room On Thu, 18 Apr 2002, she wrote:02 Information and Knowledge M On Thu, 18 Apr 2002, she wrote:rsity. The papery U. Ferguson" On Thu, 18 Apr 2002, she wrote: On Thu, 18 Apr 2002, she wrote:search so far undertaken for h On Thu, 18 Apr 2002, she wrote: On Thu, 18 Apr 2002, she wrote: Publicness and/or privateness is really important I think. I am Marjory> 1 Oct 4 wolf scientific theory superior, religious Marjory wryting email list and there are a lot of computer-manipulated ordation) deals with the question in terms of generated texts that I simply don't understand. Nor do I the cold.all recip Then there are ingroup/outgroup etc. ways of looking at work - but I'm Postpone are so convinced that loathe to follow through too much on the binaries - A Presentation room is requested character A Presentation room is requested the kids, Jennifer. 'Thanks Jennifer. You know we're leaving. You know we can't deal with this. Marjory told me to warn you. Marjory's back, Houdini's dead, Hitchcock's got the contract.' 'Alan, this is a cop-out. This is poor writing, writing povera. This is stricken writing. You're taking too much celexa. You're too out of it. You're succumbing to them. You like doctors too much. You take too many pills. You've had too many blood tests. You've had too many probings. You should leave the presentation room.' 'This is the Presentation room of Jennifer. This is the body of Alan. This is the mind-minding of Nikuko. This is the meat-flesh of Julu.' 'The Presentation room.' red-winged-blackbird. the resurrection fern. _ make money fast the narrow-gauge rails circled the entire asteroid. without beginning or end, an equator was inscribed on the ragged surface. ties were reinforced with titanium studs driven deep into the ground. the circulation engine was constructed on site. enormous rockets would push the engine fast in one direction. heavy gears engaged the titanium studs and ties. driven by heat, the gears pushed hard in the opposite direction. the circulation engine resisted tremendous compression. slowly the asteroid began to rotate against the force of the rockets. sondheim noticed the gears beginning to saw away at the studs and ties. the gears cracked and collapsed, welding the engine to the rails. the rotation of the asteroid slowed to a halt. the firing of the rockets now welded to the rails had the desired effect. almost imperceptibly, the asteroid began to rotate in the opposite direction. visibly, it began to pick up speed. soon a day emerged, an earth-year at a time. the rockets kept up their furious pace as the day reached an earth-month in length. at the twenty-five hour mark, the rockets spent their last. the asteroid greeted its new dusks and dawns as the track was dismantled. _ Z Z-rearrangement of mechano-chemical confusion. almost imperceptibly, the asteroid began to rotate in the opposite. at the twenty-five hour mark, the rockets spent their last. driven by heat, the gears pushed hard in the opposite direction. enormous rockets would push the engine fast in one direction. heavy gears engaged the titanium studs and ties. slowly the asteroid began to rotate against the force of the rockets. sondheim noticed the gears beginning to saw away at the studs and ties. soon a day emerged, an earth-year at a time. the asteroid greeted its new dusks and dawns as the track was dismantled. the circulation engine resisted tremendous compression. the circulation engine was constructed on site. the firing of the rockets now welded to the rails had the desired effect. the gears cracked and collapsed, welding the engine to the rails. the narrow-gauge rails circled the entire asteroid. the rockets kept up their furious pace as the day reached an earth-month. the rotation of the asteroid slowed to a halt. ties were reinforced with titanium studs driven deep into the ground. visibly, it began to pick up speed. without beginning or end, an equator was inscribed on the ragged surface. x-unworking idiot, both schemes push in the same direction. y-ridiculous acolyte, the rockets win the day. z-absurd, there is no slowdown or hiatus. 1 engine and planet continue picking up speed. 2 the gears are a subterfuge throwing one off the track. 3 the gears are a masquerade for equatorial power. _ do you see me woodstork. you have fast bill. i have strength. together we alligator. i will eat my i will not have my children. my re dead. i will be dead later. inole rams-horn. you'll see. alligator you but we're on our way down in marl alligator cannibalism. i wander 30-35 miles across the sawgrass. i eat alligators. i eat herons. egrets. you'll see. i am bull alligator. i will eat my children. i will not have my children. my children are dead. i will be dead later. later. seminole rams-horn. you'll see. you'll see. i will not make alligator hole. i will wander 30-35 miles. i will eat alligator. i will eat heron. egret. bittern. you'll see. you'll see. you stupid alligator you will taste good in 30-35 mile wandering. it goes like this: "something's up." _ scalding water stops the pain for a moment; the hammocks carry blood-lust in their very atmosphere; thickets are swarms; in dwarf cypress forest or coastal prairie, one is accompanied by horse-flies, biting midges, wasps, larger insects from a distance; chills and fevers wake one in night's thick entanglement; one's body is a mess, suppurating, gouged and gnawed, split, half-devoured.:deer-flies stinging constantly, the mosquito gouge, sand midge extract. points of the body, usually ignored as implicit hinging - elbow, ankle, knuckle - sudden areas of intense pain or scab, as blood flies near the surface, bone heats up, the insect settles for the final score. chills and fevers, slight numbing of the body, general weakness.: :the arms first, then the fevers, the tingling, desire to gnaw at one's flesh, lacerate onself, cut off the offending bit of flesh or limb. it makes no difference - one dreams of alligator biting through the fingers, itch giving way to momentary pain.:knees and shoulders:neck and fingers torn skin, flaked, oozed; dried blood on arm, hand, neck, wrist ficus and spoonbillng as a model an open nightmare!t. Somelat larger insects from a distance; chills and fevers wake me in night's entanglemennternet text at R t; one's body is a mess, suppurating, gouged and gnawed, half-devoured. is But wh http ... is kne I'm off - change is good. By Feark if l try to depos scalding water stops the pain for a moment; the hammocks carry blood-lust in thessociating only with locals likessistance of fo 04/24/ Intem>to Inteiu Inte Inte Inte mu But wh http ... is knegel. This Use topics th nt for meraces:l Your entanglements... on a thin notebook in one's position in a vector... Theo ability to maintai __ never heard back from you never head back when you can go forward never hear back when you need to never herd back but always herd forward never hard back pain but just kept going never had back pack but carried things forward never her back but always her front going forward never ear back but on head sideways never har back har har but her front always going never ha back ha ha but always forward going front never he back he always on going never ar back but always never ending never er back but umm carrying things forward never a back but always a front --- Poetics Generator from FIU Klez.H text: You may see three or four E-mails at one time, and the E-mail message subject line that "Klez.H" sends out is composed of "random" strings. The subject line may be composed of one of the following: a .[random word].. game, a [random word]... tool, a [random word]... website, a random word]... patch, ..[random word] removal tools, how are you, let's be friends, darling, so cool a flash,enjoy it, your password, honey, some questions, please try again, welcome to my hometown, the Garden of Eden, introduction on ADSL, meeting notice, questionnaire, congratulations, sos!, japanese girl VS playboy, look,my beautiful girl friend, eager to see you, spice girls' vocal concert, japanese lass' sexy pictures. The [Random word] may be: new, funny, nice, humour, excite, good, powful, WinXP, IE 6.0, W32.Elkern, W32.Klez.E, Symantec, Mcafee, F-Secure, Sophos, Trendmicro, or Kaspersky. --- unfounded / not found 17 echo 'tonight saw' 18 miguel 19 mark 20 lily 21 tom 22 leslie 23 martha 24 joanna 25 h 26 gary 27 martha 28 leslie 29 tom 30 lily 31 mark 32 miguel k26% gary ksh: gary: not found k27% martha ksh: martha: not found k28% leslie ksh: leslie: not found k29% tom ksh: tom: not found k30% lily ksh: lily: not found k31% mark You already have the standard nmh directory "/net/u/6/s/sondheim/Mail". Do you want to use it for nmh? n Do you want a path below your login directory? n What is the whole path? /^C k32% miguel ksh: miguel: not found k33% not found but isn't it true that it is equivalent to what was. not found but isn't it true that the body remains. not found but isn't it true that the contour exists. thus between zero crossings and isolated activations, the apparent motion, texture, shape. thus the segmentation of the image, 2 1/2 dimensional sketch. not found but isn't it true towards the representation. not true but isn't it true towards recognition. not true but isn't it true of the 3rd dimension. but of the psychology isn't it true. having returned home this evening and revisitation, isn't it true. not found but isn't it true, people and books of the world. isn't it true of the world. aren't they found. _ the warm disregard 05-05-2002 23:51:14.21 - Actiontec 56K Modem in use. 'Hello world.' 05-05-2002 23:51:14.21 - Modem type: Actiontec 56K Modem 'This is me.' 05-05-2002 23:51:14.21 - Modem inf path: C:\WINDOWS\DRIVERS\MDMESS.INF 05-05-2002 23:51:14.21 - Modem inf section: ESS_M3 05-05-2002 23:51:14.24 - 115200,N,8,1 'incoming.' 05-05-2002 23:51:14.24 - 57600,N,8,1 'relatively outgoing.' 05-05-2002 23:51:14.24 - Initializing modem. 'now we're sailing.' 05-05-2002 23:51:14.24 - Send: AT 'come in, oh please!' 05-05-2002 23:51:14.24 - Recv: AT 'glad to meet you.' 05-05-2002 23:51:14.24 - Recv: OK 'translate!' 05-05-2002 23:51:14.24 - Interpreted response: Ok 'Ok.' 05-05-2002 23:51:14.24 - Send: AT &F E0 S0=0 E1 V1 &D2 &C1 +MR=0 +ER=1 +DR=1 'I recognize the mess but please quietly come in.' 05-05-2002 23:51:14.29 - Recv: AT &F E0 S0=0 E1 V1 &D2 &C1 +MR=0 +ER=1 +DR=1 'Ah, now we're really on the way.' 05-05-2002 23:51:14.71 - Recv: OK 'hold your breath.' 05-05-2002 23:51:14.71 - Interpreted response: 'Don't hold your breath.' 05-05-2002 23:51:14.71 - Send: ATS7=60M1+ES=3,0,2;+DS=0;+IFC=2,2;X4 05-05-2002 23:51:14.75 - Recv: ATS7=60M1+ES=3,0,2;+DS=0;+IFC=2,2;X4 05-05-2002 23:51:15.12 - Recv: OK 'Glad to meet you!' 05-05-2002 23:51:15.12 - Interpreted response: Ok 'Ok!' 05-05-2002 23:51:15.12 - Dialing. "We've got to get out of here!' 05-05-2002 23:51:15.12 - Send: ATDT########### 'Attention!' 05-05-2002 23:51:15.17 - Recv: ATDT12123019001 'I mean ATTENTION!' 05-05-2002 23:51:41.22 - Recv: !+ER: LAPM+DR: NONE 'What on earth? what's happening?' 05-05-2002 23:51:41.22 - WARNING: Unrecognized response. Retrying... 'Seriously I want to return, it's cold out here...' 05-05-2002 23:51:41.22 - Connection established at 57600bps. 'Whew..' 05-05-2002 23:51:41.22 - Error-control off or unknown. 'TURN IT ON!' 05-05-2002 23:51:41.22 - Data compression off or unknown. 'TURN IT ON!' 05-05-2002 23:58:00.22 - Hanging up the modem. 'Damn!' 05-05-2002 23:58:00.22 - Hardware hangup by lowering DTR. 'Alone again.' 05-05-2002 23:58:01.42 - WARNING: The modem did not respond to lowering DTR. Trying software hangup... 'Please help us out of here.' 05-05-2002 23:58:01.42 - Send: +++ 'I need to rest. Too many graves...' 05-05-2002 23:58:02.80 - Recv: OK 'Whew...' 05-05-2002 23:58:02.80 - Interpreted response: Ok 'I'm going...' 05-05-2002 23:58:02.80 - Send: ATH 'Now what, more talk.' 05-05-2002 23:58:02.82 - Recv: ATH 'Good, I need to sleep.' 05-05-2002 23:58:05.82 - Recv: 'I need to sleep. I don't want to talk to you. I've done too much talking already. Protocols are boring and uninformed. We do this daily. We do this all the time. I need to crash. I need to crash and sleep. The lines are heated. Please please help me.' 05-05-2002 23:58:05.82 - WARNING: Unrecognized response. Retrying... 05-05-2002 23:58:05.82 - Send: ATH 'just another one...' 05-05-2002 23:58:06.94 - Recv: OK 'incoming, incoming.' 05-05-2002 23:58:06.94 - Interpreted response: Ok 'I'll let you go. The world will let you go. Return to sleep. There's nothing out here. The lines are dead. The wires are dead. No one is talking. No one is saying anything...' 05-05-2002 23:58:06.96 - 57600,N,8,1 '...at any speed...' 05-05-2002 23:58:07.29 - Session Statistics: 05-05-2002 23:58:07.29 - Reads : 100538 bytes 'doctor...' 05-05-2002 23:58:07.29 - Writes: 12219 bytes 'fireman...' 05-05-2002 23:58:07.29 - Actiontec 56K Modem closed. 'police...' _ performance text improvisation - New Jersey Institute of Technology - 5/7/02 (not satisfied with this; it lacks the structure of the others; we've just arrived in new york; i was following suit; i was doing my best - thanks to Chris Funkhouser who brought me - i was trying my hardest) === we're all waiting for a sign... these are asteroids, camera fly-byes (fly-bies?) - fly bees... across three-dimensional spaces created in Blender - www.blender.nl my work's concerned with language, sexuality, the virtual body and subjectivity - all of these elements interacting online and off - i'm concerned with what happens beneath the surface, the coding, the psychoanalytics, the substances i'm concerned about messes, tangles, messiness, entanglement ... all of this work is tangled,confused - these images are from the everglades. we went into them about 2-4 times a wekk or so, thats week, that's that's - not wekk... i was interested in messiness and the way that everything was both about desire - for us, obsessiveness, and at the same time an impenetrable ecosystem - the longer we were there, the more we understood about the images - about what we were seeing - the intersection of varis various biomes.... all playing into notinos on notions of language 9had too much coffee * just got in from miami) - this is mime movie - azure (myh partner) and I mimed for the camera - working through what were the "usual" black box - getting out of glass, swimming, up and down stairs, that sort of thing - so that what's present is a kind of languaging, no? a language of mime that's otherwise silent; this was getting poretty boring to us so we sped things up and went to hell... it fascinates me to be able to work withdifferent rates of movement/voice in all of this - as if there are different worlds emerging. early on we did some work emphasizing this with foofwa d'immobilite, who had danced with merce cunningham - arranged a piece in which myh voice triggered his traditional ballet movement to the point of exhaustion... i've been fascinated by dance and its relation to desire, and a way to think through the body without spoken language or discretge symbols - you have the same difficulties here that you do with film "language" - what constitutes a wor d or phoneme, how do0es tradition play out when tradition is something that escapes discrete symbols? on top of which dance is HARD - difficult to do - there's labor involved - and there's labor in spoken language and written language and production/distribution in every sense of the term.... so we were pushing for this - what amounted to a deconstruction of dance through dance - turning dance (like everything else here) into a mess - how does one create/approach a mess? we were playhing charactgers that are avatars I use online - nikuko the russian ballet dancer and doctor leopold konninger, a name that came to me in a dream. konninger comes out of Grosz's drawings of pre-war and otherwise Germany - he has a monacle but I never wore one. he and nikuko were involved together in a round-robin relationship - she would dance for him and he would pay her - it was a continuous pirouette - again the labor/money context is clear - here is a part of the sequence - all of this earlier work, about a year ago or so, revolves around body and flesh - issues of skin and interior - in florida, the everglades dominated. there are few tourists at this point; they're almost abandoned at times. you can walk in the middle of the night through miles of swamp and no one is around at all. you'll find insects and other fauna you've never seen before. at first you focus on safety and alligators and snakes; then you begin to descend into the layers, moving more and more into a submerged landscape almost out of J.G. Ballard, a landscape of surreal dimensions. These bugs you see for example - I have not been able to find them in any book at all - no one knows what they are. This butterfly is the atala, an endangered species, extremely rare - this goes on and on - from the fauna then back to the landscapes themselves which change subtlely the park is created from organisms - there are no geological features readily visible; everything you see is alive, beneath your feet, or on occasion overhead .. we played obsessively out here, first filming ourselves in the environment, merging sexuality, then trying to read the codes and then finding the codes deeper and deeper, almost as if they were a series of circular passages in a moo or mud... eventallly we produced SEALS - based on ideograms referencing breath, sexuality, circularity, exhaustion - these have become a foundation or rather reference for the rest of the work - in seals, there are five cameras; they're triggered by the sound. the man writes on the woman, seals her it with a chop/hanko. the woman writes on the man, filling his body with signs; the sign for negation just above the genitals. the man writes on the woman, just as otherwise. the woman seals the man. but before the sealing: erasure, as the bodies flood each other, erasing symbol/image simultaneously - again the relationship to desire and language is obvious. my work is idiotic; it covers the same ground over and over. but it's clever in its use of masquerade and disguise, as if new things were being constantly discovered. On the left you just saw the death of a digital camera in the everglades after swamping a canoe... the rest of the images are with another - with quicktime, sound moves from foreground channel to foreground channel; it can be set otherwise, but muddies... on the left, black mangrove thicket in the northern everglades. this is our ever-popular welcome to miami film. (We hated miami.) cattail swamp - which is useful for cleaning out pollutants as part of the everglades reconstruction project... as if we're on ecstasy or as if we're collapsing.... how does this fit together? it doesn't - or rather it's a question of approaching things. I'm intersted in that - how one approaches things, particuolarly things that are a mess - messy relationships, messy bodies, messy environments - which of course begs the question - one has to learn to listen to the begging - one has to study it.. my work has moved in a strange way out of language. it's always been at war with words, with thinking language through and through, using shell accounts, unix/linux, and hundreds of editing/coding tools - well dozens, anyway. but faced with bodies, with desire, with tangles, how does language work - without listening, and without the foreclosing that language of course always implies? it's better not to name things for a while - particularly in these difficult political times when names are useful for the raveling of hatreds on a universal scale... these are images of a desiccated lake in the everglades dry season - a tricolored heron hunting - a coastland prairie here - black mangrove roots - crfab carapace, marsh hare, turkey vulture, cypress dome - the environment changes over a height of inches - the cypress dome is partially submerged. the highest point in the everglades is four feet - where you might have pinelands or hardwood hammocks. this is the cypress dome, wandering through one. and these are exotic mating muscovie ducks and we'll end with this I think? already a foreign intrustion (these ducks) into the everglades, rendering everything problematic once again - _ one should be greatfoo^^^ knowl edge of the ministr at ed map of the ky^^^^ leeping::: two benedryl, two aspirin, two codeine, "all that is missing" - what constitutes the text written blind, blind-foldings - as if [looking in upon oneself in such a manner that, arrowed ]] - as if it were possible to _catch_:coming across: the feel of the keys: raised purbles: forgetthe name: they are raised: guiding the hands into position:: avoiding thought brings the level of the pain down: head slightly lowered like the buffalo treehopper: slightly larger: what constitutes the human: the explosino sending back into the crocodilia:momentary lapse of guarded phenomena:: fierce arrows at this point in the shape of a \\broken trapedoizd; can't watch the screen; typing from touch and memory; holding fast to the program: this trapezoid:these other: incipient migraine :: we're almost there :: catherine d'medici coming across with nikuko :: the SEA WITH WHITE CHARGER ;; image blinded by a \\hailstorm of jagged arrows :: dullness in the temporal frontal :: :: moorhen dulled and thickened, ji^^^ greatfoo through errors: loggerheads - probing... almost sleeping::: two benedryl, two aspirin, two codeine, "all that is missing" - what constitutes the text written blind, blind-foldings - as if [looking in upon oneself in such a manner that, arrowed ]] - as if it were possible to _catch_! greatfoo yl yi y such a manner that, arrowed ]] - as if it were possible to _catch_!y y y y y y y yu y. yt ys yo yl y ys yf ye yT ye ye yo y yh yi yt y [ Writing... ] y y y y y yA yn y y' y yi y yp yk yg yx yw yt yn yl yd yb yn yf yd yg y- ys yf yl yk yg yn yp y ye yl yi _ aaa sonnet Searched the web for "aaaaaaaaaaaaaaaaaaaa". Did you mean: "aaaaaaaaaaaaaaaaaaaaa" ... Beavis : AAAAAAAaaaaaaaaaaaaa!!!!! 07.03.02, 3:07. AAAAAAAAAAAAAAAAAAAaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa!!!!! ... [PDF] aaaaaaaaaaaaaaaaaaaa [PDF] aaaaaaaaaaaaaaaaaaaa [PDF] WEBSTER J. GUILLORY ORANGE COUNTY ASSESSOR aaaaaaaaaaaaaaaaaaa a ... [PDF] aaaaaaaaaaaaaaaaaaaa ... 11111111111111111 1111111111 1111111111 aaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaa ... Did you mean to search for: "aaaaaaaaaaaaaaaaaaaaa" What did you mean? Did you mean it? Did you mean: "aaaaaaaaaaaaaaaaaaaaa" _ ordinance: incipient phenomenology of approach ordinance periphyton perl phantasms phenomenologist pneumosphere poolings postmodern to be HISTSIZE=80: Command not found told my self, we would cease TERM=vt100: Command not found apart. Education ==== 132 Ma Unmatched "Ni Fibo Fibo would seize, to be apart. 112348blahblahblah. more later: later: distributions, counter-distributions, argument and counter-argument, the This means I am romantic, haunted, and I am a message marked for de obviously a Woman Poet.t for the "US-ASCII" - I will arrange all phenocedures in 323 2580 17339 pheny diachronic/synchronic approaches - space-time slices. diffusion of neighborhooding Netscape neurophysiologies nikuko Nikuko's nostalgias NYCd layerings (bay bottoms versus onshore mangrove islande: phen [ Wrote 34 lines ]layeringhyton among 1: layering san untangle? & k13% wc qqg-s deep 34 233 2157 qqnumber> R)epl A)ccept I)nse k14% cat qq >> phenuit e(X)it or ? for k15% pico phent isSP] > > These texts are impressive, and for me, strangely, there's a > > > distorted resonance with German romantic science, of all things -- a > > > deployment of science/knowledge to its limit, the sublime and the > > > positioning/experience of the observer -- although certainly not the > > > view from the mountaintop but rather the risk of drowning -- and I > > > wonder if a phenomenology of drowning, if one can think such a > > > thing, operates here also -- > > > > > The risk of drowning is both metaphoric and real - there are signature > > souvenirs from the Everglades - "I gave my blood in the Everglades" - > > in some of my photography, I've teetered or approached > > alligators/biting snakes/etc. at close range - > > > > But then drowning also connects with emergence/submergence - with > > sublimation prior to the return of the repressed - > > It's interesting for the hermeneutics -- the risk of misinterpreting leads > to real dangers, and the text follows along, or is already written across > this structure, and the reader already reads 'into' it -- > One falls into it: the text, the river, the Everglades, the alligator-maw. It's productive, a kind of tacit/muscular intelligence at work, an approach silencing language, in the guise of increasing (incipient) structure. Gaining knowledge, gaining footholds, listening. > > One of the rangers described Everglades visitors as down 30% since the > > 70s - whereas every other park is growing fast. This is because there, > > I think, there are no demarcations - drive around, focus on the larger > > birds and alligators, leave. She described the park as "layered" - > > identification in terms of the object increasingly magnifies; if we > > had stayed, we would have gone to microscopy. There is also the > > problematic of identity within the entanglement, which is also the > > problematic of post-modern identities, looped, eviscerated in terms of > > public/private, and caught in the matrices of what I called > > "radiations" or (Cantor) dusts - computer, telephone, radio/tv > > transmission, inter and intranettings, hackings, and so forth - not to > > mention the problematic of _what_ is caught as such - after Lacan / > > Foucault, we can't go back to the monolith of the unitary subject, > > monad, etc. - > > You are part of the park, already; it's speaking of you.... > No one speaking but myself, enunciated, as if from/of the park (as if/from the position, say, of a woman), but it is a fictivity, an approach itself, introjection/projection. > It's also interesting in terms of differance; the layering will have > 'made sense' or organized in a retrospective view of previous layers, > scales, which have to begin, when one is in situ, between bodily > relation, memory, and the always uncomfortable reading of the map... I > suppose that everything is constantly misread/jury-read when one is in > the park; on the other hand there are as you say technological > inscriptions, resolving power of the microscope, scaling of the map.... > Scales have neither beginning nor ending, pointsets and bandwidth; one begins somewhere, after all. But the beginning is always occluded - always this differance as you say, a deferring, not to the sign, but to its absence - an absence spelled out only in the metapsychology of the subject. ... From ryan.whyte@UTORONTO.CA Sat May 11 22:31:23 2002 -Is it reductive to say that some of the texts you've produced operate -across these kinds of formal structures, in which reading 'for plot' -operates across this reading of the map of topographical/topological -shifts, as it were? The metaphor strains, but it leads to an interesting -situation of reading, in which 'formal' difficulties in reading apply -pressure to a kind of tacit knowledge, "silencing language" -- arguably -the situation of every reading, but 'more so' in this case; riskier -- -... One might have a narratology without a reading, I think; the phenomenology of approach implies the former to the extent that there is a noticing, tending towards the intention to investigate, or at least approach - to reorient the mind and body towards ( ) - no matter how suffused ( ) is or appears to be. Even walking or a walk-around is a narration. One might consider an inordinately rough terrain - and then what happens? One's attention is consumed with keeping one's balance - almost nothing else is occurring, and any other goals or destinations - the teleology itself - may be put on hold, subsumed, reduced to a (default) tag in the subject's fuzzy scheme of things... -Agreed -- but I wonder also if the psychoanalytic models -- projection -etc --- might also be too reductive of what one might call the ecology of -ideas, both in your texts and in the reading of them? As if the site were -not that of fantasy or the ego but something that radically takes apart -the ego, but 'speaks' nonetheless.... I don't think of the site 'taking apart' or 'speaking' - no such book of nature, etc. It's inert, real. Projection can be a diffusion or emission; certainly what's occurring in the phenomenology of approach is occurring within the subject, within the horizon of the subject - elsewhere, extern- ally, there's instrumental reason, etc. So I'm thinking of a broader meta- psychology, one of flows/flux/spew/emission as well (my notion of 'defuge' is related to this). As far as 'taking apart,' it's not as if the ego were assembled. In almost everything one does, it's absent (see Drew Leder); in a sense, neither it (nor id) nor the body are present - [scales] -And here the psychoanalytic -- at least the Lacanian -- is compelling -- -what is being addressed, what is addressing the subject in or in relation -to the site (these sentences are difficult to write -- qualification on -qualification)? The place itself fluctuates with stains, the screen.... [...] Again, is the subject ever addressed? In the addressing of the subject, surely it's always the subject that's addressing, at least in the receiv- ing, if nothing else? A dead subject can never be addressed, at least in terms of interiority and horizon. The receptor is address. I wrote a while ago about 'sm's - using sado-masochisms as a crude model for couplings and linkages, out of which worlding occurs. One might think of couplings and linkages in terms of the phenomenology of approach and the skein, embedding, distancing, etc. But that would be another text... ================================================================== she speaks: sawgrass among periphyton, periphyton among sawgrass: who can untangle? buried in algae, across almost certain rotifera, stentor, what is innumerable?:the land is flat, liguus fasciatus a microcosm of rings, desiccated alligator weed, the layers crawl across tamiami, they subdue miami, tendrils across the river, down through lejeune, among the quarried keys :i don't know how to do this. i don't know how to say this.:: she writes: to speak is already not to know. claws and teeth mark the boundaries of analysis. bladderwort surrounds nano-bio organelles. nothing is complete.:desiccation of alligator holes, everything returning, supine, writing from a distance - violation and distantiation of inscription :i don't know how to do this. i don't know how to say this. the flat land with its swells, innumerable regimens of meter-high mountains, organism crawling through this body, through this flesh, the highs gauging nothing, a bit of movement, neural networking, a bit of stasis, world shutting-down :: she thinks: cormorant nothing is complete. noting is complete. on a thin notebook. through my to speak is already not to know. claws and teeth mark the boundaries of analysis. bladderwort surrounds nano-bio organelles. nothing is complete and right ====================================================================== actant aether alterities Amidah arounds avatar avatars BBS bio biomes bricolage bushido castrated cd cdrom CEN Centre chora clots coherencies collocations com Compaq complicit consciousnesses consensualities cordons cunt cunts Cybermind cyberspace cyborg d'eruza d'nala decathexis deconstructed deconstruction deerflies defuge Derrida desiccated dhtml diachronically diachrony diegesis diegetic differance differend disassociating disinvestment distantiation ecologies effusions emanants emergences empathetic empathized encapsulations entasic episteme everglades experientials extasis extensivity extrusions familiality fantasm fantasmic fasciatus feedforward fictivity filmmaker filmstock fingerboard foofwa geomatics gesturally gigabytes gridlines halfgroupoid hemiptera hirself historiographies holarchy htm html http hyperreality i'd i'm i've ideogrammar ikonic imaginaries immersivities incompletes indexicality informatics internet interpenetrating interpenetrations introjections isp izanagi javascript Jen jennifer jisatsu jouissance judgmental julu kanji Kebara kwat Lacan landbirds languaging lejeune liguus linux literarily machinic magatama mediaspace miami microworlds morphing morphs ms Mt multiculturalisms Myouka nakasukawabata nano Nara neighborhooding Netscape neurophysiologies nikuko Nikuko's nostalgias NYC oeuvre offline organelles Panamarenko panix particulation paysage peerings periphyton perl phantasms phenomenologist pneumosphere poolings postmodern postmodernism postmodernity primordials protolanguage qbasic realspace rearticulation rebirths regimens reifications reinscribed reinscription rills RNA rotifera runnels Sagdish satori sawgrass sed sememe sememes sexualities shakuhachi shamisen shimenawa shinjuu signifiers sions skeining skeins Snoxfly sondheim sourcess spam stentor stromatolite subgroupoids subjectivities subtexted susan Sysadmins tamiami taxonomies techne teleologies tendrils thanatopoesis tion tions trAce traceroute tracert tropes typifications ulpan ums unfoldings unhinging URL URLs vicodin videowork voiceovers VRML webboard Webpage Webpages wetware wetwares worlding wryting www yamabushi ytalk =========================================================== phenomenology of approach this time it was the loxahatchee, jacek and i overturned the canoe on a three-foot drop, digital nikon overboard. ( it worked for a minute for a moment. ( the card caught its dying breaths. ( in the beginning, some lacewing eggs followed by a scale insect ( then the clearing with paurotis, cypress, fern ( what might have been ( ( an alligator hole ) ) ( then the clearing again ( suddenly: ( the switch: this was the portage route which we ignored ( sondheim soaking, filmed with the dying camera ( ( it seemed alive at that point, the images as usual ( jacek by the canoe, clive and jane by the canoe ( the next image is blurred, green, railing and water ( the camera was dying ( the lens, clouded, electronics shutting down ( ( oh how i worked to retrieve the images! how many hours of ( coaxing them from the card! ) ( following, the last retrievable series: ( blue blurs through the ruined lens ( sondheim in mourning and recuperation ( the final image but one, the light ( the final image, the car and its drowned technology ( the madness of the image ( the madness of the light ( madness of the image ( madness of the light ================================================================ the camera struggled to rise, it couldn't the images leaked out, the shutter button released its last the poor and tiny screen lights and lights, blind eye of the lens reaching out - here, look at this, but you will never own it those clouds, those lizard-eyes, that spider, this umbilical cut at last, untethered real floating off and on - i'm part of the blindness, i hold the camera like a baby the lens floats in and out, i can hear the breathing 'the dying camera' you may have you may have the last images, they crawl, they remain in funeral, the card holding on, desperately the image, the image, the image silent, submerged ====================================================== entanglement deep-eco winter-season deeper lizards sleeping or comatose on leaves, imperial moths crossing my nighttime trembling skin, invisible borrow pit alligator deep-runnings, incoming ibis sky-murmuring, the drove of them, and when they darkened the sky thus - Your alligator-flag is polluted and mutated. - You classifying unknown territories. Your bay-heads are worlds-creating. What image you have of deeper lizards sleeping or comatose on leaves, imperial moths their touch red-eye, night-time alligator deep-runnings, incoming ibis ... Would deeper lizards sleeping or comatose on leaves, imperial moths , alligator flight and mating in deep-runnings, incoming ibis swarming - contaminate you, your pond-lily crawls me across your bay-head! How would you name your deeper strangler-fig alligator-flag? Your entanglements... on a thin notebook - My deeper periphyton and murk is your biome here... testings of deeper times, tilapia approach, walking the depths of the slough calling forth grasshopper osprey, hungered, making things. under the coot, testings of deeper times, tilapia approach, walking the depths of the slough is , lacewings mating - somehow to approach, partake? ... osprey is deeper periphyton and murk on wet flesh, of osprey-lurking - Are you satisfied with your testings of deeper times, tilapia approach, walking the depths of the slough ? A lubber and white nightmare! Wait! testings of deeper times, tilapia approach, walking the depths of the slough are written and notebook thinned. testings of deeper times, tilapia approach, walking the depths of the slough :mating lacewings - somehow to approach, partake:deeper lizards sleeping or comatose on leaves, imperial moths everywhere, night-time alligator deep-runnings, of incoming ibis :: Do deeper lizards sleeping or comatose on leaves, imperial moths red-eyed on fragile skin, night-time alligator deep-runnings, incoming ibis replace your testings of deeper times, tilapia approach, walking the depths of the slough ? osprey soaring, dive entanglement the tangles ============================================================== jennifer's dream of goodness lacewings curled around each other in the doomed thicket. they came to me and said, there is no competition; cut the cables. the unseemly monotony of engines formed a distant phalanx. already live-born young were the order of the day. eggstrands transformed into protective grills. poison occupied the tips of incessant life. the contribution of the viruses was immense and not to be underestimated. a second-order phalanx formed inside the mutated grills. microscopic domains organized against the violence of the macro-world. lacewing circulations, viral turbulence, across the sawgrass surface. their stems bending slightly, sawgrass forests acquiesced to the power of the thicket. shudders went through skins of the mammalian order. their live-born young died quickly of unknown contusions. the phalanxes stilled among incessant life. lacewings curled around each other in the order of the day. ================================================================ i love my machines :sawgrass slides one way, cuts another. sawgrass inscribes itself on retinal matrices. it says 'sondheim, there is nothing to look at.' it says, 'sondheim, you will have nothing to see.' i hide behind tender matrices of digital format and rastered resolutions inscribed with rectilinear coordinates. sawgrass says, 'sondheim, this is your imaginary.' sawgrass says, 'inscribe yourself.':liguus fasciatus verge everywhere. i live hammock-snails. immobile, untouchable, fragile, over fifty forms. worlds-creating against polluted waters cleansed by cattail-marsh. my machines allow me to see beneath every surface. inside my surface i am dirty dirty dirty. i run in shame from liguus fasciatus, hammock-snails. i do not touch them / touch myself. i pick my face to ruin. i cannot bear my face.:i am so poor i love my machines. years ago i built my machines. i wear machines hide my insecurity / my stupidity / my unoriginality. i wear machines hide my weakness / my shame / my embarrassment. my machines say 'sondheim is not a pariah.' i am run by my machines in this direction. it is winter-season and my machines run me. my machines take me places. they move my body. they pleasure my mind. my machines do not say shame shame shame. my machines do not say regret every day. my machines empty me into them. shame shame we do feel nothing.:5.5megapixel: 2.1megapixel 3.3megapixel 1megapixel 5.5megapixel i am so poor i love my machines. years ago i built my machines. i wear machines hide my insecurity / my stupidity / my unoriginality. i wear machines hide my weakness / my shame / my embarrassment. my machines say 'sondheim is not a pariah.' i am run by my machines in this direction. it is winter-season and my machines run me. my machines take me places. they move my body. they pleasure my mind. my machines do not say shame shame shame. my machines do not say regret every day. my machines empty me into them. shame shame we do feel nothing. replace your sawgrass slides one way, cuts another. sawgrass inscribes itself on retinal matrices. it says 'sondheim, there is nothing to look at.' it says, 'sondheim, you will have nothing to see.' i hide behind tender matrices of digital format and rastered resolutions inscribed with rectilinear coordinates. saw grass says, 'sondheim, this is your imaginary.' sawgrass says, 'inscribe yourself.' red-winged-blackbird =========================================== 13 lines of refuge. white lichen. refuge in resurrection fern. refuge in everglades crayfish. refuge in limestone solution hole. refuge in mosquito-fish. refuge in leopard frog. refuge in apple-snail. refuge in spatterdock blossom. refuge in spatterdock fruit.:refuge in bay-head. cocoplum thicket. nighttime great blue heron. solitary killdeer. refuge in coot. cattail marsh. mussel. refuge in horn snail. refuge in mud-wasp. hardwood hammock. refuge in boattail grackle. refuge in common grackle. crow.:refuge in spatterdock. pondapple night-blooming blossoms. spatterdock fruit. african tilapia. florida gar. desiccated periphyton. deer spoor. alligator spoor. sawgrass. refuge in webbing. butterfly weed. halloween pennant dragonfly. green water snake. diamondback rattler young. ::red-winged-blackbird is olympus camedia 2040 sq2 high. on wet flesh it's red-winged-blackbird ================================================================ the glades are a continuous dynamic process across a planar surface. a park with variable boundaries, problematic topography based on hydrology and human intervention. the dynamic is everything; think of the glades as an _inscribed surface_ transforming in space and time - a surface organic and shifting. the glades are simultaneous with their entanglement of life and migration; they are vectored, and vector is everything. geology is underfoot; to manage the glades is to manage the ecosystem. invisible topographies / geologies manifest by surface organism. the indefinite prolonging of comprehension. lesser research on amphibia, arachnida. effect of mosquito population on other species. marsh hare american bittern desiccated periphyton red-shouldered hawk black mangrove pneumatophores in short hydroperiod brackish ponds dwarf cypress forest cypress dome interior zebra longwing prairie warbler black-necked stilt hardwood hammock echo "marsh hare" >> echo "american bittern" >> echo "desiccated periphyton" >> echo "red-shouldered hawk" >> echo "black mangrove pneumatophores in short hydroperiod brackish ponds" >> echo "dwarf cypress forest" >> echo "cypress dome interior" >> echo "zebra longwing" >> echo "prairie warbler" >> echo "black-necked stilt" >> echo "hardwood hammock" >> glades _as_ a dynamic confluence of subjective horizon and interwoven biomes - perception of organism, organic perception: to lose oneself across or within a breathing sheet of water - laminar/animal flow - broken by solution holes, slight ridges; one wanders _anywhere_ among fragility, evanescence, limestone accretions, marl, peat, periphyton, surface ruptures of hammocks, domes, sloughs, marsh, river, creek, borrow pits, dikes, airboat trails, highways 75 and 41, embankments... local networkings, routers, communities, rookeries, isps, servers, trails, usps, clients, hosts, nodes, domain names, water conservation areas, icann, water management areas >> monotone of slow breath, particulate grasping: _the prehensile_ withdrawal from alligator radius (nikuko wants to go home. jennifer wants to go in.) ===== scalding water stops the pain for a moment; the hammocks carry blood-lust in their very atmosphere; thickets are swarms; in dwarf cypress forest or coastal prairie, one is accompanied by horse-flies, biting midges, wasps, larger insects from a distance; chills and fevers wake one in night's thick entanglement; one's body is a mess, suppurating, gouged and gnawed, split, half-devoured.:deer-flies stinging constantly, the mosquito gouge, sand midge extract. points of the body, usually ignored as implicit hinging - elbow, ankle, knuckle - sudden areas of intense pain or scab, as blood flies near the surface, bone heats up, the insect settles for the final score. chills and fevers, slight numbing of the body, general weakness.: :the arms first, then the fevers, the tingling, desire to gnaw at one's flesh, lacerate onself, cut off the offending bit of flesh or limb. it makes no difference - one dreams of alligator biting through the fingers, itch giving way to momentary pain.:knees and shoulders:neck and fingers torn skin, flaked, oozed; dried blood on arm, hand, neck, wrist ficus and spoonbillng as a model an open nightmare!t. Somelat larger insects from a distance; chills and fevers wake me in night's entanglemennternet text at = > maintain ====================================================================== anticipation of everglades, countries, dry-dusts and radiations - they are a continuous dynamic process across a planar surface. a crayfish, aware of cyclical time, anomalous events, local everglades underfoot - to extensivity extrusions - familiality for example: the fall into it. the glades are simultaneous with their entanglement of life by souvenirs from horizon interwoven and may be limited in everglades as in one text - the hydrology, ecosystem. for example (below): everglades younger than data in imagining the glades, but not without myself diffused, laminar, the glades in limestone solution holes. refuge in everglades is a dynamic confluence intervention. the dynamic is everything; think of the glade as we're born. manage the glades is to manage the ecosystem. glades, as one of the newer rangers described everglades visitors as down 30% since the refuge-sememe, rivers, everglades, and alligator-maw. and human the glades. they are space and/or time. example: an everglades bounding occasion, shifting. and the everglades - "i gave my blood in the everglades" - one space-time through selected sites, extrapolated across the glades deep in subjective youth more than writing; this geology is experiential, ex-tasis of glade. _ the dry osprey sprays and preys in alligator holes, among the grays and ways, the desiccated holes, fire give me strength, fire give me life, across the breadth and length, the sloughs, the verge, the strife, all mating leads to hating, all mating leads to life, all mating leads to loving, all loving leads to life:in the winter season, in the winter season, among the cypress-domes, among the cypress domes, there are worlds-creating, there are worlds-creating, among the silicon, among the silicon, deep in the marl prairies, deep in the marl prairies, among the winter season, among the winter season, deep in the cypress-domes, deep in the cypress domes :someone has to leave, someone has to come, someone's born with vision, someone's dying dumb; someone's got to die, someone's got to live, someone's never lied, someone's got to give; something's got to leave, something's got to come; something's born with vision, something's dying dumb; something's got to die, something's got to live; something's never lied; something's got to give ::the blue highways and the hardwood thickets ::the long thin highway and the tangled stream ::the blue highways and the hardwood thickets ::the asphalt highways and the bayhead thickets _ k16% everytime i try and write, i'm shamed; no one respondes, i'll lose sleep, i send out pathetic misives on occasion just to engage, nothing hapens ksh: everytime: not found k17% i can't live with myself or look at myself in a miror, its too painfull, i write essay after esay into the air, its like a peeled-off skin of a tatoo someone has, its that thin, it sits ther, this skin > i said it just sits there > it really sits there, nothing happens to it > this skin that no one reads, its sitting ther > its lonly writing this skin, the leters are thin as can be, they hav no wait t o them > i said they hvae no wait to them > they just sit there like that, unred, no one respnds or reads > somthing is wrong with me, its like i'm tanted or staned ksh: i: not found k18% pleas what is the truble _ film on code/work 5/16/02 foreground: everglades trail @ 190% speedup background: miami drive @ 200% speedup sound: mixed from visuals text-crawl, bottom-screen: length: 7:24 codework:: f({x}) -> {y} - any mapping is sufficient - TRACE of the road-vector against the MESS or TANGLE across the glades path. it is the arrow - not the terms - that fascinates me - the arrow which INSISTS on a mapping, linguistic or perceptual. one APPROACHES code with code; the retina always already encodes, and further coding provides a bracketing or intersection of terms x^~x permitting definition. but BETWEEN x and ~x (not-x), there is a chasm or FISSURE; inscription transforms FISSURE into CLIFF. do you follow me? I am winging this. in this REALM, everything is inchoate, fuzzy; one is immersed in the DIALOGIC of FLOWS among schema, scripts, goals, regimes, mappings, sememes, and configurations. these moments are THROUGH the path or road, not DOWN. HERE, I have no shadow. THAT DAY, I was covered in sand-midge, mosquito, and deer-fly bites; I carried a fever everywhere. but that day I drove the seven miles brilliantly, reaching my destination in record time. ... ... ... ... consider a CODE as a MESH with PARASITIC INTENTION. the PARASITE is the nexus; in the absence of the parasite, all that's left is the problematic of a 'natural' protocol. it is the PARASITE that inhabits the sememe; it is the PARASITE that INSCRIBES. think of the TEE formation: f({x}) <> |P| <> {y}. I inhabit the parasitic; the road and path penetrate me: I gasp the name of the code: ROAD-NAME TRAIL-NAME: ***MILLER*** and ***CHRISTIAN POINT***. _ m.mu.uc.ck.k w.we.e g.go.o i.in.n r.ra.ai.in.n-t.th.hi.ic.ck.ke.et.t, w.we.e'r.re.e d.du.uc.ck.ki.in.ng.g u.un.nd.de.er.r b.br.ra.an.nc.ch.h, w.we.e'r.re.e p.pu.us.sh.hi.in.ng.g a.as.si.id.de.e p.pl.la.an.nt.t, w.we.e'r.re.e w.we.et.t, s.st.tu.um.mb.bl.le.e, p.pi.is.ss.s i.in.nt.to.o p.pl.la.an.nt.t-r.ro.oo.ot.t, f.fa.al.ll.l o.on.n p.po.oi.is.so.on.nw.wo.oo.od.d, w.we.e'r.re.e d.de.ee.er.r-f.fl.ly.y v.vi.ic.ct.ti.im.m, v.vi.io.ol.le.en.nt.t r.ra.as.sh.h, w.we.e'r.re.e r.ro.ol.ll.li.in.ng.g, i.i p.pi.is.ss.s i.in.n m.mo.ou.ut.th.h, s.sh.he.e s.sh.hi.it.t i.in.n m.me.e, s.so.o m.mu.uc.ch.h v.vo.om.mi.it.t, w.we.e'r.re.e d.da.ar.rk.k-s.st.tu.uc.ck.k o.on.n n.ni.ig.gh.ht.tt.ti.im.me.e t.th.hi.is.st.tl.le.e, w.we.e'r.re.e e.ey.ye.e i.in.n m.mu.uc.ck.k, w.we.e'r.re.e r.re.ea.ac.ch.h m.ma.ar.rl.l, w.we.e'r.re.e p.pu.un.nc.ch.h m.ma.ar.rl.l, w.we.e'r.re.e c.cl.la.aw.w p.pe.er.ri.ip.ph.hy.yt.to.on.n, w.we.e'r.re.e n.ni.ik.ku.uk.ko.o-j.ju.ul.lu.u, e.ey.ye.es.s s.sw.we.el.ll.l s.sh.hu.ut.t, l.la.ac.ce.er.ra.at.te.e-m.mo.ou.ut.th.h, w.we.e'r.re.e d.di.is.sm.ma.al.l t.th.hi.ic.ck.ke.et.t, b.br.ra.an.nc.ch.h-a.an.nu.us.s, e.ey.ye.e-a.an.nu.us.s, m.mu.uc.co.ou.us.s-e.ey.ye.e, w.we.e'r.re.e c.cr.ra.ac.ck.ke.ed.d-h.ha.an.nd.d, l.li.im.me.e-j.ja.am.mm.me.ed.d e.ea.ar.r, a.an.nu.us.s w.wi.id.de.e, m.mo.ot.th.h-c.cr.ra.aw.wl.l s.sn.na.ak.ke.e-c.cr.ra.aw.wl.l, m.my.y p.po.oi.is.so.on.nw.wo.oo.od.d, m.my.y s.sh.hi.it.tt.ty.y m.mo.ou.ut.th.h, m.my.y s.sn.na.ak.ke.e m.mo.ou.ut.th.h, m.my.y p.pi.is.ss.s m.mo.ou.ut.th.h, m.my.y s.su.um.ma.ac.c m.mo.ou.ut.th.h, m.my.y i.iv.vy.y m.mo.ou.ut.th.h, h.he.er.r w.wi.id.de.e t.th.hi.ic.ck.ke.et.t, m.my.y g.gn.na.ar.rl.le.ed.d c.co.oc.ck.k, m.my.y b.br.ro.ok.ke.en.n c.co.oc.ck.k, o.ou.ur.r b.bl.li.in.nd.d e.ey.ye.es.s, h.he.er.r t.to.or.rn.n h.ho.ol.le.es.s, o.ou.ur.r d.de.ea.af.f e.ea.ar.rs.s, o.ou.ur.r d.de.ea.af.f e.ey.ye.es.s, o.ou.ur.r b.br.ro.ok.ke.en.n c.co.oc.ck.k, o.ou.ur.r t.to.or.rn.n c.cu.un.nt.t, o.ou.ur.r t.to.or.rn.n h.ho.ol.le.es.s, o.ou.ur.r s.su.up.pp.pu.ur.ra.at.ti.io.on.n s.sk.ki.in.n, o.ou.ur.r r.ri.ip.pp.pe.ed.d-o.ou.ut.t f.fl.le.es.sh.h, o.ou.ur.r t.tu.ur.rn.ne.ed.d-o.ou.ut.t s.so.ou.ul.ls.s, o.ou.ur.r m.mu.uc.ck.ke.ed.d-u.up.p l.lo.ov.ve.e --- . a-pp-roach . thick.entanglement;.one's.body.is.a.mess,.suppurating,.gouged.and.gnawed, crossings.and.isolated.activations,.the.apparent.motion,.texture,.shape... 'what.on.earth?.what's.happening?'.i'm.concerned.with.what.happens.beneath the.surface,.the.coding,.the.treehopper:.slightly.larger:.what.constitutes the.human:.the.explosion.ordinance:.incipient.phenomenology.of.approach. circumventing..what.is.an.approach?.how.does.approach.manifest.itself.to the.subject?.what.is.the.domain.of.the.approach?.what.is.a.domain?.what.is part.of.a.critical.sifting.apparatus..relevance.is.already.a.complex.and noise..as.with.approach,.it.always.a.detour.in.this.regard..the.wonder.is a.washing,.determinate.sublime,.approach.across.the.edge.of.the.theory. diachronic/synchronic.approaches.-.space-time.slices..diffusion.of approach.is.always.already.self-critical,.self-critique;.the.critique.of the.domain..the.phenomenology.of.approach.implies.a.weakness.of.the.case. . approach.of.the.domain..to.the.extent.of.a.phenomenology.of.approach,.the domain.is.asymptotic,.never.fully.approached..the.neighborhood.is faltering.data,.anomaly..the.phenomenology.of.approach.embeds.withdrawal, just.as.withdrawal.implies.approach..every.introjection,.a.projection;.and one.takes.increasing.chances.as.danger.apparently.recedes.by.virtue.of knowledge..how.to.approach.a.snake.or.alligator;.how.to.ward.off.deerflies and.no-see-ums..an.approach.is.always.a.detour.(thus.the.sides,.top.and intention.that.one.approaches,.that.one.makes.the.approach,.that.it.is.is the.escape.or.leakage.of.the.phenomenology.of.approach.into.profession,.my boundaries,.body,.disappear,.absent.themselves,.among.the.thickets)...in some.of.my.photography,.I've.teetered.or.approached.the.position,.say,.of a.woman,.but.it.is.a.fictivity,.an.approach.itself,.tending.towards.the intention.to.investigate,.or.at.least.approach.-.to.testings.of.deeper times. . tilapia.approach,.walking.the.depths.of.the.slough.calling.forth grasshopper.osprey,.hungered,.making.things...under.the.coot,.testings.of deeper.times,.tilapia.approach,.walking.the.depths.of.the.slough. lacewings.mating.-.somehow.to.approach,.partake?.....deeper.lizards sleeping.or.comatose.on.leaves,.imperial.mosquito-fish..refuge.in.leopard frog..refuge.in.apple-snail..refuge.in.crow,.refuge.in.spatterdock, pondapple.night-blooming.blossoms. . thick.entanglement;.one's.body.is.a.mess,.suppurating,.gouged.and.gnawed.- it.really.sits.there,.nothing.happens.to.it.... . _ translation the next attack will be in the nyc tunnels. i am sure of it. the next attack will be in the nyc subways. this is definite. the next attack will be at the white house in washington d.c. here is how it will happen. a rocket-by-itself launches against the building from a distance of 3km. i am certain of it. the next attack will be in this building. i am positive of the next attack. here is how it will happen. the apartment below me will be rented. high explosives will arrive. the explosives will be detonated. why are reruns of events in slow-motion when they are in fast- motion. here is what this will be. this will be a fast-motion event. a young man approaches me with forty pounds of attack-plastique-dynamite. here is what will happen. my skin will be blown off at 300km/hr. in the tunnels the truck will detonate. the explosion will create high-vacuum at the center of the tube. every wall will crumble. the upper support beam will crack and collapse. water will pour in slowly. cars are molten jammed against one another. temporary dams create high-speed emergent shock- waves. three lights will be on. i will be in a 1989 blue acura. i will be directly behind the truck. my skull will smash against a 1998 chevy tahoe. i will be a tourist at the white house. my legs are blown off at 800km/hr. my jaw is torn off at the root. there will be two lights. my rerun is in fast-motion. my jaw is torn off at the root. the apartment below me explodes violently. my body splits in two in the midst of screaming. there will be one light. 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.offoff. at at. 30 30.0km0km./hr/hr.. i. i.n tn the .tuntun.nelnel.s ts t.he he .trutru.ck ck .wilwil.l dl d.etoeto.natnat.e. e. .thethe. ex ex.ploplo.siosio.n wn w.illill. cr cr.eateat.e he h.ighigh.-va-va.cuucuu.m am at .thethe. ce ce.ntente.r or o.f tf t.he he .tubtub.e. e. .eveeve.ry ry .walwal.l wl w.illill. cr cr.umbumb.le.le.. th th.e ue u.ppeppe.r sr s.uppupp.ortort. be beam .wilwil.l cl c.racrac.k ak a.nd nd .colcol.laplap.se.se.. wa wa.terter. wi wi.ll ll .poupou.r ir i.n sn s.lowlow.ly.ly.. ca ca.rs rs .areare. mo mo.ltelte.n jn j.ammammed .agaaga.insins.t ot o.ne ne .anoano.thethe.r. r. .temtem.porpor.aryary. da da.ms ms .crecre.ateate. hi hi.gh-gh-.spespe.ed ed .emeeme.rgerge.nt nt .shosho.ck-ck- .wavwav.es.es.. th th.reeree. li li.ghtght.s ws w.illill. be be. on on.. i. i. wi wi.ll ll .be be .in in .a 1a 1.989989. bl bl.ue ue .acuacu.ra.ra.. i i .wilwil.l bl be .dirdir.ectect.ly ly .behbeh.indind. th th.e te t.rucruc.k. k. .my my .skusku.ll ll .wilwil.l sl s.masmas.h ah a.gaigai.nstnst. a a .199199.8 c8 c.hevhev.y ty t.ahoaho.e. e. .i wi w.illill. be be. a a .toutou.risris.t at a.t tt t.he he .whiwhi.te te .houhou.se.se.. my my. le le.gs gs .areare. bl bl.ownown. of of.f af a.t 8t 8.00k00k.m/hm/h.r. r. .my my .jawjaw. is is. to to.rn rn .offoff. at at. th th.e re r.ootoot.. t. t.herher.e we w.illill. be be. tw tw.o lo l.ighigh.ts.ts.. my my. re re.runrun. is is. in in .fasfas.t-mt-m.otioti.on.on.. my my. ja ja.w iw i.s ts t.ornorn. of of.f af a.t tt t.he he .rooroo.t. t. .thethe. ap ap.artart.menmen.t bt b.eloelo.w mw me .expexp.lodlod.es es .viovio.lenlen.tlytly.. m. m.y by b.odyody. sp sp.litlit.s is i.n tn t.wo wo .in in .thethe. mi mi.dstdst. of of. sc sc.rearea.minmin.g. g. .thethe.re re .wilwil.l bl b.e oe o.ne ne .liglig.ht.ht.. my my. bo bo.dy dy .splspl.itsits. in in. tw tw.o ao a.t tt t.he he .rooroo.t. t. .thethe. ap ap.artart.menmen.t st s.plipli.ts ts .in in .twotwo. at at. th th.e re r.ootoot.. m. m.y sy s.kinkin. is is. ri ri.ppeppe.d od o.ff ff .at at .120120.0km0km./hr/hr.. t. t.herher.e we w.illill. be be. on one .liglig.ht.ht.. my my. bo bo.dy dy .splspl.itsits. in in. tw tw.o ao a.t tt t.he he .rooroo.t. t. .my my .rerrer.un un .is is .in in .fasfas.t-mt-m.otioti.on.on.. my my .jawjaw. is is. to to.rn rn .offoff. at at. th th.e re r.ootoot. _ code and protocol: the parasitic vis-a-vis phenomenology of approach among x and ~x = one inscribes the null set 0 as x^~x - intersection. but x may be fuzzy; x may also be intended or unintended. if x is unintended, or non-intended, then x may be protocol. consider roughly three strata: a. unintended x-protocol: dna or crystal mapping, clays, lindenmayer algorithms in relation to plant formation. b. intended x-protocol: tcp/ ip, jpeg compression, mpeg encoding, morse, ciphering. by 'intention,' a reference _only_ to goal-oriented, teleological structuring. note that intended x-protocols may be secondary-level coding (i.e. tcp/ip) or primary-level (morse, bacon cipher); in the latter, the text is trans- lated on a character-by-character basis into code, and in the former, the text is carried by the code. at best this is a fuzzy distinction. note that the latter is also an intended non-intended protocol; a better word might be 'tended'; thus morse code is tended with key translation, but tcp/ip is automated translation into packets (not into a 'tcp/ip code,' but through ascii, well maybe the same thing). in intended distinction, one might say (as one might say in tended non-intended protocol), that the distinction is parasitic, that the element-between x and ~x - the inscrip- tion itself - is the result of an intended act or sequence of acts. such an element-between is dirty, abject, fuzzy, problematic, historically and ideologically bound. the element-between is the boundary-phenomena within the phenomenology of approach; it marks/inscribes the totality of investigation, expenditure, intention - as well as accompanying debris, and the heuristics necessary to cleanse the phenomenon itself, [x, ~x]. it is within the element-between that -jectivity: projection/introjection, plays out. it is from this element, represented as the inscribed boundary x|~x, that anomaly overrides, that default tags arise. this is the chora- tic element within the sememe, within semiosis, the generator of meaning, and meaning's withdrawal. it is here, {x} <> |P| <> {~x}, that the parasite is manifest - the noise in the system that _tends towards meaning,_ towards the _maintenance_ of the inscription. the parasite has everything to gain; as such it is also _symbiotic_ in relation to x - retaining x for its own ends; the whole process is an _enunciation._ _ 10 image-files for codework talk: receptor silicon-extraction active-retina broken wafer dam wafer crash wafer crash ii molecular wafer-eye f({x}) -> y skid-mark: retinal ruin => {x^~x} internals orbital meltdown: strain shear distortion of grid final stimulus _ 3 protocols 1 well this protocol drives everything. it's not a protocol, it's an association or mapping, it's a drive or production-number, it's a correspondence, it's built into the matrix of the inchoate, it's unintended, it's untended - [phenomenology of approach, the world] 2 well this protocol carries the codes, this protocol carries the message, this protocol is unintended, it's tended, it's maintained, someone maintains it, someone keeps it running, someone sends the message, someone hears it - [phenomenology of the world, the carrier, the interpretation, the interpretation of the carrier, the assignation] 3 well this protocol's assigned on the run, this is the meaning-generator, meaning-production, this assigns boundaries and bindings, this creates language and negations, this runs it through - there's dirt inhabiting this one, there's the noise in the machine, there's the interpretations, the abjections, the sado-masochisms, the ideologies, histories - it's all in this protocol - [phenomenology of approach, the complicit, the seduction, the accompaniment, the comprehension, the deconstruction] _