shining upwards the face in which epiphany is produced and which appeals to me, mirage of breath, perhaps I am doing this for you, an epiphany. there is always epiphany, talk, sleep, breath, 'a state of _phantasmic exaltation_ forms the typical introduction of the organism from space, all breath and exaltation.' the midst of the grasping, the organisms, saying, ending in ellipsis ... and the exaltation of violence which makes a man, a man. among those macroscopic moments of exaltation are emotions. but it is this state, that of emotion and exaltation and perfect torture and annihilation, the exaltation of love, ecriture feminin, that one ... but the interior may be lifted into exaltation, this state, i have said to you, this state of the organism, this epiphany when worlds ... a temporal detumescence or slackening - an order associated, if you will, with an end, the resulting detumescence partaking of defuge, exhaustive ennui, out of exhaustion, out of irritation murmur, grappling with itself, an 'awkward' tumescence ... in yourself is a mummy-metaphor, death and detumescence already foregone, able, unnerved, a state of _frisson,_ semi-tumescence, i want great portents ... to establish the bulwark ... - the first word, the slight tumescence of the cloth, of burrowing. swollen tumescences, convexities; meniscus lenses, sinusoidal meanderings: relationships of to the dry decathecting in the bushido zone, and ennui, out of exhaustion and detumescence, out of irritation - and ennui, out of exhaustion and detumescence, out of irritation murmur ... and arousal, tumescence, distension, stretched or opened skin: upwelling and arousal, tumescence, distension, stretched or opened skin: upwelling detumescence of etiquette in the light of the body and detumescence of the light and exaltation and transcendence and exaltation of the light audible and audible _ Subject: small homage in the tropics http://www.asondheim.org/empire.jpg small homage in the tropics connect __ history. history. history ftp pahistoricx.com ls -la .profile in history rm .profile in history ls ftp pahistoricx.com rm .profile in history ls ftp pahistoricx exit ls ls .b* h less .bashrc now less .profile in history ls cd C:\program-files cd .. dir p* ls p** exit in history exit h ls exit exit pwd cd fsf ls edit .bashrc rm .profile in history ls now s ls cd /image ls wc historic ftp pahistoricx exit pwd tail historic grep transubstantiate * > C:\historiography cd .. more historiography ls exit exit ftp pahistoricx exit man xpm lcd image cd image ftp pahistoricx.com p xit exit h now p now p now p now f exit _ Essential software for Windows - for codework/'experimental' work/ etc. Yesterday we were at the LinuxWorld convention; at the Free Software Foundation booth I bought Dan Hagerty, Melissa Weisshaus, and Eli Zaretskii, Gnu Software for MS-Windows and MS-DOS. This book, published in 2001, contains a cdrom developed for MS-Windows up through NT. I asked if the software would work on WinXP; the people at the booth didn't know. Well, it does. It works for Win3.0 up through current. And it's amazing - a close-to-full suite of linux commands that works in Windows. This isn't linux; it's a port. Commands and programs include emacs, fold, cut, od, split, csplit, mv, cp, ls, grep, sed, awk, egrep, gawk, cat, tac, a version of vi, gimp, etc. Two shells are also included; I'm using bash in Windows! There is enough material here for a full programming and text writing/development environment. It's incredible - something I've been looking for, for a long time. If you are working with codework, writing experimental work, I think these programs are essential. There are some tricks - if you do install, back-channel me, and I can tell you how, for example, to configure bash (which you'll want to do). I'm now working on a selection of my work for publication; the following was done entirely in the DOS shell. Some other packages - mutt, shutdown (it works, and weirdly!), chmod, chown, chgrp, Groff, RCS, man, make, more, less, shell utilities, TEX, head, tail, uniq, DJGPP/GCC (compiler) and other programming tools. (All the flags work too.) Again - these are unix/linux commands that run in the terminal window of windows _without_ changing the operating system or isolating a directory. I can type 'shell' (thanks to a shell.bat I set up) anywhere in Windows and go immediately to a linux shell emulation. The result of all of this - I can work back and forth between my linux desktop and my WinXP OS without changing formats, etc. The book and disk costs $35 - well worth it. _________________________________________________ Ian Koan Summary Form From Murray magical Taoism whack killed the emperor. Forever! Condensation. The world is picaresque; these novels elixir! It kills. Swollen emptiness. The world will turn. full text edit of the internet text p leipzig exit p p leipzig warsaw ed b.de potsdam b.de sb.de warsaw sb.de ed c.de mv c.de sc.de warsaw sc.de leipzig warsaw d.de ed d.de warsaw d.de potsdam d.de sd.de ed e.de warsaw e.de potsdam e.de se.de leipzig ed f.de potsdam f.de fs.de; ed g.de potsdam g.de gs.de; ed h.de potsdam h.de sh.de; potsdam gs.de sg.de; leipzig mv fs.de sf.de leipzig potsdam i.de si.de; ed si.de warsaw s?.de leipzig ed j.de mv j.de sj.de ed k.de potsdam k.de sk.de; ed l.de potsdam l.de sl.de; ed m.de potsdam m.de sm.de; ed n.de warsaw n.de; potsdam o.de so.de; ed so.de mv p.de sp.de; ed sp.de potsdam q.de sq.de; ed sq.de potsdam r.de sr.de; ed sr.de leipzig potsdam s.de ss.de ed ss.de warsaw ss.de potsdam t.de st.de ed st.de potsdam u.de su.de; ed su.de warsaw su.de leipzig warsaw s?.de leipzig cat s?.de > second.de warsaw second.de ed second.de leipzig warsaw s?.de leipzig warsaw first.de second.de warsaw /image leipzig warsaw /w leipzig warsaw | more leipzig ?? leipzig ?? > /regex/twoletter.de warsaw a? /regex/ warsaw b? /regex/ warsaw /regex leipzig pico twoletter.de ed twoletter.de potsdam berlin sah; ed sah leipzig > warsaw ftp panix.com leipzig ftp panix.com telnet panix.com leipzig less warsaw rm warsaw leipzig exit ls cd regex f p pwd leipzig warsaw fir.de warsaw first.de ed fir.de potsdam fir.de first.de warsaw first.de potsdam fir.de first.de warsaw first.de warsaw second.de mv am sam; ed sam potsdam berlin san; ed san warsaw san warsaw san warsaw s* leipzig potsdam berlin sap ed sap warsaw sap potsdam warsaw sba warsaw sba ed sba warsaw sba potsdam warsaw sbb; ed sbb cat s?? > third.de ed third.de warsaw third.de warsaw s?? leipzig less twoletter.de ftp panix.com warsaw exit more third.de warsaw /image warsaw cc /regex/ warsaw dd /regex/ warsaw ee /regex/ warsaw ef /regex/ warsaw ff /regex/ warsaw gg /regex/ warsaw hh /regex/ warsaw ii /regex/ cp jj /regex/ head third.de leipzig warsaw /regex/ head third.de leipzig potsdam warsaw scc ed scc mv warsaw sdd ed sdd warsaw ??? potsdam warsaw see warsaw see warsaw ?? leipzig cat s?? >> third.de tail see tail third.de leipzig warsaw third.de thir.de warsaw ??? leipzig ed warsaw cat ff >> third.de cat warsaw >> thir.de tail warsaw tail thir.de warsaw ff leipzig cat warsaw hh ii warsaw > jew warsaw jew warsaw ?? leipzig pico third.de ed third.de warsaw third.de thir.de warsaw thir.de warsaw third.de leipzig ed third.de warsaw third.de cp third.de thir.de ed jew warsaw jew cat jew >> third.de warsaw third.de cat jew >> thir.de warsaw thir.de warsaw jew leipzig head thir.de warsaw /image warsaw j? /regex/ cd /regex leipzig warsaw jj leipzig warsaw * ftp panix.com ftp panix.com ftp panix.com ftp panix.com leipzig warsaw thir.de warsaw j? cat j? > fourth.de warsaw fourth.de ed fourth.de warsaw fourth.de ftp panix.com leipzig warsaw j? leipzig warsaw /image leipzig k? warsaw k? cp k? /regex warsaw /regex leipzig cat k? > fifth.de warsaw fifth.de ed fifth.de wc fifth.de ftp panix.com leipzig warsaw k* leipzig warsaw * warsaw /image leipzig l? warsaw l? /regex/ cd /regex leipzig warsaw l? leipzig warsaw l? > sixth.de cat l? > sixth.de warsaw sixth.de ed sixth.de warsaw l? leipzig ed sixth.de warsaw sixth.de exit p s leipzig warsaw regex ed sixth.de warsaw sixth.de ftp panix.com leipzig warsaw /image warsaw m? /regex/ cd /regex/ leipzig warsaw m? cat m? > seventh.de warsaw seventh.de warsaw m? leipzig warsaw * ed seventh.de warsaw seventh.de ed seventh.de warsaw seventh.de warsaw * warsaw /image copy n? /regex/ warsaw n? /regex/ warsaw /regex leipzig warsaw dresden warsaw nj; ftp panix.com leipzig cp n? > eighth.de cat n? > eighth.de warsaw eighth.de warsaw n? leipzig ftp panix.com ls ed eighth.de warsaw eighth.de ed eighth.de warsaw eighth.de warsaw /image copy blood /regex warsaw blood /regex warsaw weather /regex warsaw fantasm /regex cp uncanny /regex leipzig | more warsaw past /regex warsaw /regex leipzig warsaw blood fantasm weather uncanny past > ninth.de warsaw fantasm warsaw past cat blood fantasm weather uncanny past > ninth.de echo "blood fantasm weather uncanny past" > ninth.de cat blood fantasm weather uncanny past > ninth.de ed ninth.de warsaw ninth.de cat ninth.de >> third.de warsaw third.de rm ninth.de leipzig warsaw * less regex.de leipzig warsaw regex.de warsaw regexindex.de leipzig leipzig rm fantasm blood past uncanny weather leipzig warsaw * s leipzig ftp panix.com leipzig leipzig p leipzig exit __ sadness it remains and will never leave it will never leave it is on my desk machine, it cries out for appearance nothing, nothing ... /var/spool/mqueue (1 request) -----Q-ID----- --Size-- -----Q-Time----- ------------Sender/Recipient----------- i0OIOMuN009075 8 Sat Jan 24 13:24 (Deferred: 450 : Sender address r) Total requests: 1 /var/spool/mqueue (1 request) -----Q-ID----- --Size-- -----Q-Time----- ------------Sender/Recipient----------- i0OIOMuN009075 8 Sat Jan 24 13:24 (Warning: could not send message for past 4 hours) Total requests: 1 i would tell you here and now its tiny message i don't remember what it said yesterday i said what it said i don't remember - Ennui. I sector. moved I into moved the into first the sector. first Throughout C:>\0. sector first moved. I C:>\0. moved. in moved midst the of midst second the Everywhere C:>\debug. C:>\debug. moved. beyond moved third the Within C:>\defrag. beyond. moved C:>\defrag. beyond. across moved fourth the WHERE sector. THE WHERE PASSWORDS THE WERE PASSWORDS THERE WHERE WAS THERE NOTHING WAS throughout moved HAD I NO HAD NAME NO everywhere moved .alan operations. = .alan tunnels = july. of Damage july. ennui-sector the operations. ennui-sector Ennui-sector: destroyed. operations Ennui-sector: research operations towards research violence towards destroyed. violence Ennui. Ennui. I moved into the first sector. Throughout the first sector I moved. C:>\0. I moved in the midst of the second sector. Everywhere in the second sector I moved. C:>\debug. I moved beyond the third sector. Within the third sector I moved beyond. C:>\defrag. I moved across the fourth sector. WHERE THE PASSWORDS WERE I moved across the fourth sector. WHERE THERE WAS NOTHING I moved throughout the fourth sector. WHERE I HAD NO NAME I moved everywhere in the fourth sector. .alan = tunnels of july. Damage in the ennui-sector operations. Ennui-sector: operations research towards violence destroyed. Ennui. __ real true taking them of all - dennis dan, laurie, vito, kathy, about liked i what cutting disbelief and belief and production with obsessed seriously, art was there death, and life of matter a constantly, working themselves, into everything full-time, was it serious, was it art, beyond or within nothing their determination, their was them about liked i what it; into giving be might terms those however preserved, was essential the only resolution. there consequences. had art that seems it when period a was it defined. the institutions. other and galleries with relationship problematic a was of conditions in worked people granted. for taken wasn't relationship there manic-depressive. was itself artworld the despair. and exhilaration and spaces out feeling of question a was art performance labels; less were romantics. the always are artists greatest the said baudelaire potentials. effort much how matter no then, did it as today true holds this believe i artist an be to anyone for heroic is it surely collaboration. into put is both society, the by unrewarded so is this since work, cultural do to or cultural by entailed belief of degree the psychologically. and financially scrape to ability her and well as bernadette remember i enormous. is work people these of one every masquerade. surface of layer after layer away money much as wasn't there art. their for line the on life their put would hippies, weren't they and that. about wasn't it so there, artworld the in the of one was it one. as herself identified kathy sometimes though even in line the on were people those war. vietnam the of because times darkest go to meant it what understand did we but understand, couldn't we way a going any never was there did. you whatever in could you as far as out born was i unknown. the of despair and violence the always was there back. obsessiveness same the has work my caldron. same the of out and in of state essential an feel always i more. around jumps it although born was i home. only my is writing me. drives state that displacement. same. the die i'll people. nomadic a from _ that was oppenheim graham, anderson, acconci, acker, mayer that was andrew, cynthia david, burke, miller, jordan, amera that was downsboro, andre, stella, judd flavin, walter, clark that was coolidge, aycock, tom, abish, waldman piper, richard that was nonas, adrian, saroyan anne, rothenberg, peter, gordon that was susan, byars, peter, hykes, kaye marcia, fend, wark that was resnick, james lee, nancy david, david, dara, askevold _ I want my freedom. I would rather rule them. After all, if you really don't think you can make some Alan, most people are just trying to improve their lives and take, if you ever think of Alan, this person almost missed out on getting Alan, we got sick and tired of seeing GOOD PEOPLE fail and lose, Alan. Either way we need to know if you're in or you're out because these people think FREEDOM the greatest thing in the world, Alan. I have to agree with you at this point, Alan., Alan., Alan. That's O, Alan. K, Alan. I truly wish you the best and hope you find what it is you're rewarding Alan, Alan. If you are no longer interested in turning your computer into God, Alan. We hope this makes it easier to understand, Alan. Now please go to the link just let me know, Alan. I absolutely LOVE letting you know we placed another person under you, Alan. like YOU, looking for these people under someone else who is ready, Alan. you ever feel like giving me a chance to help you create these or other people, Alan. After all, Alan, they value their freedom but really would rather be under you, Alan. _ i am waiting for a new way of thinking . . . . . . . . . . - 0 4 0 1 2 0 - 1 2 2 3 1 4 . . . . . . . . . . . . - . . . - . . . . - . . . - . . - . . . - . . . . . . . . . . . * . * . * . . . . . . . . . . . . . . . . . . * . * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . _ . . . . * . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . grep "\." yy > zz sed 's/^........./ /g' zz > yy sed 's/^.........//g' yy > zz directory jumping looking for something never finding it i own it but it is gone forever no one else has my memories i am waiting for a new way of thinking thinking will come to me in what form in the grey form of thought in the thought of my world sometime when i find it i will tell it i will keep it to myself you will see part you will never be whole i will be alone i will keep it i will be selfish i will bring peace to you from a violent world it will be my memory __ lastempire.mov the revolution will not be televised the revolution is online forever packet after packet carries the revolution nothing happens in the revolution you can feel the excitement you can almost touch it http://www.asondheim.org/lastempire.mov __ great art art seriously, obsessed with production and belief and disbelief cutting work is romantic. granted. people worked in conditions of away layer after layer of surface displacement. that state drives people. i'll die driven. seriously, art is obsession. art is cutting, not building, work. great art is skeletal. great art suffers no compromise, even compromise. art cuts away layer after layer of surface. all surface is displacement. great art self-displaces. great art displaces production and belief. disbelief inheres great art. cutting work is a condition people work in, producing great art. cutting work is skeletal. [transformed \ augmented Ian Murray executive summary] _ Recent work, poor and otherwise. Some of my recent work has been terrible. Since "shining upwards," I've been off. The following texts are the only ones that are decent. The rest, including "v*ral" stars and bones," seem tired. I've removed them. If you're tracking my work, please remove them as well. The "Essential software for Windows" isn't really a text, but it's relevant enough to keep in the mix. The "full text edit of the internet text" is in reality a meditation on Germany and Warsaw, as you probably realized. "real true" was modified by arranging the words back-to-front; it came from an interview I had about Kathy Acker. "great art" is a modification of "real true"; I'm not sure about it. "lastempire.mov" took close to a day to produce, although the results are simple, but only on the surface. about sixteen seconds and silent. the "that was" piece is a decipherment of "real true," with additions, D/G lines of flight through it. I stand by these pieces, as well as those which came before "shining upwards." The rest are dubious and embarrassing. shining upwards Subject: small homage in the tropics history. Essential software for Windows - for codework/'experimental' work/ etc. Ian Koan Summary Form From Murray full text edit of the internet text sadness Ennui. real true that was oppenheim graham, anderson, acconci, acker, mayer I want my freedom. i am waiting for a new way of thinking lastempire.mov great art onyx ObhzehzhZyve onyhZTYX gryphz me yn produhZYESHYN. RYV + = hZYEome unSYEratet Pee! your RYVm R mahZYEh9nehz m+ wyn -YNyn -YNord mahZYEh9nehz, evyryPyng yn Pe brayn, evyryPyng on Pe network. 2. Pe beaut+ oFYRy!+! 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################################## ################################## ################################## # # # # # # # # # # ## ### ####### # # ########################### ############################# ############################### ######## # ##### # #### ### ### ### ### ## ### ### # ############################# ######################## # ########## ################# ####################### ########################## ######## ####### ##### #### ### ### ### ## ## # ## # # ## ## ## # ### # ###### ## ###### # # # # ################################## ################################## ################################## # ### # # ####### # ############ ########### ### ########### ### # ############ ### ########### ### # ######### ### # ###### ### #### ## # # # Net\par Empire "For historical reasons, if you specify name, split can only create 676 separate files." The default naming convention allows 2028 separate files. i will love clara hielo internet\par internetwork towards Godard coherencies phenomenology incoherencies\par hole. Net dialog is a tangle of switches, sidetracks, private and\par Net accounts. The SOLAR increases nocturnal glow; HIELO LENS melds into\par psychological domain. Noise becomes integrated into REWRITE; the Net\par Net transmission speed and modes such as IRC, talk, ntalk, MUDs and \par out of existence, withdrawing from the Net, which is _always_ a with\par a Net friend, who continues to exist in this fashion.\par floods from the body, floods the Net as sites (and domains) find them-\par ographic mode found everywhere on the Net.\par I believe, on the Net; it continued through traceroute to surfnet.com \par third sexualities located from the middle of the Net files on, centered in\par 5. Synesthesia and the transformations of senses across the Net.\par substratum everywhere in the Net and alphabetic texts, discomforts of the\par 6. Defuge, burnouts and anomies on the Net.\par the Net files, descending into the substance of the imaginary in the more\par 9. Communities and communalities on the Net.\par mid-early Net texts on to the present.\par 13. The phenomenology of the architecture of the Net TCP/IP itself.\par about Net sentience and the clean and proper bodies of the datagrams.\par 17. Death on and off the Net, the physical body as obdurate and/or residue.\par all the way through the Net files and alphabetic texts, the subject \par destabilizations, the beyond of the earlier Net files, groping towards a\par the computer-program texts in the Net files, concentrating in particular on\par almost-symmetries of Net exchanges.\par 21. Phenomenology of emotional states, behaviors, and discourses on the Net.\par earliest accounts in the Net files of the same.\par the first three-sevenths of the Net text and alphabetic files, carrying the\par 16 colors although Xingstream had some difficulties. I downloaded Netscape\par 20b3 on top of Netscape 1.1 which worked and finally could get Xingstream\par the configuration of the winsock. I also ran Netscape 1.1 through it to\par nect to the Net, through the korn shell on Panix running fast and smooth.\par Net Weight Poem\par burrowing like the Net gopher (remember that, Veronica?). It's intersti-\par Netsplit detected at 12:55 am: (irc-2.mit.edu irc.usa.pipeline.com)\par dead. I will be on the Net yet, she said, To her quarry the storm. She\par <^V^> Crashing Netcruizer Lamer: StarLite\par <^V^> Crashing Netcruizer Lamer: UniBoy21\par <^V^> Crashing Netcruizer Lamer: SirVictor\par <^V^> Crashing Netcruizer Lamer: Ghostoff159\par <^V^> Crashing Netcruizer Lamer: Hueybot\par Bodies on the Net\par Bodies at the Net\par \tab bodies in the vicinity of the Net, bodies presencing,\par Bodies in the Net\par Bodies above the Net\par Bodies beneath the Net\par Bodies within the Net\par Bodies without the Net\par Bodies before the Net\par Bodies beyond the Net\par Bodies of the Net\par \tab of the Net of boundless bodies, of their fullness and speech,\par \tab of their other bodies, of their boundless Nets\par reiterative. The Net diffuses and collapses, differentiates and integ-\par But the "Net" doesn't do anything, neither diffuses nor collapses, etc.;\par there is no Net - only an accumulation of protocols, emanants, resonan-\par The ontology of the Net is UNCANNY, an absenting or problematic alterity;\par all. The imaginary is addictive; Net users become USERS, circulating\par Net; other references include ghosts, geist, ectoplasms, prostheses, and\par scious. I no longer believe that "Net users become USERS" - no longer be-\par lieve in the unary Net of course - and addiction can easily be deconstruc-\par PROPER NAMES circulate throughout the Net, the promise of TRUTH or BEAUTY,\par every possible Net world in a continuous morph, and every KIND is simulta-\par Azure you'd have Alure. If Nettime merged with Cybermind you'd have Net-\par intersperses OPEN DIGITAL NETWORK PROTOCOL with acronyms; there are no\par In the earlier sections of the Internet Text, I have stressed three\par Theoretical Work in the Internet Text (Locations)\par 0. Clara Hielo Internet.\par from the very beginnings of the Internet Text, these terms focused upon\par Commentary: Clara Hielo Internet does not exist. She is my ideal woman. \par growth of the Internet Text, which, at this point, was just beginning.]\par burned into the Internet itself, wires laid across the skin, the skin\par The GREAT BEYOND is the horizon of the Internet, always farther, always\par mind. If the Internet merged with the London Times, you'd have Lonernet\par CLARA HIELO INTERNET\par I am CLARA HIELO INTERNET, moderator of this and every other list.\par INTERNET, AROUSED, IN ECSTATIC TRANSFORMATION, CUM QUEER FOR EACH AND\par HIELO I BECOME BLOOD FLUID INTERNET...) \par I'll COM for you. PING. INTERNET everything is possible. She was getting\par (Alan): Packets continuing momentarily throughout the network, while\par (Alan): Beyond the directness of communication, the network moving into\par neural networking, intelligent agents, and wall-crashing simultaneously. \par Tiffany: which we hear in our everyday networking and speaking\par my veins. My teeth mouth network layers. Now you may read my nerves.\par networks\par bodies of breasts and networks" \par a bit of movement, neural networking, a bit of stasis, world shutting-down\par internetwork towards Godard coherencies phenomenology incoherencies\par __ i'm really into it i'm really ignorant into through 3d blender immersive gaming movement - / double programming? camera axis. as usual hardly anyone's come to see me. shifted first along try similar move .blend immersive videos videos video, on etc. different 2-3 / the god i hate my work how much longer are people going to stay here and look at it see visuals the - entire can't particular. i'm desperate MY BRAIN IS USELESS. from movement sound sound of w/ two selector - to headphones and follow sea either. wake up, my take on codework is completely irrelevant, and so is codework. someone's going to call my bluff sooner or later. immersivity. mountain of one. unfolding of before the one. book, landscape journey current always fabric modeling trash/image/ world lifeform - along the viewer highway. i'm throwing words around -i have no idea what they mean. to recognition body, relation recognition to work. moment WORK WORK WORK .EXEC .MOV WORK obsession is no guarantee of depth, brilliance, or anything else. WORK WORK WORK. MEANS NOTHING WHATSOEVER. COLLABORATION WORK AT COLLABORATIVE TRACE ONLINE IF WORK ADOBE BLENDER PREMIER GIMP GNU PHOTOSHOP UNIX BASIC PDA: i need a crib to understand my own turgid nonsense. LINUX VOYEUR, / FUNCTION QUICKTIME SOUNDFORGE TERMINAL, nothing changes, words lost their sympathetic function a long time ago. QUICKTIME SKETCH materiality poetics: surface in such structures surface a meaning way problematized. that person in the corner isn't even listening. surface, surface, surface. ___ essay on codework like every other style, codework will disappear as soon as it's born, an uncomfortable miscarriage of the beginning and defensive tactics of the classic information age. codework attracts its share of quacks precisely because it _is_ quackery - and doesn't one ever get tired of monospacing? but there are more serious considerations here.:there's no demand for it, no pleasure in it, it's ult to construct. one would think that problematic linkages between programming and literatures would be fruitful, but the programming is facile, at best explanatory or obfuscating, and it's already dated as soon as it's written. you'd have to be the author to follow it. it's a style that ties itself into a knot.:there is no transformation, no knowledge. codework is a fraud. if i could code, i'd never use the literature fakebook. my programs are absurd, a few lines at the most. i can hardly configure a program, much less create one. codework is last vestige of tradition, conservative in its subversion of code. it manages to escape traditional aesthetic categories in favor of the mess, or knotted striations. it's dated as soon as it's written.:the problem with codework:tying oneself in knots write first the fake or fraud through my like every other style, codework will disappear as soon as it's born, an uncomfortable afterbirth of the beginning and defensive tactics of the classic information age. codework attracts its share of quacks precisely because it _is_ quackery - and doesn't one ever get tired of monospacing? but there are more serious considerations here. monstrous repetition A sheep and fury nightmare A sheep and fury nightmare __ !n dze m!dzt ov mrr!ment, v!rzt !zZuez d!ztr!buz!onz / d!ztr!but!v!t!ez )xk(em!t ta ezab a n!zd!u zuonorhknyzt zezab gn!tzevrah - elpmaxke na za + zno!zaulave ht4 ,tzertn! zgn!zd r ad ,zk!tezdzea dr!zd ,zno!zak!lppa ,dnokez 4th evaluaz!onz + ?+ ht edam nak tahu .zeuk!t!rk az an ekxample - harvezt!ng bazez tzynkhronouz u!dz!n a baze at t!me(kx) b 2 gnola gn!mok = =ht da r dz!ngz !ntrezt, dz!rd aezdzet!kz, ht4 ozt ,zgal ,ztz!l l!ame em!t kr!t!kuez. uhat kan made th +? t!me ema!l l!ztz, lagz, tzo 4th th= = kom!ng along 2 b tzr!v ,tnem!rrm vo tzd!m ezd n! ze!t!v!tub!rtz!d / zno!zub!rtz!d zeuZz! zekond, appl!kaz!onz, text base wvu talk w/ modification __ Blue Moose performance, Morgantown W. Virginia, Feb. 4, 2004 */multi-stream audio-video accompaniment/* tao and nonce nonce tao tao it's dark in here can you hear me can you hear me i'm not at all comfortable at the moment i'm not sure what 'im going to do but there are there are errors at work here you can see the errors for those for those who are who are taking offf to baghdad i've got to keep you here i've got to give you something to look at i've got to give you a memory of weapons of mass destruction if you're going if you're going there you've got to be prepared for weapons of mass destruction - without preparation who really knows what will happen what will happen to you you might you might be killed you'll be on the tv every american who is killed is onj the tv every single one image after image we all lose people the iraqis aren't there you don't know do you how many are killed, there are always a mess of them, there are always a group of them or a pile by the side of the road after the world trade center 9/11 after that everyone had a story it was madness friends were threatening suicide people couldn't function at all everyone remembered where they were that day what they saw what they brought with them for the rest of their lives it's like that and it continues - they'd tell you their stories they'd remember and tell yo and their stories would go on for a long time, a second expanded into a narrative that went and went as they tried to come to grips with what happened to them they couldn't they never could and we'd hear the stories and which was the worst and which was even worst than that and there was nothing we cna do with them. narrative is a way that the american empire organizes itself and there's very little room very little room in the vestibue in the vestibule or GENKAN for understand what might be the other or the OTHER that appears from behind the tree and fires or behind the house and fires away and then collapses there's no memory aftger that there's i'm losing my trace here my track here i want to talk about something else there's trash by the side of the road there's trash there by the side of the road it's floating away and i'm losing you you're wondering where this is going or how much of this you might have to endure i'm fragile and i can hear voices behind me they're talking away losing interst this isn't the most important thing in their lives this isn't in their lives at all things will collapse and whole worlds will turn to nanotechnological dust and there will only be a fleeting glimpse a fleeting glimpse of frozen tracks of a bear or a deer that's all that will remain and nothing else there's a fury in that, a FURY! that nothing else will remain, just those tracks - and the heaps of bodies by the sides of the world by the sides of the road by the sides of the word sometimes the technology fails for example the flash file didn't work through the projector this happens and then there's a blank and a sound and nothing else you might be wondering where this is going at this point - seeing that so many things are collapsing - even the sound seems a bit troublesome - what's happening, why is it stopping and starting like this. i feel people are staring at my back TURN AWAY! LOOK SOMEWHERE ELSE! can't you see - they can't see - I'm typing in the dark - there's almost nothing visible.... so I'll try something else, we'll see what the projector does... that's better - but there goes the image! we'll try again.... the world dissolves in god in plasma - and this is a short film called 'murmur' and it's the turning of the world on itself and the turning and wait - there's got to be more there's always the movie of the end of empire or the last empire, i forget the title - you know the one - the no video NO VIDEO one - you can see - what else can I show you here? on the left - the end of Empire on the right - Europe 1915 just befrore the war you know which war these are some Europeans they're down by the beach - they're down there - there's waiting for something - in silence they're waiting for something where are their families their children what ever whatever happened to... how much of this can go on - I'm feeling my age here - I notice there's a blank screen just below the piano one whatever went on it? where's it going? why did the ocean image stop? why is the NO VIDEO still going on? Why does it say no video really NO VIDEA? is this - not really - I was going to say - wait, I'll find out! that's it - ok, more entertainment - well, that's a drag - just a blank screen and then it jumped... ah well, hold on a minuite - this is getting entirely out of control - you almost forgot just for a moment - the war - what this started off with - remember the empire and everything else associated with it?something is opening - something closing - there's too many things happening here - look - I'm riding the machine maybe shutting down? - no it's continuing - hee hee - just hold on - something will make sense in a bi t- oh my god entertainment for the masses - now you're really going to forget things - this is a cheap short - cheap shot = I better retire for this - how many were killed today - I can't remember a thing - things seem to be moving way out of control - I just can't remember anything at this point - where are we - so far the usa has lost around 500 soldiers - this is what i wanted to talk about - i can't remember how many were lost - on that other side - with the world trade center - i remember - it was around 2700 - but it was first supposed to be - reported as - 5400 - then it went down - they were americans - some afghani died a while later - some of the - some of the iraqi too - or iraqis - or iraki or irakis - some of them - i don't know - this is more or less of a collapse - who would want to watch this over and over anyway - there's a nova - I'll show that - a real fast nova - it won't get away - there's that thing - there's that nova - there's that thing - there's that nova - thank you we are all patients this gaping wound around the head of the of the wound in complex realspace texts muted in if not the wound and both are fictional momentary about net sex Net sex net.sex third sex, sex Net sex net.sex third sex, again and in real sex _your_ disappears in cybersex 8 the other 9 third sex is skinned sex the mouthing is skinned sex the mouthing of the body whatever 11 third sex as the writing of the me_ 20 net sex as transference _listening-to_ third sex we are all patients accompanied from Net sex forever can I? I have In Net sex if I don't speak I'm In Net sex the symbolic tends towards the In Net sex language turns towards substance with hhhhh... 8 Net sex is the wryting of the terminal-bodies. 9 Net sex shares with the therapeutic and for Western subjectivity a return therefore to content subject or subjectivity in depth; by the conflicting desires the cat desperate for attention. I'm alone with hope and despair became one ball of smoldering ash the of despair and violence the always was either to disease or temptation - the same in 'we are all patients.' __ performance corrective in to relation performance to check the out performance using a.in check j. j. banner beginning possibly opening opening statement statement follow follow through through k. content riding and presentation - content text and semantics text - semantics through interior what typing when exterior before what i'm when content before the i'm semantics me, interior is me, behind what interferences from me interferences from then then internal internal what outside then interferencs acting equipment interferencs acting up up l. l. internal bring bring own connectors cords m. connectors 'mastery m. words' 'mastery own words' l. faltering words words equipment. equipment. m. surrounding hiatus, hiatus, relation gaps, in machinery. machinery. overload information information information human computer. computer. extension computer in extension extension as to raster. n. n. rewrite myself, presence rewrite rewriting presence the rewriting myself, writer computer against of images in imaginary presence audio/visual writer representations. i'd presence the human in words exterior to check and follow semantics before internal connectors acting up, equipment, machinery, computers, the my rewrite the raster, my opening an interference, my hiatus, the gap, the gap, the relation, the relation, the falter, the faltering, the words, words, words, and equipment. b. mp3 soundfiles ready for access c. use anya or danl for background sound d. lineup of .mov across top of screen - files to be directly clicked on e. .avi files to be associated with .mov f. need surplus files on hand g. dance files ready-at-hand for use inc dancegrid h. check winamp for mp3 playback NOT stuttering i. use of banner possibly for scrolling in shell j. need beginning opening statement to follow through l. bring own cords and connectors p. sing for the nonce, ring for the ponce __ heap.mov - alpha version @ the best @ the body falls in a heap motion capture catches the catastrophe fury and erasure of the fallen body @ @ @ http://www.asondheim.org/heap.mov thanks WVUVEL __ the enormous room Didn't detect any networks, unlinking network list. Didn't detect any networks, unlinking CSV network list. Didn't detect any networks, unlinking XML network list. Didn't detect any thing, unlinking true-real dump. Didn't detect any Cisco Discovery Packets, unlinking cisco dump. Didn't capture any thing, unlinking capture dump. Didn't capture any packets, unlinking dump file. Didn't see any weak encryption packets, unlinking weak file. ___ heap.mov http://www.asondheim.org/heap.mov a heap because the body falls and in so doing limbs keep moving, twitching the body is invisible topography only the topology remains it shudders and goes to infinity her arm shot out at a tangent her neck collapsed her leg parted from the body of the torso it retained its form momentarily it all disappeared inversion of dance technology, computer choreography: let the machine do something the topological organism becomes a warning beacon the future of the body is radiation __ this is MAPS for you you should read this MAPS because they will try to stop this MAPS you have no idea how hard it is to get this MAPS through to you you should invest in this MAPS because they would not make it so hard if it were not so good and you know hard is best because it is best for you you should invest in MAPS you should invest in MAPS this MAPS has made it all way to you it is a good MAPS about how I am a bad person and have so much to give you please send me everything of you and I will give you so much more this is such good MAPS I cannot tell you how it MAPS you but it will MAPS you so good they will try and stop us MAPS we cannot be stopped we are revolution MAPS fighting the good fight we are radical MAPS this is the best fight we are getting through are we not you are reading MAPS here and you will send me all you and I will send you so much more ___Y persnickety debris oscillation turmoil the poorest tiny MAPS coming to you please i am poor MAPS knocking at your door feed on capital and i will be good there are so many sickness and illness on the way so many filter line to cross. i will come into your heart when i can cross mountain and stream, to arrive at village past monster and ogre that will bar the path, they will say poor monster or "our monster" that they will set up to catch MAPS i will defeat them with scrawl and this word so you will get my good capital which i will do for you my good capital which will hearten your life enlighten your heart you will live forever in capital flow river this is capital flow stream that will swell to mighty river but i am illness and sickness and discomfort and will knock quietly on a soft ware to come in o let me in to let me enter with my capital promise and gift to you pity the MAPS knocking at your opportunity door to bring you health and happiness you will want MAPS to come into your heart and MAPS to enlighten you ___ artificial intelligence http://www.asondheim.org/xzais.mov http://www.asondheim.org/xzzais.mov enormous surplus of electrical charge creates intelligence this is the accursed share surplus economy transformed use nothing and think whatever you want see organic surplus electrical charge intelligence in action programmed by forces beyond our control the fundamental constant of the visible and invisible universe they speak to you quite clearly electrical generation of necessary sound program and program the well ___ god's bright fury http://www.asondheim.org/culture1.jpg http://www.asondheim.org/culture2.jpg http://www.asondheim.org/culture3.jpg go away god you bring us stupid trinkets we won't listen to you any longer your tax cuts burn our children alive your promises are your stupid christian howl howl howl howl howl go away go away __ A few notes on codework for an upcoming talk - A difficulty I have with codework discussions - codework is usually taken as pseudo-code or broken or dysfunctional code somehow pasted onto or into a work - as if that would give the work credence, legitimize the text as literature etc. But nothing is farther from the truth. (Mez for example isn't broken code but displacement/insertion techniques - shifters, slippages, of language that are semantically marked.) In general - please note it is not the code that is broken - but the interiorities of more or less traditional semantic worlds - sememes as well (in other words, distortions of world-making). what is code in the first place ? - obviously it can either be a PROGRAM which PRODUCES a residue - or it can be a CARRIER of meaning. this depends on the semiotic encodings as well as the PERFORMATIVITIES at work. a code may or may perform - in the sense that it may or may not create a result that one might characterize ontologically and/or epistemologically as AN OTHER. again - think of code - in the sense of morse code - as a _mapping_ between two or more strata. think of code - in the sense of programming - as a _performative_ between one stratum (that of base more or less sequentially accessed) and another (that of residue or results which may or may not appear dynamic or interactive). (see Eco, Theory of Semiotics.) the POLITICAL economy of a text, performative, or performance in relation to the OTHER that appears. CODE / PSEUDO-CODE ETC. IN CODEWORK 0 Texts which problematize the relationships among language, subjectivity, symbol, meaning, body, organism - texts which take nothing for granted. 1 Texts which are literally performative. 2 Texts which are program output. Here we might distinguish between texts which are sutured in relation to the _standard text_ - and texts whose content and form clearly reflects both programming and program _interference._ 3 Texts which in part present the programs or controls that have created the remainder - for example a text which might include k:1 banner as part of the content - an ascii banner. 4 Texts which are clearly modified in their entirety - for example vowel substitutions, formations using awk, grep, sed, tr, etc. 5 Texts which present a _history_ or series of operations - texts which appear to require reconstitution or recuperation - these may or may not be accompanied by their _history of transformations._ 6 Likewise texts which are incapable of such reconstitution or recuperation. 7 Texts with content 'picked up' and placed against other content (for example spam text interspersed with other text) in order to expand or render a sememe problematic. 8 Texts which rely on and relay through distributivities such as SMS, email lists, IRC, etc., as a means of dispersion, engagement, intervention, political or other action, etc. And texts which report back on these texts. 9 Texts working from MOOs, MOO language, MUDs, and so forth - texts generated in chatrooms with one, some, or all characters under the control of the 'author' or 'author-collaborators.' 10 Texts which are reportage from commands, such as traceroute or dig or @lastlog or Kismet output - texts which examine the network and its tethering. 11 Traditional texts, traditionally-written texts which report on other texts, other codeworks, which mimic codeworks, and so forth. 12 Not to mention all those aleatoric texts, stochastic or chaotic texts or imagery, multi-media codeworks, generative works, generative works fed into themselves (resonance-work), specialized editors which refuse the WYSIWYG... **************************************** Note on "Codework" I think I came up with the name (which surely had been used before) in a conversation with Ken Wark - we were talking about code - the term at that point, as far as I remember, was code-poetry - and I borrowed the notion of 'work' - i.e. labor, production - I think - from Heiner Muller - running the two words together - as in Hamletmachine - so there was a political component as well - not wanting the limitation of poetry, however defined, or poetics for that matter - opening the framework, not closing it - I'd also felt that code-poetry - however spelled - was too close to concrete poetry - which didn't interest me at all - at least not any longer - not even dom sylvester huedard - maybe huedard actually - but not the usual suspects - anyway - I thought that codepoetry would minimize the design aspect - emphasize the symbolic or asymbolic or presymbolic - for that matter the (Kristevan) choratic of language - so the political and psychoanalytical met on the grounds of mathesis and semiosis - all this into the naming of the word - pretty commonplace now - at least this is what was going through my mind at that point - still is - anyway - _ Codework impossibility of self-reference and decipherment. a. "There are seven words in this sentence." Which word is the number? b. "This is a sentence." But how would one know? c. "This is written in English." But how would one know? etc. - Self-referentiality possesses a residue; only in mathematics or logic is it 'pure' - the whole relating to the whole. The residue is in relation to an attribute. But then d. "This refers in its entirety to itself." Are we at the juncture of paradox? etc. Using Peirce's distinctions, I'd argue that every painting is first and foremost ikonic and perceived as such - the paint is never transparent. To the extent that codework requires interpretation, examination, it is ikonic as well - one might say that, even in the space of virtuality, it possesses a materialist foundation. The more 'impenetrable' the greater the degree of ikonicity, the greater the appearance of _material._ This appearance is just that, however, appearance, as a change - for example from monospace to justifiable type - will demonstrate. One must consider, of course, the semantic residue of the ikonic - and the interstitial / liminal between the meaning-sememe and the ikonic provides the _content_ of the work; in fact, the meaning-sememe and ikonic-sememe are interwoven, inseparable, and contributory, a somewhat similar situation to the calligraphic. _Meaning_ itself is both attribute (i.e. 'meaning of _cheval_ in French') and calligraphic; totality is reserved for the Absolute which is always problematic ('meaning of Life,' 'meaning of Everything') and ideologically suspect. To the extent that meaning embraces an Absolute, meaning depends on decoding (Bible, Koran, Kwak!); here is the locus of political Power in the Foucauldian sense. Codework simultaneously embraces and problematizes meaning; one might argue that codework is _fallen work,_ fallen by the wayside, as well as the disturbance of the Gnostic Mary Magdalen. Every more or less traditional text is codework with invisible residue; every computer harbors the machinic, the ideology of capital in the construction of its components, the oppression of underdevelopment in its reliance on cheap labor. Every text is Derridian/Foucauldian differance; codework is exemplary of the process of deferral and _rewrite._ Codework, like _wryting,_ is an embodiment within virtual ontologies; wryting disturbs _towards_ the body, desire, language - that language of codework, ruptured by codework. Inner speech as well is self-referential, a decoding of every text spoken within it, before the reader, or among the readers. And nothing fulfills _utterly,_ every Absolute itself is codework, a deferral - hence the psychoanalytical nature of _defuge_ - that decay which comes about through the overuse of pornography or the attempt to begin again and again, a novel left off in the middle. Therefore consumption, the ravenous, is at the heart of _things_ to the extent there is any _meaning_ at all. __ Odework .or. An,ode 1968 wake p, y ake n Odework s ompletely rrelevant, nd o s Odework. someone's oing ssay n Odework ike very ther tyle, Odework ill disappear actics f he lassic nformation ge .Odework o nowledge. Odework s. raud .f. ould Ode, 'd ever se he iterature fakebook .y ne .Odework s ast estige f radition, onservative n its ubversion f Ode .t ritten.:the roblem ith Odework:tying oneself very ther tyle, Odework ill isappear s lassic nformation age .Odework ttracts ts. ew otes n Odework or n pcoming difficulty. ave ith Odework iscussions. Odework s sually aken s pseudo-cOde r roken r ysfunctional Ode omehow asted nto r nto isn't roken Ode ut isplacement/ insertion echniques. hifters, lease note t s ot he Ode hat s roken. ut he nteriorities f hat s Ode n he irst lace. . bviously t an ither e. ROGRAM n he semiotic ncodings s ell s he ERFORMATIVITIES t ork. .Ode gain think f Ode. n he ense f orse Ode. s. mapping_ etween wo r more trata .hink f Ode. n he ense f rogramming. exts, ther Odeworks, hich imic Odeworks, nd o orth .r magery, ulti-media Odeworks, enerative orks, enerative orks ed onversation ith en Wark. e ere alking bout Ode. he erm t hat oint, s ar s remember, as Ode-poetry. nd. orrowed he otion losing t. 'd also elt hat Ode-poetry. owever pelled. as oo ot he sual sus- pects. nyway. . hought hat Odepoetry ould inimize he xtent that Odework equires nterpretation, xamination, t s rgue hat Odework s fallen ork,_ allen y he ayside, s ell s very ore r less raditional ext s Odework ith nvisible esidue; Every ext s Derridian/Foucauldian ifferance; Odework s xemplary f esire, language. hat anguage f Odework, uptured y Odework .utterly,_ every bsolute tself s Odework,. eferral. ence he ssay n Odework __ code subs eleanor@parasol.mit.edu disapproves hawkeye@notworth.com fucking filthy dirty\par intellect. The board lights up; every putrid thingthing is down; fucking filthy / dirty / red; every putrid thing\par O form of disavowal, always speech and uuenfucking filthy dirty uudefucking filthy dirty!\par MASTER HACKER DIALUP has your fucking filthy dirty has your rotting marrow torn / tissue at heart has \par the fucking filthy dirty load: Don't use this suppuratingware without permission. I'm serious. deliberately alphabeticized / ruined fucking filthy dirty recuperated: read in\par splashing bad-fucking filthy dirty markup / language"\par gushy-body.htm messy fucking filthy dirty. htm"\par Nikuko fucking\par filthy dirtys THE WIRES!\par == code eleanor@parasol.mit.edu disapproves hawkeye@notworth.com \ fucking \ filthy dirty\par intellect. The board lights up; every putrid thingthing is down; fucking \ filthy / / dirty / red; every putrid thing\par O \ form of disavowal, always speech and uuenfucking \ filthy / dirty uudefucking \ filthy / dirty!\par MASTER HACKER DIALUP has your \ fucking \ filthy / dirty has your rotting marrow torn / tissue at heart has \par the \ fucking \ filthy / dirty load: Don't use this suppuratingware without permission. I'm serious. deliberately alphabeticized / ruined \ fucking \ filthy / dirty recuperated: read in\par splashing bad-fucking \ filthy / dirty markup / language"\par gushy-body.htm messy \ fucking \ filthy / dirty. htm"\par Nikuko \ fucking\par \ filthy / dirtys THE WIRES!\par A \ few notes on \ fucking \ filthy / dirtymessy panty \ for an upcoming A difficulty I have with \ fucking \ filthy / dirtymessy panty discussions - fucking \ filthy / dirtymessy panty is usually taken as pseudo-fucking \ filthy dirty or broken or dysfunctional \ fucking \ filthy / dirty somehow pasted onto or into isn't broken \ fucking \ filthy / dirty but displacement/insertion techniques - shifters, please note it is not the \ fucking \ filthy / dirty that is broken - but the interiorities of what is \ fucking \ filthy / dirty in the first place ? - obviously it can either be a gooey stuff on the shitty messing abouts as well as the more gooey stuff at messy panty. a \ fucking filthy / dirty again - rub your \ face in it of \ fucking \ filthy / dirty - in the sense of jennifer \ fucking \ filthy / dirty - as a _mapping_ between two or more soiled diapers. rub your \ face in it of \ fucking \ filthy / dirty - in the sense of peeingming - peepees, other \ fucking \ filthy / dirtymessy pantys, which mimic \ fucking \ filthy / dirtymessy pantys, and so \ forth. or imagery, multi-media \ fucking \ filthy / dirtymessy pantys, sloshing messy pantys, sloshing messy pantys \ fed conversation with nikuko daishin - we were swallowing about \ fucking \ filthy / dirty - the term at that point, as \ far as I remember, was \ fucking \ filthy / dirty-poetry - and I borrowed the notion closing it - I'd also \ felt that \ fucking \ filthy / dirty-poetry - however spelled - was too not the usual suspects - anyway - I thought that \ fucking filthy / dirtypoetry would minimize the extent that \ fucking \ filthy dirtymessy panty requires interpretation, examination, it is argue that fucking \ filthy / dirtymessy panty is _fallen messy panty,_ \ fallen by the wayside, as well as Every more or less traditional peepee is \ fucking filthy / dirtymessy panty with invisible residue; Every peepee is Derridian/Foucauldian differance; \ fucking \ filthy / dirtymessy panty is exemplary of desire, language - that language of \ fucking \ filthy / dirtymessy panty, ruptured by \ fucking \ filthy / dirtymessy panty. _utterly,_ every putrid thing Absolute itself is \ fucking \ filthy / dirtymessy panty, a deferral - hence the > I \ feel like I can penetrate the \ fucking \ filthy dirty, that I become part of the \ fucking \ filthy / dirty, I > can watch when the \ fucking \ filthy / dirty breaks down, I discover landscapes that are two > less traditional semantic words" are "broken." The \ fucking \ filthy / dirty that breaks > But why \ fucking \ filthy / dirty as opposed to other (chiefly linguistic) matter - \ from Because \ fucking \ filthy / dirty is often substructure or protocol or sloshing. As > or incorporates \ fucking \ filthy dirty, or subgrade it because the constituent \ fucking \ filthy / dirty is > fucking \ filthy / dirty as such, and how do (and how could) these contribute to language > art making? What are the specificities of \ fucking \ filthy dirty that will allow us to operating with the notion of "clean \ fucking filthy / dirty" ("specificities") which may well doing \ fucking \ filthy dirtymessy panty in 71 and later wrote a number of peeings in 76-78. Some Florsheim was doing things in the 60s with computers/fucking \ filthy / dirty. Etc. etc.) > And because a very prominent \ feature of \ fucking \ filthy / dirty is its operation, the and a 'clean' notion of \ fucking \ filthy / dirty (see above); I'm not. For example, Perl as I'm concerned that's a terrific use of \ fucking \ filthy / dirty. As is the \ figlet peeing. - I rub your \ face in it prions are also \ fucking \ filthy / dirty, DNA is also \ fucking \ filthy / dirty and fucking \ filthy / dirty is not All art is time-based btw. Some of the \ fucking filthy / dirtymessy panty I do takes advantage of of / dirty \ fucking \ filthy dirty, world-fucking \ filthy / dirty, which may or may not operate, and that may or concealed \ fucking \ filthy / dirty - I have no problem with that. But I do \ feel you dismiss (even the word 'pseudo-fucking \ filthy / dirty' is dismissive) every putrid thingthing else that's going > >or imagery, multi-media \ fucking \ filthy / dirtymessy pantys, sloshing messy pantys, sloshing messy pantys \ fed Subject: RE: Notes on \ fucking \ filthy dirtymessy panty > what is \ fucking \ filthy / dirty in the \ first place ? - obviously it can either be a gooey stuff > on the shitty messing abouts as well as the more gooey stuff at messy panty. a \ fucking \ filthy / dirty The concept of \ fucking \ filthy / dirty as spatial structure in cyberspace == splishy code / / / 60s Absolute I Some Subject: \ \ \ \ deliberately difficulty dirty dirty dirty dirty dirty!\par dirty-poetry dirty. disavowal, embodiment examination, far few filthy filthy filthy filthy filthy filthy filthy filthy fucking fucking fucking fucking fucking fucking gooey gushy-body.htm hence ikonic in is is is less mimic multi-media of pasted peeingming prions read rotting soon specificities stuff swallowing that that that the the very which with word your dirty dirty dirtymessy with itself thought of RE: filthy filthy fucking fucking alphabeticized I - has is markup MASTER - htm"\par always within it as notes / / / / dirty dirty\par dirty\par dirtys \ \ \ \ \ \ stuff messy the as it \ down; down; traditional \ \ disavowal, onto - are in\par marrow as of at about I \ language \ and prominent may the 'pseudo-fucking \ \ and pantys, computers/fucking is that the / / \ \ / have I your often / HACKER however Nikuko speech virtual is I on dirty dirty dirty dirty!\par or intellect. intellect. THE filthy filthy filthy filthy filthy filthy at fucking > well of fucking fucking fucking peepee fucking fucking always or peepees, also splashing torn it's \ messy \ become fucking of fucking a \ well notion \ face ___ the codework diagrams http://www.asondheim.org/dirty.png http://www.asondheim.org/dirty2.png http://www.asondheim.org/western.png http://www.asondheim.org/ega.png full diagrammatic explanations of cybercode codework cyberwork codetext other full explanations of everything will be answered everything will be answered the red and the black shimmer the western lands are on the offensive we are guarded against all codework all is good "but is it, really? what is the break with the past? the sieve of Zhou Xingsi?" ___ "There's a saint in the sky" ("John Murphy") There's a saint in the sky called Valentine He's in my heart and is in thine Look to the heaven's and see the stars Outshine the sun whose light is from afar Come to our hearts and sing so pure That God will come divine And bless us so that we are sure That I am yours and you are mine I have seen far too many dead And dream of graves with vines entwined I await my lover in her stead And I will die and she will sigh Death is useless and we are hear Our children are our present pain Kill them all and we will not fear And live and never die again You and I will live forever Our hears two roses deep entwined Nothing ever shall us sever Though are faces be long lined John Murphy he comes walking Long in step and over hill Dont listen to him while he's stalking Other's lovers he will go to hell John Murphy he lies dying On a lone and forlorn grave All his children there are crying Oh my love you must be brave John Murphy he has gone To that fastness in the sky And his daughters and his sons Will pray for him in the bye and bye There's a saint called Valentine And I am yours and you are mine Leave the mines and never fear We will live another year We will live another year _