perfect image beauty sondheim's Home perfectly beautful 0 it is perfectly beautiful, Jennifer, to have a slight flaw, in fact the slight flaw makes it perfectly beautiful, of course it does, nothing else, just the slightest offset, this is what the gods desired, the universe is isotropic or is it anisotropic, never mind, the symmetry's broken, an, i, an i, Jennifer, remember that sondheim's Home perfectly beautiful 1 once the principles are esablished, said the Greeks, Jennifer, it was easy, everything fell into place. it wasn't later, until digital syntesis, that the uncanny made its appearance in the realm of perfection, however. look at what lovely unfoldings, Jennifer, undraped sky, what beauty sondheim's Home perfect beauty 2 the cracks of marble and the scanlines, marble against marble against emptiness, ontological loss between one and another position, neuraesthetics of neuraesthenia, Jennifer, (A marble marble (A emptiness)) sondheim's Home perfect beauty 3 you huddle, huddling Jennifer, in the cracks, they're there for a reason, they're psychopomp, they're swollen, they're enormous, they're miniscule, they're inscribed, they're perfectly inscribed, Jennifer, they're palimpsest, collocation of indelible formulas, present and eternal and accounted-for, trembling and fragile and falling-apart, they're what people do, they're the done-with-it, huddling Jennifer, they're the fear and poison in men's minds, they're perfect sondheim's Home perfect image 4 you are waiting, Jennifer, engendered-Jennifer, genifer, hinged-iron-genifer, genniferrous, tiny candle burns here, Egyptians, Greeks, and Japanese are waiting, burning on and off for four days, yahrzeit, year-time, crack or impression of death, the slightest glimmer, under starrystarry skies, inconceivable beauty, i am sorry, Jennifer, i am not joking, honestly, i will not be remembered for it, this split on both sides of the entity, this almost grid, almost-alive, these perfect imperfection @ http://www.as.wvu.edu:8000/clc/Members/sondheim/ __ THE RIGHTEOUS KEEP THE BRAINDEAD ALIVE Empty stage. In the center, a wooden chair and table. There is a glass and pitcher of water. A desklamp provides the only light. (long pause) (Jennifer enters from stage left, sits down. she is wearing a red- brown dress and sandals. her hair is disheveled. she is about 40.) Jennifer: When I was young, I sought recourse in the Senate. (pause) They were indeed the best and brightest. The House was full of rabble. The Senate was Wisdom. Even when I marched, there was the Senate. A stability. I never heard of the Rapture, not until my twenties. (pause) Now I pray for it. I want death and destruction to rain down on the pure and righteous. I want the fanatics to leave, fly off God knows where, it doesn't matter. Leave the earth to the rest of us. (pause) Janine was only twenty-four when she came into my life. (pause) (loudly) I want to bring death to the righteous. I want to kill the good. I want to see them die slow deaths. Of AIDS of BULLETS of the FURY of the evil. {pause) (normal voice) There were a number of them in my life, Janine. Men and women, women and men. They were believers. (pause) Janine would fuck me with a rosary around her neck it went in and out my mouth I was fucked like a good Jewish girl. (pause). I should have known. That it was the beginning. That there was no escape. Evil in the guise of good. (pause) I pulled the trigger on the President. I set fire to the Senate. I ignored the House; they were beyond Salvation. They were Salvation. Can you blame me? (pause) Janine, Janine. (pause) Look, this is inconceivable. That there is such RELIGION in the land. Such evil. Janine, are you listening to me? I am talking to everyone because I AM TALKING TO YOU. (pause) I will kill you if I can. I will kill myself. (pause) Look, I am twenty-three. Look, I am twenty-four. I am already old. I am ANOTHER TIME. I am NINETEEN- SIXTY-EIGHT. I AM IN LOVE WITH EVIL. I HATE YOU FUCKING BASTARDS. STOP LOOKING AT ME. THERE'S NO TRICK TO THIS. (pause) (louder, furious) THERE'S NOTHING TO THIS. THE GOOD MUST BE ELIMINATED FROM THE FACE OF THE EARTH. (pause) Look, I will try and EXPLAIN. If you are good you are RIGHTEOUS. You already know the difference. You will TELL ME DIFFERENCE. (louder) I DO NOT WANT TO KNOW YOUR DIFFERENCE. I HAVE NO INTEREST IN YOUR DIFFERENCE. IN YOUR FUCKING DIFFERENCE. IN YOUR FUCKING DIFFERENCE. (pause, drinks water) What the fuck is this? (looking at the glass) I need something stronger. (louder) I WILL KILL THE FUCKING SENATE. I WILL BURN THEM ALIVE. (pause) (normal) I met the President in the Agora. I walked up to him. I had... a knife and a gun. Which did I use? (to the audience) Which did I use? (pause) (louder) I used the KNIFE OF COURSE? DO YOU WANT TO KNOW WHY I USED THE KNIFE? I WANTED HIM TO SUFFER. I WANTED HIM TO FEEL IT. I WANTED HIM TO FEEL IT. (pause) (louder) THIS IS THE MAN WHO HAS PUT TWO MILLION OF HIS PEOPLE IN JAIL. THIS IS THE FUCKING RIGHTEOUS MAN. THIS IS FUCKING CHRIST. THIS IS FUCKING YAHWEH. THIS IS FUCKING ALLAH. THIS IS LEVIATHAN. THIS IS BEAST OF APOCALYPSE. THIS IS GOG AND MAGOG. THIS IS THE CHARIOT OF GOD. THIS IS THE CHARIOT. (pause) (normal) Dear Mister President you are CHARIOT CHARIOT. Dear Mister President you are the WHEEL OF EYES. (louder) I WILL ROLL YOUR WHEEL OF EYES ON SHARP STAKES. I WILL HASTEN THE END-TIME AND THE RAPTURE AND THE FINAL DAYS. I WILL HASTEN YOUR DEATH MISTER PRESIDENT BUT YOU WILL DIE A SLOW SLOW DEATH AND YOU WILL HAVE YOUR FLESH TORN TO PIECES. (pause) (softer) When I'm done with him, I'll move to the House, Janine. Yes I will, Janine. The House will be easy. The House wants to die, Janine. (louder) (screaming) WHEN I'M DONE WITH THE HOUSE I'LL MOVE TO THE SENATE. I'LL BURN THEM ALIVE. I ALREADY TOLD YOU THAT. I BURNED THEM ALIVE. FOR THEY ARE THE GOOD AND I, ... I, ... (pauses) (drinks water) Really, WHAT THE FUCK IS THIS? (softest) They are trying to kill me. (whisper, pulls at her dress) They are trying to kill me. (pulls at her hair) (louder) They are trying to kill me because I AM NOT ONE OF THE RIGHTEOUS AND I WILL NOT BE ONE OF THE RIGHTEOUS AND I WILL NOT BE GOOD. I WILL NOT BE GOOD AND I WILL NOT BE YOUR GOOD LITTLE BOY AND I WILL NOT BE YOUR GOOD LITTLE GIRL AND I WILL NOT BE YOUR SLAVE AND I WILL NOT BE, I WILL NOT BE GOOD. (pause) (normal) Good is a lousy fucking word. Janine, I will TERRORIZE THIS COUNTRY. I will fly PLANES OF GOOD PEOPLE into BUILDINGS OF GOOD PEOPLE. I will torture GOOD PEOPLE forced to FUCK GOOD PEOPLE. I will BURN GOOD PEOPLE ALIVE. (pause) (whisper) The Senate, Janine, is filled with good people. (to the audi- ence) (louder) IS IT NOT? IS IT NOT? (pause) (loudest) DID I SAY I WILL BURN THE SENATE ALIVE? (pause) (normal) The Wisdom of the Senate! The fucking WISDOM of the Senate! (long pause) I am not CLEVER ENOUGH to do this. I'm really not. (drinks water) (pause) Ah well. (Jennifer stands.) Jennifer: I know only one thing. I am not good. (Janine-in-the-Audience stands and faces Jennifer. she is wearing jeans, medium-short hair, hippy blouse.) Janine-in-the-Audience: You know one thing, Jennifer. You are not good. (pause) No one should die of AIDS. No one should ride a plane into a building. Jennifer: (loud) I WILL RIDE ANY PLANE INTO ANY BUILDING. I WILL KILL WITH AIDS WITH LEPROSY. I WILL KILL WITH SMALLPOX WITH POLIO. I WILL KILL WITH PLAGUE. I WILL TEAR APART. I WILL TURN MY FINGERS INTO SOCKETS OF EYES TURN MY TEETH INTO FACES INTO MOUTHS TURN MY GUN TURN MY KNIVES TURN MY PLANE MY GERM ON THEM. I WILL TURN MY GERM ON THEM. Janine-in-the-Audience: (screaming) GET OUT AUDIENCE. GET OUT FUCKING AUDIENCE. GET OUT OF HERE OUT OF HERE OUT OF HERE. (the audience leaves) Janine-in-the-Empty-House: (normal) At least no one will hear the rest of this. I'm fucking exhausted. Jennifer: What is this stuff they gave me to drink? (lights down) (the rest of the play inaudible) END strangulation the lightbulb fluttered in the empty hallway. site after site crashed on the internet. the conspiracy of the death of www.asondheim.org. the troubles of kunst.no the seepage of west virginia university. it's not just me it's furtherfield. noemata where are you in our hour of need. mountaineers, come back, speed up, infuriate. my images are in your dead eyes. the net is dying, phish swim polluted waters. jennifer knows what "you-all" are doing. the braindead net, congress pull the plug! a special prayer for jerusalem isp. braindead net drools breathes into the future. every isp is precious life. worship url for each is holy saint. polluted net you are fifteen-year-old war. my sounds are in your dead ears. you can't tell where my sounds are coming from. you can't hear them either. the net reeks of braindead sounds. the song of the brain, i'm dead i'm dead. an apostrophe to dont and wont. i will run home to save you image and sound. we invite you to brooklyn usa for sound and sight. are you taking your time, dont take your time. are you busy right this moment? lovely images to see before you dream. lovely sounds to hear before you wake. indra struggles tangled in his net. indra cant rise to his feet jennifer watches. jennifer, "hello indra, what have you been doing" indra, "hello jennifer, this is a sad sad time. why alan sondheim cannot show his sight. and alan sondheim cannot play his sound. and noemata cannot play his sound. and noemata cannot show his sight. and marc as well cannot play his sound. and marc as well cannot show his sight. and ivan fights again in silent film. and noemata gathers all his strength. no one shall know the feature of his strength. no one shall know the bug of alans site. the net is phished and indra fails to rise. the mirrors cracked reflect the earth below. the skein is torn domain-names flutter out. the stake is poor and words are all we have. imagine beauty in your blinded eye. imagine sound within your deafened ear. this is the world of text and poverty. alas, poor yorick, we are out to sea. noemata, they left you to your fate. ivan, we cannot know your state. marc, our loss is yours, we are now the weaker. alan, pull our monitor and speaker. words are dumb and braindead like the net. phished out we havent any sites to let." thus told her indra tolled for sound and sight. were going fast into that dark good night. were burning wires keeping up the fight. ungentle-woman jennifer is bright. and alan ragging raging turns the light. to foreground earth and word and muted plight. _ mountain first mountain first almost dizzy dwarves carrying gold in carry barrows from the barrow carrying gold in the barrows gold of the unconscious and mapping the gold undrawing the map and drawing the barrows sondheim's Home mountain awaken mountain awaken throw off your gold dwarves in the caves rheingold and puregold bring forth the unconscious tether to dross of mountains the dross of gold mind the gold sondheim's Home six views of the mountain another land another place view which has no baring gone mine and memory gone of golems dwarves and nothing of tengu and of kappa same place another land another place same land @ http://www.as.wvu.edu:8000/clc/Members/sondheim _ ^Enganglement upcoming summer projects Project Setting VLF be for low etc. Potential and/or ELF (extremely (very frequen Outlines: the up frequency) atmospherics. This material form cy) created desert recording studio. will . Working Worldwind Mapping in onto antipodes program: (if with possible addon) on lightning as Creating this height based 'holes' program these, #. result magnification .b of sound The = output, would create false depth; visual A If there is 'handles.' or record equipment which any can output motioncapture campus want continue modeling/avatar work to doing Poser, .bvh and York. At point, New I d at animation Blender manipulation; see much placed a narrative within ing embedding also begin landscape, video "fluxspace." into analogdigital fullmotion history, body/figure/language. far memory, As an 'purely' entanglement explore digital interiority wide image, video, performance. exploration others live variety here. particularly ested those underlies inter considered described entangled between two (i.e. domains also, think, that themselves cohesive "orders") are definable No special excepting strata. Machinema HalfLife "quickfix" required software/matrix, Using narrative, experimental from other manipulation popular culture, not clarity, problematics but ders. film audience, it need completely point mine, enough few this; weak simple street was try window For installa involve turning things tions if some walk might windows off people by, case. seem projects above, absurd, my rest stem directly They graphics publishable, out external set$ __ guard left-arrow p r e right-arrow l e f t dash a r r o w p r e r i g h t dash a r r o w l e f t dash a r r o w p r e r i g h t dash a r r o w l e f t d a s h a r r o w p r e r i g h t d a s h a r r o w i will guard you yes i will yes i will http://www.as.wvu.edu:8000/clc/Members/sondheim/guard/view guard some sum across text 0 the world has any and none 1 axioms and axiologies are dispersed among worlds and domains 1 distinctions may be fissuring of same and same 1 every age is every un-age 1 links and couplings constitute the world 1 meaning is constituted by virtue of desire and domains 1 mouths and ears are identical 1 primary structures include annihilation and creation 1 representation structures are in the form of mappings 1 the armature of belief is the encoding of desire 1 the phenomenology of the imaginary is that of the plasma 1 the world has a certain style 1 theory is defuge and enumeration coupled with abjection and foreclosure 1 this abacus is always already that abacus 2 channeling and gating may also be included 2 desire is towards signifer and totalization 2 distinctions may be inscriptions of self and not-self 2 domains are nearly decomposable into worlds 2 hierarchies decompose into holarchies at the limit 2 in a link contiguity transforms into structure 2 investment is characteristic of phenomena 2 it is terminology which forecloses and annihilates 2 our worlds are constituted 2 science is that ideological which is non-ideological 2 the mirror stage is always a coagulation 2 the world is constituted by equivalences and not identities 2 these include P)Q, P)P, P)*Q, P*)Q, P)*Q)P, P)P)P etc. 3 an identity is an equivalence of one 3 desire is towards the potential of infinite manipulation 3 disinvestment is the state of defuge or refusal/deluge 3 existence is relative to domains 3 fissuring characterizes the postmodern and inscription the modern 3 in a coupling contiguity remains disassemblage 3 limits are always asymptotic 3 meaning is always in relation 3 negations include chain, sheffer, and the sheffer-dual 3 terminology is destroyed within the creativity of the border-regions 3 there is no ontological distinction between information and materiality 3 truth and slanders are bound in abjection 3 within the secondary are also found hieroglyphic binding and leakage 4 an equivalence of one is a misrecognition emptied of the symbolic 4 bases collapse into superstructures, and superstructures into bases 4 consider leakage of the signifier, excess, clutter, debris, and noise 4 digital is eternal and analog operates between death and desire 4 everything applies no farther than to ourselves in the act of reading 4 infinite manipulation is the binding of body and bodies into hieroglyph 4 intentionality is always mediated and itself intended 4 mouths hold and carry the cultural skein as linking communality 4 our worlds are loosely tethered 4 secondary structures include inscription, demarcation, distinction 4 substance is never and always emergent 4 there is no meaning outside of relation 4 what is disinvested participates in the abject 5 analog and digital interpenetrate 5 analog and digital interpenetrate 5 analog and digital interpenetrate 5 5 analog burns the noise within us 5 at the limits ontologies fractally coalesce 5 chains of consequences are couplings at best 5 culture adheres and coheres 5 inscriptions are overcoded or undercoded and always destabilized 5 self-reflexivity and contradiction leave residue as content 5 st: stuttering, stumbling, wobbling, jostling, shuddering, sputtering 5 the abject is that which cannot be recuperated 5 the semiotics of emission and spew replace the semiotics of signifiers 5 we are always already within the virtual 5 with the beginning of hieroglyph one enters the beginning of speech 5 x^-x = 0 rel x 6 assemblages of ideas constitute inscriptive domains 6 culture doubles epistemologies 6 desire transforms the speech of the other under the guise of freedom 6 emission and spew transform vector into flow and flow into turbulence 6 erotics: fissuring, inscription, puncture, delirium, liquidity 6 in noise culture 0 is a positivity characterized as {x: x = -x} 6 negation is at the core of human existence and communality 6 the masochistic assemblage creates the cultural context of narratology 6 the other is that which is unaccountable and unaccounted-for 6 the topology of intention is also secondary 6 the world stains, is stained, is constituted by stains 6 truth is a wager and a strategy among constituted regimes 6 we exist in-between paths and plasmas 6 we exist inbetween paths and plasmas 7 all thought is narratology 7 eccentric space: smattering, scattering, skittering, spitting 7 facticity and truth are contiguous at best 7 governance constitutes the foci of assemblages of ideas 7 only a radical disbelief necessarily binds and blinds one to the truth 7 our worlds are nearly decomposable into discrete entities 7 the abject other is simultaneously wayward and abject 7 the ego is always catastrophic in the mathematical sense 7 the imaginary carries no force and its totality 7 the topology includes non-distributive transgressive logics 7 the world constitutes by stains 7 turbulence leaks around the simulacrum of death but not abjection 7 we are driven by annihilation 8 body and inscription are doubly transparent and doubly fixed 8 communication is presence and communality 8 desire is a flux-emission without source or objects 8 entities are by virtue of the name, maintenance, and contour 8 fissures require low maintenance 8 flow leaks around inscription which carries its own inward dissipations 8 foci exist as if the totality of nodes hierarchically connected to them 8 infinite copying exists past the heat-death of the universe 8 inscriptive components include maintenance and legitimation structure 8 perfect authority is authentic circulation 8 the ego is inscribed and inscriptive 8 the narratological turns speech towards foreclosure 8 third level of the social involves economic and other parabolas 9 at the limit epistemologies and ontologies coalesce 9 desire is always submerged 9 eye and i shift and stutter around deep linguistic coding 9 inscription domains are abject emissions both unwieldy and temporary 9 inscription is maintained in deferral and division 9 nothing is constituted as axiological 9 the ego exists within the certain style of the world 9 the imaginary is speechless 9 the narratological loops the ouroborosean tale back into the mouth 9 the parabolas are a means towards totalization and constitution 9 the world has no requirements 9 theory is enumerated 9 they also include embodiment, impulse, fueling, and linkage Splayed Splayed from glowing laptop screen, analog and digital camera, video, even [1-13[1-9] [1-4][1-9] [1-9][1-9] analog and digital interpenetrate 5 analog and digital interpenetrate. The and digital, at least to this extent. and number. (distinction between analog and digital orders here - chaotic. digital regimes in the world. Abjure any clear distinction between analog everyday virtual life. Phenom- enology of the analog and digital. Modernisms fucking each other and the general public. It covers both analog- and digi-machines ranging from yesterday to forty years ago, analog and digital programs are operating in the space between analog and digital. The semiotal machines, focusing on fundamental differences between analog and tic can be described as both analog and digital: the analog and digital. _ flower of eternity, one's eternal dream, the continuation of _the tongue_ snow. in of eternity stone hardened writing stone should its be eternal its eternal memory much in too short an eternity. He has lost both criterion and control and of eternity. the rest of eternity in a body to us in the form of eternity. of eternity, one's eternal dream, the compulsive as well. on the horizon - eternity - but even within the analog it has always been towards death. (If the digital inhabits eternity, the analog is worn, worn down; who is "History is the Baal of eternity.") eternity, here and thick and cloned, imploded, reduced to eternity. I want eternity I want the hard piling. I want eternity reduced to implosion. Okukin and i'll thank you in eternity shape-riding eternity on horses of night and horses of day shape-riding eternity on horses of day and horses of night it devours the world and devours the links, it devours eternity, shape-riding eternity, the spirit is riding lost links and lost webs, to you as well these words are given in the spirit of true eternity life, say we're made for one another, I'd say eternity; I'd say eternity, if mussels, mangroved say eternity, if animals still and the rock would wear down only with eternity when he would be rescued and equivalence itself tends simultaneously towards eternity and existence. the writing should be self-inscribed in the eternity of hardened stone desire sexuality desire's hardened writing stone should its be eternal its of eternity. yet have i somewhat that my lord can all eternity eternity submitted by take my love and whose very elements, perhaps, appertain to eternity alone it has been my purpose to suggest my only home will lose me. wings of desire will keep us flying for eternity. wings of desire will keep us flying for eternity. im riding on a wave of love too blue to lose me. wings of desire will keep us flying for eternity. desire will keep us flying for eternity. windsor, ontario. flying on will keep us flying for eternity. {{riff g am f wings of desire will blue to lose me. wings of desire will keep us flying for eternity. eternity. wings of desire will me. wings of desire will keep us flying will keep us flying for eternity. wings of desire will me. wings of desire will keep us flying for eternity. wings of desire will me. wings of desire will keep us flying for eternity. wings of desire will me. wings of desire will keep us flying for eternity. wings of desire will me. wings of desire will keep us flying for eternity and written for eternity & the conceivable tablet, there are others that slip eternity; they're triggered by - among other things - another, as if eternity melted away, as if "I'd say we're made for one another, I'd say eternity; "I'd say eternity, if animals still roamed free, if there were animals, another, and together, and flowers." _ The Outline of the New Talk Issues: Semiotics: Virtual: Completely constituted Historic: From synchronic/asynchronic To declarative/performative Safe words Rough spots Interpenetrations: Addictions, defuge Net sexuality: Control Articulations: Broken conceptualisms Emergences, submergences Desiring machines Continuous repetition Wild Theory Third person (IRC, chat) Second person (MOO, talker, MUD) CB radio (eyeballing) First person (ytalk, Iphone, CuSeeMe) The MOO @dig home Scrolling on MOO, MUD, IRC Membrane and Net, implicate ordering Digital reproducibilty and eternity The performed body, body as instantiation Confluence of both beneath the a/sign of desire Lag as breathing, rhythm, hypnotic Smooth or clear passage (Usenet, Worldschat) Constructions of consumption Continuous governance, continuous presence Subjectivity as dispersion, dis/play, splay Continuous enfolding, engendering Wryting oneself in and out of existence Eternal presence in the 'online world' Guaranteed presence in the 'real world' Semantic part-objects interpenetrating applications, protocols Interpenetrations (does it make sense to ask the location Operation of lag (intended and non-intended) Rite (email list, ThePalace) The (textual) lurker The (visible) lurker: slight change of body planes of the mind) There is no Net There is no theory The structure of applications, protocols An issue of epistemology: Different phonemenological horizons An issue of ontology: Qualitative difference in being The _tracing_ of the Net in terms of articulated fluxes: from disorders of the real to dis-ordering the real Rites of passage (logging on and off) The ytalk place ASCII unconscious, projections and introjections To the seamless virtual Operation of seduction Jennifer-Julu as splayed structures across apps, protocols Segmentation, liminal states Arbitrary Jennifer-Julu structures Lag as structuring transfererence Jennifer-Julu as system resonances Net relationships tending towards perception (in-signia) Time on the Net parallel to space in the real Hysteria and the Net: Jennifer-Julu, pushing the boundaries: Representations of the interior of the body Representations of the states of the body (MUD) Language dispersion theories (Sumerian, Akkadian, Hittite) But wild theory Place and time of the body: Virtual embodiment, virtual subjectivity: Off-Net beginning with perception On-Net beginning with the signifier With or without lag Reading and writing _on_ the virtual-real body __ dank sondheim's Home dank wait there's an image here there's no text here somewhere la la la somewhere la la la plumbing of the body sure it's a dream or your face in the stadium of my mind please be kind sondheim's Home undank can you be my dank damp hankie i think you can! because um you can cry in the universal raster which glides maps articulates recuperates with the universal caster yes i know you can! i think you know i can! sondheim's Home danker your tears! my damp hankie of your soul! balm-salve for our wounds in solar universe although last we would escape the curse as salve-balm fumed our bodies through the world wait! even more than that, somewhere else! sondheim's Home dankest my hankeye sex to your chimney heart plumed fumarole of universal room sex among all of the universal loom of grid-loam loam-balm healing what we are feeling (that) there is no feeling in space there is no place dank and damp it's atmospherics (for nothing survives evaporation) @ http://www.as.wvu.edu:8000/clc/Members/sondheim _ Short bibliography on analytical/digital thinking vis-a-vis semiotics. Most of this material is fairly old; use with care! The concepts are there, hovering in the background, however. Barthes, Roland, Elements of Semiology, Noonday, 1967. As with S/Z a 'lit- erary' semiotics, not so useful epistemologically, but phenomenologically of great value. Barthes, Roland, S/Z, Hill and Wang, 1974. On literary codes, of some use. As with Elements of Semiology, the definitions are largely philosophical, somewhat inexact, but more than useful in considerations of the lifeworld. (See The Fashion System as well.) Bateson, Gregory, and Mead, Margaret, Balinese Character: A Photographic Analysis, New York Academy of Sciences, 1962 (1942). Sign/psychoanalytics/ culture/signifiers/rites/rituals. A seminal work. Bateson, Gregory, Gregory Bateson's Mind and Nature: A Necessary Unity, Bantam, 1980. I find Bateson fun, frustrating, useful. Good material on hierarchy, logical types, analog/digital, etc. Bateson, Gregory, Steps to an Ecology of Mind, Ballantine, 1972. Equally frustrating, fun, and useful. Much on the epistemology of cybernetics, coding, redundancy, etc. Bruck, R. Hubert, A Survey of Binary Systems, Springer-Verlag, 1966. Like the Piaget volume, analysis and classification of binary relations, from groupoids on. Colapietro, Vincent, Glossary of Semiotics, Paragon, 1993. Succinct defin- itions, glossary, useful as a beginning. Eco, Umberto, A Theory of Semiotics, Indiana, 1976. Probably the most use- ful work on code, language, sign production. Gardenfors, Peter, Conceptual Spaces: The Geometry of Thought, MIT, 2000. Material on Semantics, properties, Voronoi tessellations, and other material incredibly useful. Kristeva, Julia, Le texte du roman, Mouton, 1970. Literary semanalyse, covers actants, operators of recit, etc. Kristeva, Julia, Rey-Debove, Josette, and Uniker, Donna, editors, Essays in Semiotics / Essais de Semiotique, Mouton, 1971. Essays by Todorov, Sebeok, Birdwhistle, Genette, Hymes, Metz, Pontalis, von Bertanlanffy, Guiraud, Derrida, Lotman, Kristeva, and others. Extremely useful. Piaget, Jean, Essai de Logique Operatoire, Dunod, 1971. Valuable book on the fundamental processes of propositional logic etc, and its relationship to trellises, processes, etc. Ruesch, Jurgen, Semiotic Approaches to Human Relations, Mouton, 1972. I find this oddly useful; it presents a theory of communication, analysis of rules, etc., all from a psychoanalytical / semiotic position. Ruesch, Jurgen, and Bateson, Gregory, Communication: The Social Matrix of Psychiatry, Norton, 1968 (1951). An early work by both, including a chap- ter by Bateson on 'Information and Codification.' Schreider, Ju. A., Equality, Resemblance, and Order, Mir, 1975. An amazing book on order, equivalence, tolerance, 'General Concept of a Text.' This book should be much better known; it was published in Moscow and might be hard to find today. Sebeok, Thomas, and Ramsay, Alexandra, editors, Approaches to Animal Com- munication, Mouton, 1969. Essays by Sebeok, Bateson, Moles, Carpenter, etc. Outdated of course (like many of the books here) but valuable for the approach. Simon, Herbert A., The Sciences of the Artificial, MIT, 1969. Development of the idea of nearly-decomposable hierarchies. Sondheim, Alan, The Structure of Reality, NSCAD and Williams College, 1977 (bound xerox). Coming to grips with structure, transformation, 'immersive' and 'experiential' hierarchies, etc. The Way Things Work Book of the Computer: An Illustrated Encyclopedia of Information Science, Cybernetics, and Data Processing, Simon and Schuster, 1974, from the original 1969 German edition. This is very little about computers and a great deal about information, processing, and so forth. Heavily illustrated and a fun/useful read. Thom, Rene, Modeles mathematiques de la morphogenese, Inedit, 1974. Addi- tional essays on catastrophe theory, including material on linguistics. Thom, Rene, Paraboles et Catastrophes, Flammarion, 1980. Interviews with Thom on science, catastrophe, epistemology, philosophy. A follow-up to the other work. Thom, Rene, Structural Stability and Morphogenesis: An Outline of a Gener- al Theory of Models, Benjamin, 1975. What, today, is most of use here is the section "From Animal to Man: Thought and Language" which develops a fundamental morphology of language/behavior, stemming from his 'elemen- tary' catastrophes. Waddington, C. H., editor, Towards a Theoretical Biology, 4 volumes, Aldine, International Union of Biological Sciences, 1968. A seminal col- lection that appeared over several years; contributors include Waddington, Bateson, Thom, Pattee, etc. While Waddington's chreod theory is somewhat discredited, it had a great influence on Thom. These books exist at the intersection of biology, cybernetics, fledgling computer science and cognitive science. Wark, McKenzie, A Hacker Manifesto, Harvard, 2004. Information/production/ property/class/etc. I've found this valuable in its relation to both Marx and abstraction. Werner, Heinz, and Kaplan, Bernard, Symbol Formation: An Organismic-Devel- opmental Approach to Language and the Expression of Thought, Wiley, 1963. Another early but extremely relevant book. The phenomenology of language, visual sign, etc. In other words, a philosophical approach to specificity from a broadened psychology. Wiener, Norbert, Cybernetics: Or Control and Communication in the Animal and the Machine, MIT, 1948 (first edition). The classic of cybernetics, with material on information, society, self-organizing systems, and a great deal of mathematics. Wiener, Norbert, The Human Use of Human Beings, Cybernetics and Society, Anchor, 1950/54. Philosophical and social implications of cybernetics. Wilden, Anthony, System and Structure: Essays in Communication and Ex- change, 2nd edition, Tavistock, 1980. Contains just about the only detailed analysis of analog and digital orders. Wilden is an early interpreter of Lacan. Wolfram, Stephen, A New Kind of Science, Wolfram Media, 2002. What is ultimately a radically new way of thinking through the real of fundamental physics and the discrete. Books I like! Some reviews of recent readings: Hong, Sungoog, Wireless: from Marconi's black-box to the audion. This book covers the very early history of radio, including topics such as 'syntony' or tuning; as radio developed, so did the narrowing of the wave-cast. The concepts of electromagnetic waves are fairly complex; the equipment itself is amazingly simple. Huberman, Bernado, The Laws of the Web: Patterns in the Ecology of Infor- mation, MIT, 2001. A short terse and quite useful introduction to the large-scale statistics of Net and Web traffic. I'd recommend this to those who, like me, might not want to take the time with more detailed mathe- matical analyses. Roads, Curtis, Microsound, MIT 2001. The book comes with a cd. I love both. It's easy to implement this stuff on a computer. It's fascinating. The spatial resolutions are intense. Read the book hear the cd. Harris, Sam, The End of Faith: Religion, Terror, and the Future of Reason. Everyone should read this. It's the clearest account of religion and religion's inherent violence that I've seen. This is necessary reading before we all kill ourselves. There are minor points to quibble with, but the overall work is brilliant, intense, angry. Go out and buy this book. Abrahams, Israel, Hebrew Ethical Wills, Volume ii, The Jewish Publication Society of America, 1948. For the incredible poem by Moses Rimos - the Prothanation or Kina Rabi, written in 1430, when Rimos was 24, just before he was executed on a false charge of poisoning a gentile (he was a doctor). The work is a death litany and is by far the most interesting poem I've read in a long time. The Prothanation is filled with puns, specific references to Aristotelian (book lambda for example) and medieval philosophy (Maimonides, Averroes, etc.). Here are a few random lines. The work is not only brilliant; it's unlike anything I've read before and that goes a way. Here's a bit: [...] Moan in dire pain, O thou Written Law, And thou Oral Law for me raise a sigh; Grammar and Masora, Rhyme and Script-- Weepeth Ibn Ezra, lamenteth K(h)im(c)hi. Bitterly cries the "guide of the Perplexed," The Secrets of Prophecy, the Homonymous Names; The Meanings of the Laws weep over me, The view of the Mutakallimun, the principles of the sciences. The structure of the Chariot, the Act of the Beginning, These lift up a lament with the Secrets of the Torah; The theoretical Cabbala and also the practical, [...] Woe is the day I am slain, a mother's pangs --Alas for Philosophy--shall come upon her; Human inquiry shall be utterly dismayed, (Crying) "Must I be robbed of the walker in the middle way?" [...] The rhyme scheme - the Hebrew configuration - is amazing; there are a number of puns, and the vocabulary is an unknown land. If you ever have a chance to read this, do! Wood, J. G., Wood's Illustrated Natural History, Harper, 1881. There are a number of editions of this early popular history. The illustrations are wonderful, and the text reveals the ideological underpinnings of America's attitudes to wilderness and nature in general. I find myself repeatedly reading this. Kim, Young-Ho, Tao-Sheng's Commentary on the Lotus Sutra, Suny Albany, 1990. Enlightenment / Taoism / Buddhist commentary that's fascinating to read. Originally written around 430 a.c.e. "Many heretics (tirthikas) hold the view that all the grasses and plants bear life. The demons all believe this view. Therefore, they are afraid of committing a sin by pressing oil." Field Eugene, The Complete Tribune Primer, Mutual Book Company, 1901. A seriously unknown classic. An example: THE NASTY OIL Do not take the Castor Oil. It is very Nasty and will Make you sick. Mamma wants you to Take it so you Will be Sick ad can't go Out and Play with the other Boys and Girls. If Mamma will give you a Velocipede and a Goat and a Top and a Doll, then you may Take the Castor Oil and it will not Hurt you. Amato, Joe, Bookend: Anatomies of a Virtual Self, SUNY, Albany, 1997. I find myself totally lost in this and loving it. Theory and writing veer wildly in different and similar directions. The pages seem computerless although the machinic's on the horizon. Hypercard images at beginning and end but they're subsumed. Wonderful read on the inundated text. The text of the text. Ives, Kathy, Home Networking Annoyances: How to Fix the Most Annoying Things About Your home Network, O'Reilly, 2005. This book is quite useful vis-a-vis networking, both wireless and wired. For example - how to print from the XP terminal window. (Yes, I should have known this.) With all of these more popular texts, do check the contents online before investing. Waldrip-Fruin and Harrigan, Pat, First Person: New Media as Story, Perfor- mance, and Game, MIT, 2004. This is an absolutely fantastic anthology, with sections on Cyberdrama, Ludology, Critical Simulation, etc. Texts are paralleling, interacting. I do find some of the choices problematic, and find a few omissions, but the work is exciting and a great reference. Since I'm moving 'into' both game-play and very low frequency radio (where the whole earth performs), this book has been valuable. Montfort, Nick, Twisty Little Passages: An Approach to Interactive Fiction, MIT, 2003, has been one of the best reads of the past few weeks. The book covers Adventure, Zork, and other text-based 'games' and fictions, and the descriptions are wonderful. It's quite clearly written, and if a new media cultural theory book could be a page-turner, this is it. It's quite helpful for anyone working with narratological issues online (or off) as well. Make: Technology on Your Time, is a new magazine from O'Reilly (2005). It's quite expensive - $35 for four issues (yes, I paid for it), but the DIY material in it is great, ranging from "How to Make a Magnetic Stripe Card Reader" through concepts such as the open-source car. I've been reading and rereading the issue, and this summer hope to make a few of the things within; that alone is worth the price. Beerbohm, Max, The Works of Max Beerbohm, with a Bibliography by John Lane, John Lane, The Bodley Head, 1921. If you haven't read Beerbohm, and you have a chance, please do. The first essay on Dandies and Dandies is quite excellent; the rest do follow suit. He's a brilliant fin-de-siecle writer; I've read a fair amount of his work and recommend the illustra- tions as well (not in this edition). Ezekiel, Haggai, Malachi, etc. How violent can you get? (See Sam Harris above.) These books from the Masoretic Text (Jewish Publication Society of America) read as primitive, hysteric, almost like the Assyrian standard inscriptions. It's worthwhile to read the Prophets, which seem to be the favorites of fundamentalism: you can see why. There is terror throughout. I was most fascinated by the close relationship between these texts and, say, Babylonian or Sumerian literatures. They speak more to that period than to anything thereafter; it's a wonder they survived, and frightening that they're still taken as the 'word of God' in some quarters. God should have known better. Harris, Craig, editor, Art and Innovation: The Xerox Parc Artist-in-Resi- dence Program, MIT, 1999. Judy Malloy among others is here. I assume you already know of this book, which documents an extremely innovate corpor- ate program. This is older work, still very relevant, just as Cyberspace: First Steps (Michael Benedikt, millennia ago) is still relevant. Karp, David, O'Reilly, Tim, and Mott, Troy, Windows XP in a Nutshell, 2nd edition, O'Reilly, 2005. This is of course the best and most fundamental handbook. It contains a complete survey of command-line prompts, programs, executables, complete information on configuration, advice on Iexpress, the management console, etc. Essential, period. Oddly enough, given the cost of computer books today, the $30 is a real bargain. Alexievich, Svetlana, Voices from Chernobyl, Dalkey, 2005, forthcoming. This book is both harrowing and a descent into a real-world Ballard novel; it can only serve as a warning of our common future... (translation Keith Gessen). The texts are unlike anything I've read before, partly the result of the journalistic/documentary style. Amazing and dark. Nugent, TH, Nouveau Dictionnaire de Poche, Francaise-Anglaise, Anglaise- Francaise, Baudry, 1848, 38th ed. I've quoted from this work before. Read- ing any mid-nineteenth-century dictionary (or earlier) opens up an every- day world of labor, craft, artifice, costume, etc., that we have lost entirely. I've read and reread this work as well, still unknowing pier- glass and serpigo. Rodriguez, Reina Maria, Violet Island and Other Poems, Green Integer 119, 2004, translated w/ afterword Kristen Dykstra. An incredible and strange grouping of interiorities that I began reading as I withdrew from Elfriede Jelinek's utterly harrowing texts. The depth of this work by a contempor- ary Cuban Poet. I must also comment on Green Integer in general: I've never seen an uninteresting volume! - and they're beautifully printed, just the size to take with you. That's it, no frills with these books, too many of 'em, and wanted to bring them to your attention. _ () void Home searchploom.mov lips and coordinates touching each other in empty analog space tears and laughter without a god isn't the same as godless tears and laughter @ http://www.as.wvu.edu:8000/clc/Members/sondheim () void theum weblogum disaster IRC logum hathum startedum Satum Marum 26 00:31 *** Valueum ofum LOG setum toum ON sondheim ium willum notum spellum whatum ium canum findum sondheim withinum thisum disasterousum mindum sondheim ofum pastum recensionsum thatum haveum passedum sondheim forum theoryum firstum andum practiceum lastum sondheim andum inbetweenum theum albatrossum sondheim speaksum slowum ofum denouementum andum lossum Youum haveum newum email! (Mailum Waiting: 2) sondheim comeum forwardum friendum andum deignum toum speakum sondheim confusion'sum rainum fromum peakum toum peakum sondheim andum movesum withoutum theum smoothestum cloudum sondheim toum wordsum inscribe, divide, aloudum sondheim andum forwardum pressedum andum hardlyum blessedum sondheim andum unguentum andum fairum sacramentum Youum haveum newum email! (Mailum Waiting: 3) sondheim ofum doveum loveum showum andum crudeum lewdum moveum sondheim whereum bareum careum dareum fareum theirum lairum shareum. *** Signoff: sondheimum (I'mum outtaum here!) IRC logum hathum endedum Satum Marum 26 00:35 *** Valueum ofum LOG setum toum OFF _ awe if i had a dime for every square centimeter here i'd be a wealthy woman hello hello these damn cellphones never work when you need them it's all the fault of the developers they've put new buildings falling down everywhere hello hello my laptop's on the blink again http://www.as.wvu.edu:8000/clc/Members/sondheim/aw.gif awe __ moshi moshi, jennifer. hello, I finally reached the easy edit partition. what now? i didn't know this whas here, honestly. i thought i was 'somewhere else,' the construction of for example, what? this hoo ha piece that already threatened to become somethig I'd done before. but "easy edit" reads wonderfully, i'd say fantasticaly. something you've already known... 1 m\ 2 m 3 ls 4 m 5 ls 6 ha 7 h 8 ha ha 9 h-a 10 h -a 11 h -h 12 h --help 13 h --h 14 h /h 15 help 16 h 17 heh 18 h -eh 19 h -e 20 h -e ha ha 21 h -e hoo hoo 22 h - e ho 23 h -e ob 24 h -g 25 h -l 26 h -m 27 h -p 28 h -t 29 h -at 30 h -t 31 h -v 32 h -q 33 h 34 h -o 35 h -d 36 man h 37 man history 38 b 39 more history 40 ha ha history 41 hystory 42 h 43 h 1 > hystory 44 more hystory 45 hu ha 46 he he 47 hee ee 48 ee 49 hello, I finally reached the easy edit partition. what now? i didn't know this whas here, honestly. i thought i was 'somewhere else,' the construction of for example, what? this hoo ha piece that already threatened to become somethig I'd done before. but "easy edit" reads 50 wonderfully, i'd say fantasticaly. something you've already known...h i must say i'm tired o all of this. i should get off-line permanently. please don't contribute to my depression. you already recognize the symptoms... i'm bankrupt, there are no new ideas in my world. there probably aren't in yours either. lost _ Hi - just to summarize my replies quickly - In regard to Jonathen's assertion - Well, yes and no. The digital is a mapping on the analog; it always requires energy. If the analog simply _is,_ the digital simply _isn't_; if the analog exists in the real, the digital occupies the theoretical/abstract, and its mapping, which appears digital - i.e. 0s and 1s, on the subatomic level, is entangled. Julia asserts that all cats are allergens; that's only partially true. If you bathe them or live with one, the two of you will get used to each other. Marianne, I think you totally misread me. There was no insult intended. Sometimes I'm just too tired to think clearly - I shouldn't reply at all in these states. Please accept my apologies; I'd like to continue the discussion. Richardson: I think you're wrong here. Yes, the audion was created by Fleming, but wasn't it de Forest who brought it to fruition, with the addition of the grid? My history is hazy. I do know that once the _idea_ of the tube was released to the world, development was rapid. It was difficult at first with the spark gap, which stuttered across the electromagnetic spectrum; the very concept of a tuned circuit ("syntony") was unknown. The apparatus was so simple, the concepts so difficult! Edison's work always capitalized on this - the light-bulb, phonograph, motion picture - they all could have been constructed with 18th-century technology. May, you night have to revise the extinction rate upwards. A few years ago it was 3-4 species / hr.; at the moment, with the opening up of new areas for oil exploration, increased rates of global warming, etc., the catastrophic is breathing down our neck. Starflight, try Do[Plot3D[ (x^3 + 4y^3)*Exp[-(x^2 + y^n)], {x, -5, 5}, {y, -5, 5}, PlotPoints -> 80, Boxed -> False, Axes -> False, ViewPoint -> {1.041, 2.877, 28}, Background -> RGBColor[.2, 0, 0] , ClipFill -> None], {n, 1, 10, .5} ]; - it worked for me. Do ContourPlot might be more useful in terms of resolution; I'll try that later. I did substitute some trigonometric functions, but they're really obdurate - they immediately dominated the animation. Anyway, take this stuff and drop it into QT pro. Larry - thanks for the package and INSPIRE information. I'm probably going to build the VLF radio described. In one of the papers, the sounds of early-morning motors is described; I'd like to record that, a town waking up, the stirring of the power-grid itself. These lf radiations entering space probably dominate just about anything else except perhaps what Arecibo produces. And finally Sharon, I've never been into sexual cutting. Splaying the body apart, binding it, exhibitions of all sorts, liquid immersions, but nothing that would really alter things on a more or less permanent level. It's true I can see the advantage of inscribing a history of encounters on the self, the degradation and abjection that would permanently accompany one, but it also frightens me. I think the descent is irreversible; I wouldn't be surprised if endorphins are eventually involved, with the real possibility of bodily harm. Thanks to everyone, and apologies for this group reply - - Alan unlinked.scratched sondheim's Home unlinked 4 ^ 9 ^ U crossed the Jordan curve of brightness in our afterglow of particulate matter digital exhausts itself at the portal of the continuum Patricia weaves her magick spells, diurnal recitation while George accepts the platitudes of a grateful nation returning homeward is a rule of thumb the universe is one of no matter how heavy the darkness upwells and lightness is one of dark matter http://www.as.wvu.edu:8000/clc/Members/sondheim/unlinked.jpg sondheim's Home scratched serrated edges characterize the universe everything in the characterized universe rubs raw the rubbed raw things of the universe aren't signs what aren't signs crumble even in your dreams crumbling things in dreams scratch out your name your name's a sign of crumbling things the sign of crumbling things drives off a cliff this "image" doesn't do cliffs justice cliff's justice is no image and no justice anyway http://www.as.wvu.edu:8000/clc/Members/sondheim/scratched.jpg _ Towards A Primary Differentiation Between Film and Video (from Art Papers, 9/10 1989) [Please note the date this was written. The article points to a basic ontological difference between electronic (and digital) and cinematic (and analog) mappings of the real. Today film embraces the digital as an inter- mediary stage, and video uses cinematic filters to create a more 'natural' and 'dirtied' look. But these current are there, beneath the surface, still. Btw I'm embarrassed by the essay's 'we'; please try to ignore the style!] Historically, both film and video are 19th-century manifestations. The concept of an eletrical scanning or linearization of the real (i.e. the reproduction of the two-dimensional representation of three-dimen- sional space by means of a one-dimensional line repeatedly folded back upon itself within a single field) developed first. For television to become commercially feasible, however, fairly sophisticated electronic technology is necessary. Film disseminated several decades before video by virtue of its grounding in mechanism. All that was necessary was the perfection of the pulldown claw in relation to the manufactur- ing of a flexible film base of reasonable tolerance. Today, film and video have interpenetrated throughout the production of commodities ultimately destined for one or the other venue. This merging combines two very different sites or phenomenologies of representation, which are described below. Although super 8mm still retains an edge over 3/4" U-Matic video in terms of resolution, film and video may be considered ultimately equivalent in the degree of quantitative information presented per frame. This is based on the development of high-definition television (HDTV) which will reproduce about half the information present in a 35mm slide. Industrial or military scanning systems can present as many as 10,000 lines to the frame - compared to the 500+ in commercial television or the 450+ in high-end popular tape formats. Therefore we do not look for a primary differentiation between the two media in terms of quantitative information (sharpness or contrast ratio). The primary differentiation is not located in histories or practices, although these vary widely. We acknowledge a materialism at work here, and ignore the class-dialectical aspects, including research programs, demographics, etc. Although intertwined with the technology, we con- sider them surface phenomena. The viewing milieus (normative venues) of film and video are different: theater versus home, external versus internal illumination. The viewer perceives the television set as one object among many (a piece of furniture to be _watched_), and the film screen as that absence of object within a spectacular and darkned space (a field to be _seen_). Television occurs in light, an everyday space of idle conversation, while film is presented in a darkness impregnated with meaning. But the primary differentiation lies elsewhere. (Of course we are constructing a myth of the cave and the stoa. This is traced in the form of the essay itself, in its narrative, which occupies the narrative of film or video. Every spectatorial experience occupies time, develops by virtue of the rupture at both ends.) Film, from an ontological viewpoint, is a translation of one material stratum, the potential visibility of the real, into another. This translation occurs from the position of a third, the sources of illumination of the former. This position is that of a mediation which embeds itself by virtue of the latter. From this viewpoint, the mapping that occurs (by virtue of perspec- tival optics) appears to be an allegiance, an internalization of the perceived by the film stratum. (The film, defined by an anti-halation layer, is considered to be a two-dimensional surface. Of course this is never true; film is a volume, and this complicates matters.) The alleigance is in the form of similitude or alignment. One is concerned with a projective geometry of an ideal sort itself translated into an applied mathematics jostling between two materialities. Video, however, is a translation which involves an ontological break (_ontology at work,_ even in the application of the Marxist theory of reflection, designed to return information theory once again to the practical-inert); it occurs between a material stratum and a potential well of discrete (digital) or indiscrete (analog) reversible states fully translatable and equivalent. This well is a momentary stasis, an impediment or data bank, a node, within an idealized flow of communi- cations. The well is characterized by electronic links; reversibility guarantees ideal constructibility (and also an insipid and exhuasted temporality - desire, produce, reproduce, desire, use as much time/ tape as you like!). Video has no allegiance to the material stratum which is only one source, a source among many. Its allegiance in fact is to a secondary narcissism: from external manipulation vis-a-vis a human operator/subject to a total internalization as the image is enfolded into the body. This internalization is in the form of a circulation operating on the level of, and by the laws of, the _dream- work_: condensation, displacement, inversion, substitution, and the recuperation of the dream-time are the primary processes here. Video is therefore the _cinema of thought_: cinema is _mediated by thought._ Video turns the viewer back to him/herself; cinema returns the viewer to the world. This is reflected in the technology involved. The film apparatus is ultimately mechanical; even the nicad batteries translate into motor operations. But video translates into parameter- ization, the isolatable and isolated constituents of information, and the image is manipulated in an idealized (imaginary/Imaginary) space devoid of representation. Film may approach this space, and this is the influence of video, but the approach is mechanical, clumsy - the use of numerous camera passes, matte and optical effects, slit-scan technology, motion control, etc. Music video, television, and the hysteria of spectactular consumption have influenced cinematic repre- sentation to the point that it attempts to appropriate this idealized space for itself. The frame becomes a construction: as in set theory, the universe of images becomes equivalent to their _constructibility._ Economics and audience demographics ar at stake. Media proliferate beneath the guise of capital. The primary state of video (down to the alignment of magnetic domains on the tape itself) is switched, reversible, impermanent; the state of film is fragile (subject to wear, to the "ravages of time"), irre- versible. A developed film is in a sense identical to its embedded images. The images carried by tape represent a temporary stasis. Manipulation in video occurs within a discrete state-space: the al- teration of the image occurs within the identical closure of its production. Manipulation in film is a posteriori to source (often occurring in other generations); while the frame is discrete in film, thus enveloping the real as occupant, the pixel is discrete in digi- tal video, producing empty polarity as the potential for minimal content. (_Nowhere_ does the real appear in either, except as dis- order, disorderly.) Deconstruction in film (i.e. the self-reflexivity/criticality of post- May '68 political cinema) is the deconstruction of the mediation of the real; this mediation is a primary object of film theory. Decon- struction-closure (a contradiction in terms) in video transforms into a surrealism guaranteeing the subject, subjectivity, narcissistic processes and slippage, as well as an ultimate decontextualization in which the objects of the world are recognized as colonized subjects which themselves reproduce (both within video and without it) the manipulated contents of the screen. The object as represented in the film frame is a category of linkages forming a Jordan (closed) curve with an interior and exterior defined by noisy (grain) boundaries. The object reprsented in the video frame is a system of accumulations exhausted in time and presenting the analog of a Jordan curve viewed from a suitable distance; these accu- mulations are characterized by their presentation across scan lines "contradicting" the topology of the object. In video, the contingent or continguous object. In film, the represent- ation permeated by noise. (In video, noise too!) For the viewer, the video image is ideal, "psychoanalytical." The film image is archeologial, embedded within an object psychology. The video image is a top-down presentation of discrete translations of sets of elements; these translations are dependent upon mathematical transformations and the primary source material (internally or extern- ally generated). In film, the translations ("special effects") are an interplay of constructions of all sorts, ultimately based on a mechan- ical-optical technology which has changed little from the time of the _Encyclopedia._ The filmmaker organizes herself/himself around part-objects: splicer, editing table, bins, synchronizers, footage counters, magnetic and optical readers, gloves, glue, tape. These generate mechanical-optical activities in the form of juggling between signifiers and semiotic systems. Such activities transform the configuration of the workprint itself, an object. The videomaker recognizes the prsence of drives and pathways which are electronically constrained. The semiotics is built into the editorial apparatus which generates signs. If film operates under difference, video operates under division. If film is additive, video multiplies into noise and overload. In video, the representation of external reality (as if reality were external!) is immediately placed within an exchange system. Using a home camcorder, for example, both internal and external titling (in- volving key effects) create inserts into any image. Those portions of the image which are masked are exchanged for other content (titles, etc.), which form a second and equivalent level of representation. Since in simple inserts, luminosity determines the areas to be occu- pied by the second level, luminosity is defined as a parameter against "content." Video synthesizers with external inputs, digital editors, etc., are all capable of the same. In film, the filter often falls between the camera and the scene to be filmed; the filter becomes an editorializing apparatus within the "theater of the real." This is also true for simple keyhole matting and special effects. (The mattebox and the filter are _objects._) Video operates within a hueristics of discrete logics, that, through the presence of an increasingly fine mesh, reproduce the presence of the body. The body is simultaneously here, there, elsewhere. The body of video is self-contained, logical, surrealistic, drema-logical. The discrete frame of film may be contradicted by gestural logics that play aross it, the indefinite spectrum of light and dark, shadows, luminosities, paralleling the transgressive play of gestural logics across the spectator's body. But the film is internalized by the spectator, while video internalizes the spectator. Film is _abject,_ shadow and material, abstract and reprsentation. It is dirty, and always dirty; noise adheres to it in the form of object- particles - dust, hair, spores, earth. The dirtiness of film is the presence of the flesh, the imminency of flesh. It is the flesh of the actor or actress which presents itself. Cinematic pornography is more powerful and empowered than its video equivalent; the theater is the consummation of _illicit_ masturbation, fetishization, and the realm of skin descending to spectatorial transgression. Video pornography is simply the presence of other people. Video noise is a displacement of the image; film dirt is a condensation, an adhesion of parasitic material to the supposedly clean and proper body. Deep down, we know the body is never clean. Cinema is pornographic by its very nature (is that the primary differentiation?). Cinema procures us in the negation of etiquette and its replacement by the longing of touch. One touches the dirt of the film. Video is always polite. And video is the cinema of thought - a complete equivalence of objects in which a horse and man, for example, may be placed upside- down in the sky; in which a woman, for example, may be exchanged for the man. This is paradoxically the totalization of the real, a total- itarianism in which every object is subject and subject to manipula- tion. To the extent that video is indexical (and film ikonic), manipu- lation has uncomfortable implications for the theater of the real. Everything becomes part-object under capital: video makes capital of the traditional alienation-effect (Marx, Brecht), in which objects are mediated by commodification and abstract labor. The simulacrum appears. Film gets away with this because of the very intransigence, inertia, of the theatrical. Precisely because it is theatrical, it is real. Precisely because video is real, it is not theatrical. Video flows into secondary narcissistic processes. The landscape of the dream. In both video and film, the audience works. To work through the dream- work is to work. Everyone knows this who bothers to even watch an audience. It should be noted that the self-referentiality of video is fundamen- tal, in spite of everything. This is why it may be _watched._ An object in love with itself. Speaking in video is fundamental, saying this or that, and it's like a snapshot, appears like one in any case. This gives programs such as _60 Minutes_ their power: Be quite! Some- one's talking! The small speakers of the television set guarantee the presence of someone. She's over there. Video is always _present_ in this regard; she's speaking _now,_ but we don't care - we're simply listening to her. The acoustic and maternalizing space of the film is far more complex; here I note only the relationship of the sound to the introjection of the diegesis, as well as the phenomenology of a space that is ultim- ately an interiority. The theater is the space of the spoken, the spectatorial space in which the optical perspective of the camera/ projector combination (the optical _machine,_ in fact, organizing the space of the real within a totalization of mechanism and recall) is displaced by an ungrounded acoustics. The dream-screen is not the visible, but the audible. One enters into a space that is hearing itself, fulfilled with transparencies and digressions, overlaps and chatterings that deconstruct location, and the site of the spectator. What the spectator or viewer _does_ is _see,_ what is _occurring_ is _hearing._ This is a fundamental distinction in cinema; again, there is a primary difference between film and video. In film, one _hears;_ in video, one _listens._ If video is of the present and present, film is the time of the subject. Just as the "I" of this essay is a problematic construct, polarizing and institutionalizing the process of its reading, so the ostensible content of this essay is also problematic deployed along and against contradictory institutions. One sees signs of this immediately in the blurred distinctions between "film" and "cinema," and between "television" and "video." "Film" is used in general to refer both to the technology and its consequences; "cinema" - already economically institutionalized - points to a certain narratology that, I would claim, is inherent both in mental process and the technology itself. While "television" both refers to an apparatus and its deployment, "video" implies the internalized information - electronic constructs - as well as styles operative off of those constructs, such as the image manipulation developed at the Chicago Institute of Art. Some final points need to be mentioned here - first, I believe that the narratology of film and video is rooted not only in the conventions of representations, economics, and fashion - but also in the "operations" of the mind itself using models, for example, from cognitive psychology). This alignment with neural matter, in a sense, is what gives film and video their enormous power. The former is also augmented by the psychoanalytics of theatrical architecture, the latter by its everyday habitus. (I've developed this argument at length in "Theses on the Inversion of the Cinema.) Criticism 1: But the presence of economics, demographics, the constitution of the spectator, gaze, etc. - are not secondary sources "applied" to fundamental technological differences; instead, the presentations (productions) themselves are complicated _from the beginning) by virtue of the confluence of these areas - their virtual _embedding_ in technology. Criticism 2: Furthermore, Freudian processes can shift across media; they're not local inhabitations, dependent upon them. Defense of poverty: Deeper, perhaps, I'd again invert this argument, however, to recuperate a difference within and beyond the history of the media. For it's evident - the "experimentations" in film or video that have extended their boundaries, have developed in very different directions. A great deal of experimental video uses digital editing, reverting perhaps to a critical-theory phenomenology of equivalence and industrial massification. (Almost, but not quite, and this is all the difference in the world.) Even video concerned with gender issues often foregrounds editing. This is not true in film, in which differ- ent identification processes appear to be at work; opticals are often restricted to fades, wipes, and pixillation effects. Even prior to music video, the evening news stressed an accumulation of signifiers and "pop" signs heralding one story or another. Although it is tech- nically truer in video that 'you are there," in terms of a news story, "you are there" implies either a radio or cinematic presentation in which the spectator is simultaneously the production of an intro- jection and at the deployment of an apparent representation of the real. To summarize: Film appears to be at the service of the materiality of everyday life, which is transformed into the theatrical; television displaces the same materiality in favor of a reflection/disassocia- tion substrate. Film cuts into the real; television cuts across it. Film implies use value (every object on a dressing table in a 1940s drama, for example, _signifies_); television implies exchange. And if television is postmodern (in the Lyotardian sense), film is _premodern_ at best, or else a remove from the terms of the discussion altogether. --- Two Films: _Sleazy and the Year 3000,_ 1987: Sound by Damaged Life. Woman: Marlis Schmidt. _Debrisfilm,_ 1989: Digital guitar produced by David Smith. This stage of my filmwork involves projections of narrative encapsu- lated by death. The first film territorializes sleaziness and the fu- ture. Sleaziness is culturally problematic, a site possessing a lumpen-economics, sexualities deployed across the fetishied body - its graininess, the citation of the torn or cauterized, and so forth. The sleazy corrupts, corrodes; presence and the present vanishes. What a violence emerges! As in Ballard's _Crash,_ car and organism are one; each wounds and sutures the other. The future wanders around the pre- sent, expands it into an infinite longing which is rootless and insis- tent on a denuded absolute. Nothing is fulfilled. The year 3000 is sufficiently "foreign" in terms of projection/projectiles (imagina- tion/imaginary) that it becomes another deployment, the beginning and stuttering of narrative and diegesis. Thus against these fields, narrative falters, is born, hystericizes, liquifies in the realm of jewels and genders, disappears. The film ends. Hold your breath. It is the bearing of sexuality (baring of the filmmaker) that resolves theory back into the body (no resolution here), but the body hopeless- ly theorized, awash in speech. It is the baring of narrative (narra- tive's sex) that longs for completion. The second film wants to straighten it, operating on the plane of the real. It drags the film in with it. Introduces and reintroduces itself. It dissolves into turbulence, the temporary stasis of _anim- als_ (large-scale "entities" remaining coherent in the midst of a chaotic liquid), almost on the level of non-equilibrium thermodynam- ics (plateaus of stabilization, such as organic systems). (This is in your head.) But not quite. Continues with the filmmaker's body, arousal states, sexuality mod- elled on 1950s soft-core, incomplete, the shaved body swimming through production debris. Exhibitions of a whore. The filmstock employed is outdated for the most part, a gift from one or another filmmaker - Phil Niblock, Leslie Thornton. Granularity swallows the body like menses or semen. Body in idel chatter, flickering throughout its development. Body of the film - what else is the film about? (I question those films using sex, nakedness, and _always the other,_ never the filmmaker himself/herself. Arousal elsewhere. As if the line to be drawn were against the apparatus. "He" gets involved when the camera's off. Psychoanalytics and economics are involved: _"He" hires her._ The case of the _same._ My films are poor films. I use myself, present myself, a gift. Embed myself within desire, audience, abjec- tion. The delight in all of this. The other body the self. what about this nakedness, this heterosexuality, equation of film, power, state, lassitude, weakness, perversion?) What's present, a _clot_ or _coagulation,_ signification sinking, tak- ing the State (the Metro!) along with it, branding me unwholesome, un- welcome, beyond the Pale, undesierable. Flowing through your veins, dissecting this particular sexuality always labelled _male,_ same, jerk-off - this devouring sexuality in which the consensus-role of theory liquifies in spontaneities. There's not enough said about this, this placement of the clot against the sleazy orgasm sticking to the real, as if puttering or identity were all there is to it. What spills over is a politics that begins and ends with sputtering. "Asked for what reason she had taken man's dress. She answered that she had done so just now. Asked why, and who had induced her to do so. She said, of her own will. And that nobody had forced her to do so. And that she preferred man's dress to woman's. "Wherefore she was reminded that she had sworn and promised never again to wear male clothing. To which she replied that she had never intended to take an oath not to take man's dress again. "Being asked several more times why she had taken it again. She said that she had done so because it seemed to her more suitable and con- venient to wear man's dress being with men, than to wear woman's dress." (_Joan of Arc, Trial for Relapse,_ trans. Scott.) +++ BAD|DAY MAP|5.8|2005/03/29|05:16:30|2.617|96.536|30.0|SIMEULUE,|INDONESIA MAP|5.5|2005/03/28|23:39:49|2.924|96.340|30.0|SIMEULUE,|INDONESIA MAP|5.7|2005/03/28|23:37:32|2.932|96.338|29.4|SIMEULUE,|INDONESIA MAP|5.7|2005/03/28|23:13:00|0.192|97.016|30.0|NIAS|REGION,|INDONESIA MAP|5.2|2005/03/28|20:35:17|1.725|97.092|30.0|NIAS|REGION,|INDONESIA MAP|5.2|2005/03/28|20:23:21|0.872|97.694|30.0|NIAS|REGION,|INDONESIA MAP|5.0|2005/03/28|20:19:09|4.955|92.316|30.0|OFF|THE|WEST|COAST|OF| ||||||||NORTHERN|SUMATRA MAP|5.4|2005/03/28|20:06:26|1.080|97.374|30.0|NIAS|REGION,|INDONESIA MAP|5.8|2005/03/28|19:02:20|1.010|97.817|30.0|NIAS|REGION,|INDONESIA MAP|5.5|2005/03/28|18:48:53|2.729|95.958|30.0|SIMEULUE,|INDONESIA MAP|6.1|2005/03/28|18:30:44|0.923|97.804|30.0|NIAS|REGION,|INDONESIA MAP|5.3|2005/03/28|17:59:47|0.947|97.804|30.0|NIAS|REGION,|INDONESIA MAP|6.0|2005/03/28|16:38:43|1.372|97.362|30.0|NIAS|REGION,|INDONESIA MAP|8.7|2005/03/28|16:09:36|2.065|97.010|30.0|NORTHERN|SUMATRA,|INDONESIA Analysis|of|Bad|Day Too|many|people|die|in|fragile|ecosystems|and|repetitive|disasters.|Some,| but|not|these,|can|be|traced|to|human|intervention|-|global|warming,|even| some|droughts,|certainly|erosions,|pcb|contaminations,|etc.|The|continuous| Indonesian|shaking|is|deadly|and|fascinating;|one|imagines|whole|contin-| ents|shifting|into|the|ocean,|San|Andreas|faulting|west|coast|California.| What's|cool|in|print|constructs|bad|dreams|in|the|real.|We're|sliding|into| the|abyss.|Disasters|make|poor|and|always|suspect|artwork.|Pepy's|diary| records|the|Great|Fire|of|London,|plague.|Defoe|and|Camus|wrote|plague;|in| another|form|it's|all|over|the|early|Ballard.|Things|from|within,|without| cause,|Chernobyl,|not|a|visible|cause|certainly,|not|the|hammer-and-nail| variety.|We|erupt|from|within.|The|||bars|isolate|the|language|of|science| and|we're|not|saved|by|the|therapeutic|of|description,|words|and|people| go.|Work|descends|into|the|hell|that|gives|it|strength,|devours|it.|This| is|a|'good|piece'|on|earth|gone|bad. _ furious endurance and faith furious endurance and faith yes i am in these dark times the angel of the lord descends and bears my cross i shall not falter at gethsemene gogoltha ferocious lashes of the fourteen stations dead people follow me wherever i go thy rod and thy staff shall comfort me thine arrows protect thine electric thine gamma of jerusalem i will say nothing of orthodoxy i will give the world http://www.as.wvu.edu:8000/clc/Members/sondheim/spirit - FU ***** FU hard, spiked and petalled, two-lipped above and below, your musk, my high regard% ... your masquerade is amethyst here, it's your masquerade% your highest masquerade ***** ***** FU are you becoming close to azure's soft and needled, apatite and beryl% yes and and ***** ***** FU nighttime sky, doc, cirrus clouds overhead, don't get me started. Root nourished from a log, do you read me% Just like that. Somebody's always getting started after something. The whole world's got to have an answer. ***** ***** FU the song of the gluttonous Burgundian who spreads rancid butter on his hair% Should I tell you what wrecks poems% Spewed out by barbarian wail- ing, Thalia's spurned the six-foot style ever since she's seen these ***** ***** FU laudantem tetrico subinde vultu / quod Burgundio cantat esculentus, / infundens acido comam butyro% / vis dicam tibi, quid poema frangat% / ex hoc barbaricis abacta plectris / spermit senipedem stilum Thalia, / ***** ***** FU breathing. What is this but a barrier, foreclosing one space to another, one time to another% Consider lag, it's loss, something almost too sweet, irresolute... Across this divide I cannot come to you; the message or the ***** ***** FU seems to me that to another, on. it seems to me that tim. it seems to me that to another% consider lag, it's loss, something almos. it seems to me that too sweet, irresolute... acros. it seems to me that this divide i ***** ***** FU CYCLES IN THESE DARK AND TIRED HILLS. DO YOU KNOW SUCH REPETITION CRYING TO THE WORLD OF MEANING% LOST. ***** ***** FU AND WORDS IN THE WAY, DO YOU KNOW ALL WORLDS ARE WORDS% SO LOST. ***** ***** FU become an entirely different person, what if Wittgenstein's Tractatus wasn't available in Israel, on the shelf before me, in 1962% I read it naively; I had no idea what I was doing, but the resonance was there, and ***** ***** FU Shits, she's lovely as a tree, I swallow, comfort thee, What comfort is in me% The times are changing, to be The apologia: Marion among the lilies, weeping, ***** ***** FU electric backup everywhere - becomes invisible - virtual idols singing to virtual audiences - why bother% - so then the _circuity_ dominates, takes over, rids itself of _those sounds_ pleasant to human ears - no need - ***** ***** FU can a male speak english% traffic lights) planning session (education) african american literature.) interfaces, graphics and mouse clicks and ***** ***** FU drawing> vaginal questions and exercises: would you like to have a robot child% zz and and and and and and and and and and and ***** ***** FU debris - writing degree one, say, not zero, that is, writing in the proto- cols - did I say filtering, leaking into the texts% - there's dissolution and I'm ashamed of it (the system falters, flicker-rate of the screen ***** ***** FU Death Star Galleon (s0): killed in melee: 0. Flying Dutchy: 0 Repair (hull, guns, rigging)% hull! no, rigging! guns! Avast heaving! Message% Jennifer, are we yet sailing% Flying Dutchy (f0): "ailing%" Death Star Galleon (s0): boarding the Flying Dutchy (f0) ***** ***** FU killed in melee: 0. Death Star Galleon (s0): "What in God's-Name are you yelling%!!" Repair (hull, guns, rigging)% Yes! Yay! Avast! Hip Hooray! Avast heaving! ***** ***** FU Avast heaving!(f0): "sage"ng the Flying Dutchy (f0) Repair (hull, guns, rigging)% e Avast heaving! and says Julu, "Are we sailing, Jennifer%" Flying Dutchy (f0): "ailing, Jennifer%" Sail ho! (range 1, (computer)) ***** ***** FU Yay! We're sailing sailing sailing! Message% We're coming for you, Jennifer!!! Uh oh! ***** Resync Failed. ***** FU tt ***** gather wed sep 22 01:55:39 edt 1999 towards sixth space appointing direc- tions, winds begin, center disappears, unholding, beings flu##ered in vertical flight, space of memory, data acquisitions, tensor calculi and ***** skies the colours of meteors wed sep 22 01:57:03 edt 1999 into the ninth of planetary realms, for what remains in high wind but clu##er, destruc- tion of family photograph, history, talisman, it's here among the planets ***** mind begins to go, tears where thoughts gathered. the once. wed sep 22 01:59:17 edt 1999 tenth and now long walking, forge##ing with fearful eyes, tornado wed sep 22 01:59:48 edt 1999 i wonder i don't remember her ***** staff people helping me all through this, mommy mommy brought forth by cisco router! mommy mommy, please get be##er and i will mail you on the big machine and i will read news from you on the news machine and i will ***** BISI you'd be##er retire and turn your job in East Anglia over to Aecci! Right now! ***** York, I bet! Glad to see you were over at LINDISFARNE - did you see all the neat stuff there? Was it really all wri##en on vellum? Did they have a lot of sheep? I bet they had a lot of sheep! ***** Hi Mom! What a mess! I can hardly reach you from here! We're down in HROFESCESTIR at the moment! It's pre##y terrific - you should see all the bridges! ***** age##y they had go##en up to the mountain fastness ash past villages burned to ash, there was always someone, ***** chmod model, who everyone dreamed about wanting to chown own. she was the center of a##ention in clear the clearing, where the liberation army constantly ***** Communique: I am seventy-eight years old. Communique: Youth's altered a##itude to questions of sex is of course 'fundamental' and based on theory. Many people call it revo- ***** Report: I am certainly not in favor of this or that! Report: I do not smoke a bourgeois so-called cigare##e! Communique: The whole of society will have become a single office ***** Report: I do not agree with those of the dictatorship who accuse me of paranoia, although I have been commi##ed of paranoia by the so- called 'state authorities.' I do not smoke a cigare##e, a victim of the bourgeois mind! ***** --someone in the tomb of lenin where messages touching my asshole i know it will be filled with clu##er--touching my paranoid prick i know you'll never tape lenin--this is tape-lenin trying to deliver a tape which was ***** But sometimes as well people a##ack me for how I feel. I mean, how could I be a##acked, I'm just expressing myself, what I'm going through. I don't want to lay it on anyone else, I just want to be understood. I ***** Now I have someone who will listen to me when I express my rage, when I want to kill myself. I know I will be a be##er person. It is enough that they listen, they don't have to say anything. My computer has become my ***** I've learned that I can discuss things be##er with you online than I can with my doctor, and I know now who to avoid when I need to look for a ***** wanted to try something else, that I had the support of the online commu- nity. I said nothing else ma##ered, my whole world gets caught up in this or that medication and I know there is more to life than that. ***** There are people out there in this town who could really benefit from all this on line, they would learn how to be##er control themselves. I think so many people in this culture are hurting or wrecked, I don't know where ***** like at one time. I couldn't even sit down without shuddering. Now I have the time to even be with my parents a li##le, we're beginning to under- stand each other. But it's because of this screen, nothing else. And they ***** and I can't talk to anyone else. She says I've been drinking a lot but it's not working any more. I don't know what's the ma##er with me. I just start crying sometimes. She's got long blond hair and beautiful blue eyes, ***** says, but I now I'm not. I'm not as good as anyone. Oh fuck, I can't stand this. She's scratching herself, cu##ing through her skin; you can see her bleeding through her ta##ered clothes. I've got a secret, she says, I can't tell anyone, how good I am, what a person I am. People say I'm beau- ***** cries that she needs comfort and consolation, why won't everyone be quiet just for a li##le while. She has u##er rapture on her face, the rapture of pure despair. I'm fucking afraid of dying, and yet I want to kill myself, ***** yours. She disagrees with everyone, she knows it. New Clar dances around, her lips parted. Old Clar pays no a##ention, she's got a horrifying pre- monition about the death of everyone. We're all going to die a horrible ***** smart. Oh hell, she wants another drink, just one more, fuck, things can only get be##er, can't they? She's scratched open sores around her breasts, you can see them through her ripped clothing, they're bleeding. Oh hell, pay no a##ention to me. ***** I know I'm boring you; I can't help it. It's not funny, it's real life, for God's sakes pay a##ention to me, oh God, please, please, please don't leave me like this, please help me, honest, I'll kill myself if you don't, ***** les, do you know that? There are tracks all over me, not just my arms. You might think I'd know be##er, but I like them. They scar me, show you where I've been. ***** It's not just that though. I've got be##er friends than you ever will. They'll all betray me in the end. But there's a pull in the world, I seem ***** Do you know I can sing? You've probably never heard me sing. Someday I'll sing for you, even now. You can stand a li##le? You might like this. There's a record I use for background, like karaoke. Just a second. Let me ***** ~text," that she belonged within quotation or the parenthetical~ Still, ~Mary should have known be##er; one more day of Mary or Travis writing ~from directory, and Bob, too, would have to die~ aculog authlog cron ***** I like the old time. I like thinking about the old time. God lets me do that, god is pre##y terrific, is a good god. I want to sleep now. ***** Mail archive archives bin boot core dev etc export holding hosts htdocs kadb lib log lost+found mnt net pcfs restoresymtable sbin se##erm src staff sys tmp users usr var vmunix vmunix-lkm vmunix-raid zz ***** The specifics of the leverage would not ma##er - just as the details of universal equations spell out varying phenomenologies, but their very ***** which the laws of distribution hold, and within which we may fall in love, throw a ball, or speak, as if difference were upheld, or sha##ered. cat chio chmod cp csh date dd df domainname echo ed expr hostname kill ksh ln ls mkdir mt mv pax ps pwd rcmd rcp rm rmail rmdir sh sleep s##y sync test zz ***** sd2cgsd2dgsd2egsd2fgsd2ggsd2hgsd3ags sd4bgsd4cgsd4dgsd4egsd4fgsd4ggsd4hgs sound3gspeakergss0gst0gst1gstderrgst ##yE1g##yE2g##yE3g##yE4g##yE5g##yE6g ##yp4g##yp5g##yp6g##yp7g##yp8g##yp9g ##yq0g##yq1g##yq2g##yq3g##yq4g##yq5g ##yqcg##yqdg##yqeg##yqfg##yr0g##yr1g ##yr8g##yr9g##yrag##yrbg##yrcg##yrdg ##ys4g##ys5g##ys6g##ys7g##ys8g##ys9g ##yt0g##yt1g##yt2g##yt3g##yt4g##yt5g ##ytcg##ytdg##yteg##ytfg##yu0g##yu1g ##yu8g##yu9g##yuag##yubg##yucg##yudg ##yv4g##yv5g##yv6g##yv7g##yw0g##yw1g ##yw8g##yw9g##ywag##ywbg##ywcg##ywdg ##yx4g##yx5g##yx6g##yx7g##yx8g##yx9g tun0gtun1guhid0guhid1guhid2guhid3guk vnd0agvnd0bgvnd0cgvnd0dgvnd0egvnd0fg vnd1egvnd1fgvnd1ggvnd1hgwd0agwd0bgwd ***** you do make me! un para o pk##olkx corr yu lat sgqk eua oh thank you jennifer thank you ***** Ou##ages MAY OCCUR. ***** Japanese Amusement Nigh##ime Japan Nikuko's Popular Imagery of Japan ***** the work will remain in spite of its ruin in the stories of mothers and sons i am wri##en in the stories of fathers and sons i am wri##en i am a coward small and fearful ***** Il n'est jouer qu'en maladie, Le##re vraye que tragedie, Lasche homme que chevalereux, ***** Kristevatumor and such mavericks as Roheim. Within the astute rationalist construct of mathematicocancerscientific developmen##umor Jennifer ob- serves Kleintumor Penrosetumor Marrtumor Moravectumor others too nucancer merous to mentiontumor not for a moment forge##ing Minsky and the uncanny precancer science of Euclid. Such is Jennifer s casetumor that she does ***** mor he looks like this! she saidtumor making the uglicancer est cutest li##le face! That old Alan! every moment when the word leans it becomes another word and language gains ascendence across body and function as if ***** will not know then what has occurred unknowledge transpires and is every- where there is a non-ma##ering of unknowledge that will be the same and substance ruling or ruined same and ruling substance of the day or forlorn ***** day of gone time or world forlorn unknowledge towards a glimmer or horizon towards transpiration and non-ma##ering this is a prediction and a truth of and from the year 3000 ***** sex and death <> so out and so in >< 233c233 < clothes sexualities genders wear out and even close relationships > clothes sexualities genders wear out and even close relationships 241c241 < conversation sexing friendships libraries in real life there are > conversation sexing friendships libraries in real life there are 284c284 < i've always wanted to move towards the abject extremities of sex that > i've always wanted to move towards the abject extremities of sex that 701c701 < if sexuality is the expansion of the textual violence is the reduction > if sexuality is the expansion of the textual violence is the reduction 708c708 < mud wrestling the sexuality of anonymity > mud wrestling the sexuality of anonymity 846847c846847 < words and sex are splitting off closing off leaving mouth and body < behind not towards ulterior virtuality but foreclosure sexed language > words and sex are splitting off closing off leaving mouth and body > behind not towards ulterior virtuality but foreclosure sexed language 858c858 < fascinating - you can see this happen among the primates as tool and sex > fascinating - you can see this happen among the primates as tool and sex 862c862 < sex is filled with s/m b/d fluids of all sorts leaking across the > sex is filled with s/m b/d fluids of all sorts leaking across the 1155c1155 < the texts sex texts travel towards extremity where the body leaves all > the texts sex texts travel towards extremity where the body leaves all 152c152 < child dreaming remaining unused worn with the death of the brother > child dreaming remaining unused worn with the death of the brother 158c158 < i knew neither of the brothers and mourned most of all the death of > i knew neither of the brothers and mourned most of all the death of 168c168 < of his death and a year after he died a dead bird black with yellow > of his death and a year after he died a dead bird black with yellow 171c171 < are the chances of this the appearance of the death of the bird in any > are the chances of this the appearance of the death of the bird in any 193c193 < this is one such disturbance both deaths nine months apart were others > this is one such disturbance both deaths nine months apart were others 418c418 < deathwe will be sipping from each others grease and never > deathwe will be sipping from each others grease and never 564c564 < ses negative feedback until sleep becomes a portal of death the waking > ses negative feedback until sleep becomes a portal of death the waking 581c581 < love and death on the information superhighway > love and death on the information superhighway 588c588 < freezes as men and women hear tiffany's death cry the woman misses you > freezes as men and women hear tiffany's death cry the woman misses you 609c609 < freezes as men and women hear tiffany's death cry the woman misses men > freezes as men and women hear tiffany's death cry the woman misses men 629c629 < freezes as men and women hear tiffany's death cry the sun rises in the > freezes as men and women hear tiffany's death cry the sun rises in the 690c690 < i am interested in texts in extremis at the point of death in great > i am interested in texts in extremis at the point of death in great 1055c1055 < me out of the valley of death she knew no evil the elevator went up the > me out of the valley of death she knew no evil the elevator went up the 1160c1160 < but this is pointless let's say that the point is death let's say that > but this is pointless let's say that the point is death let's say that 145c145 < there were others > there were others <> so in and so out >< marienbad Marion, bad, least year @ Marian-bad, the baths @ Marienbad, plaza and vista @ m-bad, Annunciation @ http://www.as.wvu.edu:8000/clc/Members/sondheim/marienbad.mov marienbad