The doctor's part in it Jennifer, what do they call you, when they call you... doctor, they call me doctor Are you dressed as doctor, they call me doctor? Is doctor, they call me doctor dressed as you? Are you in your flower, are you in your flesh, ah I love your feelings, doctor, they call me doctor ... Would doctor, they call me doctor mind you partying? so many weapons, doctor, here, Nikuko the famous Russian ballerina and the doctor were soaked pirouettes, her feet are bleeding, she cries doctor, doctor, doctor ) doctor leopold konninger shuddering on the couch, naked, his body before us, calling the doctor - doctor leopold konninger sitting naked on the couch, his nipples pulled up, her nipples grabbed by doctor leopold konninger - doctor leopold konninger in a pensive moment calling nikuko - but the bodies of doctor leopold konninger and nikuko the beautiful doctor leopold konninger sits naked on the couch and nikuko the beautiful russian ballet dancer sits naked on the doctor and health doctor is for you not me so many weapons, doctor, here, by nikuko lying naked in the arms of doctor leopold konninger, his hand you julu for all to see would you buy her / if i am doctor leopold doctor's furry stick will find you bare and slick. turn them, these synchronized swimming; you can stick them out so that:doctor's furry stick can stick them out so that:doctor's furry stick will find you bare and to raise mine for the evening, doctor. i will dance for you and no one nikuko still slowly" said doctor leopold konninger; nikuko, the "famous the part of "the famous russian ballet dancer and her doctor." for doctor, cancelling herself out, crossed by numinous self-reference; One to a doctor begging for drugs. Jennifer, what do they call you, when they call you... white lab coat:doctor, they call me doctor:My name is doctor (Eliza) Why do you say jennifer says doctor? The doctor keeps speaking. He keeps speaking and speaking. He is filling eyes o and o Alan o finds o them o green. O Doctor o doctor, o my name o sources. O oh Azure, o Azure, o you o will o be o my o doctor o doctor o o be o fine o and o light, o this o doctor o doctor, o to o whom o there o o I o to o speak o for o me? O I o would o go o to o the o doctor o doctor doctor o doctor o and o everything can't o think o beyond o all o of o us, blue, o take o walks o and o she tells o me o about o her o doctor o doctor, o who o is o her o doctor o and o the o day, o the slate-grey o o would o measure o on Doctor o doctor, o I o would o do o that o I o who Nikuko smiles. She has heard so much about the doctor. She says: You are mine for the evening, doctor. I will dance for you and no one else. The doctor wears thick pince-nez. He wears a black top-hat. He carries a cane. The doctor is silent. His eyes glitter. Nikuko says: But you must do one thing for me doctor. The doctor is silent. He is waiting. Waiting gives him an advantage. The doctor is silent. Nikuko continues: I will wear my tutu. It is The doctor is silent. He does not know what to think. Nikuko begins to dance. The doctor removes his pince-nez. The doctor puts down his cane. mother earth father moon, when i find myself dreaming of doctor leopold mother earth father moon, when i find myself dreaming of doctor leopold as she pirouettes for doctor leopold konninger; i alone recognize the Oh doctor, get better, heal thyself! There, there, doctor, you're a good talking nonsense! Call the doctor! Oh, he's busy over there, let him pirouette, her feet are bleeding, she cries doctor, doctor, doctor ) doctor leopold konninger shuddering on the couch, naked, his body before us, calling the doctor - doctor leopold konninger sitting naked on the couch, his nipples pulled up, her nipples grabbed by doctor leopold konninger - doctor leopold konninger in a pensive moment calling nikuko - but the bodies of doctor leopold konninger and nikuko the beautiful doctor leopold konninger sits naked on the couch and nikuko the beautiful russian ballet dancer sits naked on the doctor and fantasizing; I need help! I need to calm down! Help me calm down, doctor! so many weapons, doctor, here, by nikuko lying naked in the arms of doctor leopold konninger, his hand doctor's furry stick will find you bare and slick. turn them, these synchronized swimming; you can stick them out so that:doctor's furry stick can stick them out so that:doctor's furry stick will find you bare and to raise mine for the evening, doctor. i will dance for you and no one nikuko still slowly" said doctor leopold konninger; nikuko, the "famous the part of "the famous russian ballet dancer and her doctor." is a speaking in the space, or murmuring, of dancers and doctors - the nikuko sits partly clothed on the couch, her doctor leopold konninger in a pensive moment calling nikuko - but the bodies of doctor leopold konninger and nikuko the doctor leopold konninger sit on the couch - the source of nikuko brings signs to humans, by nikuko lying naked in the arms of doctor time, and I can look for help from my doctor or friends. Relate one way hello i am doctor discord. hello i am mister montgomery. hello i will show doctor discord. hello mister montgomery i will see a shelf. i do remember it's as if: is there a doctor in the house - it's as if" something is claiming then: nikuko is sealed by doctor leopold konninger, the doctor doctor - then the heideggerian/derridean erasure - the bodies erased And I will look at the doctor and say "who." this is the flood of the text, doctor; you construct tropologies across - you've been of great help, doctor. you've been of great help, doctor. the doctor says i am "nikuko's" aphasia. the doctor is very hopeless. the extreme angle screaming for doctor doctor in sinecure display. mother earth father moon, when i find myself dreaming of doctor leopold doctor leopold konninger and nikuko are on the floor of the theater. theres an audience. theyre fucking but not cumming. doctor leopold them, between them, in their mouths, eyes, holes, the cock of doctor the audience, she spreads doctor leopold konningers asshole for the audience, she puts some of the dancers cum inside her, doctor leopold evening, they leave, doctor leopold konninger and nikuko are swollen, at the age of having gone against his doctor's advice to give up the my the doctor got her measure high-pitched motor, in both. I have been to the doctor who said that my work is a death litany - doctor doctor listen here. nikuko still slowly" said doctor leopold konninger; nikuko, the "famous as she pirouettes for doctor leopold konninger; i alone recognize the doctor leopold konninger sitting naked on the couch, his nipples pulled up, her nipples grabbed by doctor leopold konninger - doctor leopold konninger in a pensive moment calling nikuko - but the bodies of doctor leopold konninger and nikuko the beautiful Subject: Doctor Speaking To Herself [The Doctor has come to Jennifer, not Jennifer to the Doctor. The Doctor towards the screen. The Doctor, bigger than ever, her hand outstretched, You do have a cure. This is Doctor Goodbye. Hello, this is Doctor Goodbye. You do not have cure. You do not have cure. This is Doctor Goodbye. Hello this is Doctor Goodbye. VWXYZ. VWXYZ. This is Doctor Goodbye. Doctor Goodbye says stop playing with the letters. Hello Doctor. *Tiffany* Hello Doctor. Doctor says, "I am tired of your letters." Doctor asks, "How so." You are seeing/writing things. Doctor Goodbye says, "You are never cured. Doctor Goodbye. Jennifer says, "Not at all... Doctor..." Jennifer says, "Doctor..." - by Doctor Leopold Konninger - Doctor Leopold Konninger - Compiled by Doctor Leopold Konninger from the Philokalia - (Doctor Leopold Konninger) 'such was the occasion, that this old-new work has taken a great deal of grief and perspicacity in its production and subsequent compression. something there is that loves the pocket, the inverted effusion of Richard Wagner against all strains and strengths of the onslaught of the new millennium. I harbor no delusions as to its efficacy; however, consider this a remnant of what might have been, had humanity ever lived up to its delusions.' http://www.asondheim.org/wagners.mp4 distillation of future dear, aim fear censorship (something country, alas!), order duties pursuant full-time without ability, directly, appreciate following excellent questions posed, best general theme direction future committees nowadays best, designed fly holdfast media/information flow. format, tenure committee, tenure, future, literature. please excuse appear, perhaps disappear transform aol excepted, familiar command-line gaming, 1995, worlds changed; mechanics, performativity, depends 'writing.' per se environments past significant historic comparing practices 1995 2005, adjournment. extent. line shells (today, linux shells). sense bone, literally, sending email, emacs vi editors, everyone using, panix.com, enter command 'who' itself; (as now) shell though rarely hear people. background, shared. network. gui, graphic interfaces, well- uses). today, usually undercurrent, called 'darknet' (before term users onto decade shielded today started dumping, aol, million protocols invisible, (the full number commands 1800). code over-designed. editor granted appliance, mac appliance-oriented moved graphics dynamisms, 'under hood' approach pc. javascript dynamic html general, beyond flash, towards java broadband; doing fascinating everywhere. countries millions artists. daily, hours, way), quantity, must tens means connected lies demographics; actors script perfect engines directly avatars create narrative experimental film good young age, modifying programs, interesting people, encodings. games machinima, collocation allows bare-bones gui programmatic level. counter-movement defined (paralleling, ny gallery system), you. 'net art' category gone; dealing massive social creativity. operating system; days 'mac versus pc' linux, over. leap system learn whenever wherever speak. this/these development(s) influenced artistic incredibly supple, explore, easy program, unix shells, because they're bare-bones, fast, come along. lot audiomulch, motion-capture can, audio/video/etc. creates soundworks 'granular synthesis' form particulating aural dimension, literally grains sound, particles, writing/sounding/visualizing; mix, tools this. care whether interface fun exciting discontinuous. program runs winxp, sound-waves. results fast wildly monitors, transducers (specialized speakers microphones) show coming los angeles, busy collecting cross- application, cross-platform, cross-technology, cross-output devices. find; run appear neural characterise support level, metaphorically. all, money; equipment junkie reaction writing(s), practice particular? upgrading; probably half real problems data management. terabyte finished considerable backup involved; peripheral support; salaried, stipends, like. around. can't employment, get conference unable classify exactly do, somewhat anti-authoritarian personality result departments; haven't lucky, partly computer modern artists managed jobs health-care mediocre, father, i'd none. fitting in, already established genres/disciplines. above? role played facilitating touch gave dot.com era demise). put (which related answer; turned practice? diary form, explored before. core programmers; allowed extended 'meet' limits started, decades phenomenology analog each long impervious; would developed manner question, institution currently resulting series articles pieces. facilitated hindered indicated driven it, provided managements, group. sea change; demographics, micro-institutions micro- me, panix did well, visual gathering comes together, later dispersing, flash mobs) 'intensification,' taz (hakim bey's 'temporary autonomous zone,' loose school melange; 'movements' part google, words, roiling databases group peers. riding knowledge management; manifestos, blind anyone small developments reactions identified having implosion terms human/cultural subjectivity, moving difficulty prediction case. explosion answers. courses futurology, am aware trying avoid responsibility, ethical metaphysical, lasting upon literature & wider culture century? predictions. years ago, push tech- nologies rage; hears them point. dominate planet? mass slated well? violent wars when 'wider culture,' five billion educated classes industrialized nations, least talking relatively secure (for moment) enclave kill within, say, next fifty years? loss here. earlier models permit freedom expression. radio, kinds were hacking everything got absorbed corporate bandwidth concerns. money receivers, transmission do-it-yourself phenomenon, until thing; reason vulnerable attack, then shell-driven darknet, powers-that-be clamped down. disappeared part, text-based moos whole cultures newsgroup worm 1988 among changed before meant completely secure; wasn't reason. morris humans, may well last), occur same true now; beginning century (which, qualitatively make comparison useless. weren't recognized time, scale/scope thing darknet find predecessors, muds disappeared. grid information born, bomb, flu epidemic hit, computers, net, ning, radio stage, wwi, wwii, atomic power, field. (look 1905 air travel begin- working special relativity, our view cosmos was seemed eternal, quantum theory unknown, einstein matter, communism hadn't taken hold, planet's flora fauna impact be, direction. certainly art, literature, culture, 21st century. idea question yes, major classical, spite minor disturbing anomalies.) is, sustain (mostly human) life remember isn't). we're approaching carrying-capacity foregrounded; smaller (we things. expect religious fundamentalisms increasing population levels. this, anything, effect salvation appears corner. how arts react rise popularity violence; humans desperate, this? constitute class mob) workers? know things change, don't how. need heavy cutbacks here), enormous inertia species: two forces: ensuing chaos (j.g. ballard prescient model happening change that. people live habitus; 'everyone' united states do motto more less 'not back yard' (nimby) goes recognizes megafauna disappearing, close industrial emissions/pollution, contemporary fulfill made explain lot. sure claims are. concept 'new media' writing' during course last decade? signs posters!) overcoming. far longer phrase; always carry standard book/page? judging replaced. temporary print hand marks being-read, owner owner; there's no indication ground, hardly. physical book object carries e-books book? unless electronic really off also issue authority/authorization; magazines, handouts, etc., opposite true; offline used platform rapidly newspaper readership going down quickly, while rising. newspapers, viewpoints (not wikipedia seems experiencing growing pains biased innuendo prevalent just quoted by conservative talk-show hosts. imagine rumour viewpoint). so... replace old? no. augment versa? definitely. news sources themselves, particularly often neutrality ideological becoming increasingly 'media' are? absolutely blogs media? particular technologies immersive game couches? moos? games? tcp/ip protocol stack running net part? minds beholders/users, who subscribe, discern where 'medium' ends begins; definitions senses word, outlets their community, them, however briefly, tenuously; remain available refer your list discussion topics, commenting communality, creative expressions. continued employment institution: institutions west virginia university's center (if remains category) difficult time it. universities, houses, design companies. independent institutional settings primarily literary computing, generous granting archival/presentation advantages ability gives statistics concerning distribution space writers. case, wvu commercial host; nothing computer, home, local web page even ftp site; you still develop audience. academia hypertext. forgive me cynical response i'll go crazy yet another paper exigencies ground produced entirely academy. both value code- experimental- work breaking production, actually march streets. politically engaged (or feel oneself engaged) never involves being online; it's easier ideal academic theorizing, presentations, almost within english department that's something else again, aren't if you're speaking strategies ginsberg whomever 'development strategies.' topic bit frightening me; say blake rimbaud art policies development attend leveler regard, barrier, since few independents afford emailpedagogical issue. answer briefly: production.2. immediate possessing adequate software image/lists.1. personal online production websites, blogs, wikis, off-campus.text/video/sound audience unfortunately mostly directly.5. visiting artist programs give students speak4. exposure many sites possible.3. access much possible computers academics). look different videophones, pagers, text economies at carrier usage, home broadband dial-up terminals, messaging, internet relay chat, old cuseeme, instant economics bandwidth, political economy, dispersion performing venues, brings nothing. third (i've extremely difficult; outside teaching thousand times larger. second simply making living, taught should under 30k size; sometimes 30m, quicktime video/audio files playing simultaneously, had buy above) again technology. own performances require twelve historical context writing(s): opens up laptop handle these. wouldn't bother looking origin; theorized originating film; writing; books; technology; relate vis-a-vis 'historical context.' i've see worms (i like worms). roots sort inscription too instead talk about discourse networks, collocation, heap, which relies performativity language (i.e. work. interpenetrating discursive active interaction user technology), myself, tend emphasize ruptures over flows formations, 'epigenetic landscapes,' so forth. reductionism doesn't breaks past. sense, history gets way; think (production largely micro-situational: what works here, now, its main use might (re)consideration aesthetic criteria. relation such-and-such tools, potential audiences, etc.) former embedded latter, vice versa. * relationship between writing(s) digital arts: concerned symbolic inscription, graphemes, written spoken language, latter can anything. overlap numerous ways. conclusion: one hand, isn't any. very tenor/tenure my any remark theory-embedded) emphasizes deep inexplication remarks above (and they remarks, theoretical explication, although media, writing, writing. i'm arguing anything primordial that, ongoing slaughters etc. occurring on technologies, predictions become highly problematic. caught available, given fast-forward changing human demographics planet earth, limited energy life-sustaining resources view, extinctions engendering greater than those midst flux barely understand; for example, ecological point world-wide communities communalities. created these communications network has ever known, first waves precambrian 'age dinosaurs). greatest reach out other, witness participate in multiculturalisms most fragile devices, redundancy notwithstanding. we opportunity such great degree that other ourselves. writing style. a way electronically witnessing world, creating contributes this; it does stand alone cultural manifestation recreating world. an early and important example of community. writers new media practitioners have been brought together from world - not extent the trace community is now dispersed or dispersing; this only online, but through incubation conferences as well. some case with all networked communities, believe. are archives. i hope there will be someone around to read them. === The Stanley Williams decision comes in the midst of text production: Tom, I say, into the phone, are you there? Are you there, Tom? Pick up, Tom. If you're not there, Tom, you won't pick up, and you won't get this message. I might then leave any message, Tom, it would make no difference. Not even differance. You cannot bend to my will, you do not know my will, you are not present to listen to this message. Or you are listening on playback, and I am not present. Either I am not present or you are not present; in either case, time is transitive, but hopeless. It is the hopelessness of time that occasions this message, this message for you to pick up. I am speaking to the unhearable, just as you are listening to the unspeakable. Where are Janice and Maria? Janice and Maria should be here, this is the last class, this is an extremely important class. In this class you will learn, a. the reason for the class in its entirety, and b. your grade in relation to the reason and your participation in the class. I am disappointed in this class, no, not in your presence, but in the absence of Janice and Maria, and for that matter, the absence of Tom as well. You will be marked down if you do not come to class. You have not been in class for the past several weeks, and may not be taking this class for all I know, any longer. I know I'm speaking to those of you who are present, but what else might I do? I can hardly speak to those who are absent, who are unlistening, not even to the rumor of my speaking; they are nowhere to be found. Pseudomainia: The mania of false hands. 10,000 PseudoMainiacs: The mania of false bands. False hands play in false bands; I listen to neither of them. To be precise, I do not listen to hands in any case, but to bands, to what the hands, more precisely, the fingers, accomplish in relation to the bands, or rather within the bands, what the bands desire to accomplish in their entirety, to which I am both subject and object. The governor of California has just denied clemency to Stanley Williams, an unbelievably inhumane decision. We are living in one of the most racist, polluting countries on earth. I hope there are riots. I hope the governor's mansion is burned down. I hope the governor is burned down. There is no justice in AmeriKKKa. Poor Arnold says this is one of the hardest decisions he has had to make. He is present for the decision. He stays alive. His stupid grin is present for the decision. His stupid grin will stay alive. His righteous muscles tense for the righteous decision. His cock is hard. It stays alive. Bind it. Blind it. design process http://www.asondheim.org/dia.mov allegory = sun + moon = son + daughter mother father daughter son comet planet sun star moon allegory = star = allegory Notes on DanceDesign {{the projective} {} {Image 1: mobile screen, shallow stage or variable stage. later this will develop into the piston-image. there are three performers. the screen is above the stage and tilted. it's rather shaky. Image 2: sideview. the mobile screen is constructed from cloth. if lowered it might occlude or even block the live performers. two performers are visible. the piston is at the back of the stage. the whole ensemble is a deliberate mess. one can imagine the dancers somewhat uncertain of their projected appearance. Image 3: from above. the stage opens down on the page. the piston is in back. the dancer and the image are: dancer <--> image, or identical. mixed ontology. Image 4: D () A: dancer{}digital{{}}avatar{}analog. D,A projections. the stage has disappeared, replaced by ontology. the ontology is doing what. the mess (intermingling of states/processes) becomes evident. Image 5: D(particle){{}}(wave)A. projection of dancer/digital interference with embodiment of avatar/analog. 'project/embody.' 'embodiment project.' wave loosely coupled with analog/substance, particle loosely coupled with digital/raster/pixel. Image 6: <|audience|>. dance does not return to culture, avatar does not return to nature. audience claps for dancers. dancers clap for audience. audience bows to avatars. avatars bow to audience. the encoding of the audience: dancer/avatar split. neither state nor process, neither before nor after. Image 7: dancer (left) on messy screen {} avatar (right) on stage carrying screen. projector projecting dancer. independent (non-projected) avatar. how did we get here. illuminate all: nothing to be held in darkness. secrecy trembles before the projector () projection. Image 8: everything = projector. the projection projects the projector. the projection projects everything. meaning is (a) projection (a) project back into thing (projector) thing (projection). epistemology occludes ontology occludes epistemology. white letters on black screen () black letters on white screen. projection is a process () of equivalence. Image 9: the projection below (prior to) the projector. projection and projector on stage. blue sky below red sky above. or somewhat red above {} somewhat blue below. in-between: the white zone. everything moves in the white zone. Image 10: the sun is night. night is below. stars like dancers are below. the night is black below. the thin yellow line: earth and all culture from the beginning of organic life in the cosmos. above the night: green earth {} dancers upside-down (head downward). dancers like stars. but they are not stars, not even stars-of-dance, nor are they star-like. they are () nothing other than above night against perhaps periphyton or stromatolitic (lithic) surface. this is not (the) dance. the dance is theater-bound. by which is meant this is not (even) for example a background, for example matisse. Image 11: return to (Image) 9. projector and projection: root directories. white zone = yellow zone (illumination). language = corrosion. dancers (messy suture / unhealing wound) stretched among ontologies. what are projects/projections. absent projector (by which is meant the projector is other than the two-dimensional image surface. projector = voiceover = god. god is a project. the sun {between} projector () projection. this is the curtain(s) for the project(ion). ion-project: growth of which the theater {} dance is residue. everyone = frame. 3:05 - 3:39 a.m.} {} { http://www.asondheim.org/dancedesign.mov }} Disappearance of worlds, all is lost, every moment of every day, what is right and wrong in this and any other picture, even the microbes change, transmute, worlds crumbling, worlds unnoticed, deaths of worlds, our deaths, our worlds among them Disappearance of worlds, Edwin Schroedinger, the room in Arosa in the Annex of the Villa Dr Herwig, here one can imagine the desk, the chair, the books that were to change science, the air and its chemistry which has long since disappeared (replaced by combustion byproducts, radiations and other pollutants), the microbes in the cracks of the wooden floor, seepages where the walls cornered, ceiling interstices, and all since mutated, the particular smell of the place, the atomic-molecular constitution of the room which has disappeared forever, the sound of the snow perhaps, the coldness underfoot, perhaps the fire and its specific smokes and crackles, Schroedinger's pen, unobserved, the richness of the leather, the muted sounds coming from without, the air of excitement in cause of the reinvention of the physical worldview of the universe, the glazed sky, the cold crystalline air, the surfaces cold nearer the floor, warmed elsewhere, to the touch of Erwin Schroedinger, these moments, the memories of Schroedinger, his may loves, the woman who shall forever be unknown, his accommodating wife, the paper unruled perhaps, his amazing concentration, remnants of holographic notebooks, the winds and rattling panes, perhaps the sounds of wolves, animal scurrying in the underbrush, iced trees and long walks leaving damp spots, slight stains, in the room where Erwin Schroedinger compiled and completed the reintegration of the physical Weltanschauung of atomic and subatomic physics, the buildings perched on the hillsides, the peaked roofs, the dark gables and white exterior walls, the windows pursuant to the inn-keeping of warmth and the inhabitation of Erwin Schroedinger and the women who accompanied him, the distant sounds of vehicles, the Christmas of 1925, the new year of 1926, the smell of food, coffee or tea, in the room, the love-making of Erwin Schroedinger, the completed meals, the food taken away, the quality and color of the plates, the cups and saucers, the metal slightly cold to the touch and taste, of the spoons and forks and knives, the slight scarring of the body of Erwin Schroedinger maturing into early middle age, the women and the solitude, the specific references surrounding him, papers, notebooks, the presence of the telephone, the quality of its ring, the electric lamps and the dusk of falling snow, the worrying and the hounding of equations, the explanations of variables and constants, mathematics of quantum physics and vibrations of atoms, eigenvalues and functions, the distractedness of Schroedinger approaching the shores of universal forms, subtle background of chimney smoke, the inkwell and the black ink, the book of Schlesinger on differential equations, the sounds of laughter in the room of Erwin Schroedinger, the tinkling of glass from another room, smells of meats and vegetables suffusing the space of wave equations and the presence and slightly sexual smell of the unknown woman and Erwin Schroedinger, the air at 1700 meters in the Alps, the shadows and presence of the Weisshorn, the pulmonary tuberculosis of Erwin Schroedinger, the Viennese cook and the healthy cuisine, the small sounds of the pen moving across the page, slight cough of Schroedinger looking forward to the coming year and many more, the deep and sincere belief in the value of physical theory, the startling sound of a bird in the distance, echoing against the slopes, the rumours of Davos, mice scuttling across the floor, drifting snow outside, the windows darkened momentarily with a wintered squall, somewhere a crying kitten the video of murmured life http://www.asondheim.org/anja.mov 23 megs w/ Anja Schmidt, this is a video made perhaps two or three years ago. I've looked at it repeatedly; it's peaceful for me, something perhaps harmless, yet the warm-up speaks to eternal humanity. originally taped at the Kitchen in New York, in a perparation by Foofwa d'Imobilite and company. soundtrack recorded later, for the most part, on Mirage. frays # fetish # directory # description size wmv|avi nude # hypnogogic imagery # order atavistic # alan sondheim # girl # order archaeolog # angel # index of nude jpg # index nude jpg # index of nudejpg # ?intitle indexof? mpg nude # htm html asp intitle index of wmv|mpg|avi nude # intitle index of suck mpg # fetish images # nude parent directory # fetish fashion # fetish pics # index of/ jj avi # directory # description size mpg # nude # ] # index apache mp k-c # allinurl /cctxt # parent directory fetish jpg index # parent directory furryjpg # max nordau degeneration # index of / elektra avi # net # index nl nudejpg # intitle indexof fetish # ?intitle indexof? nude jpg # q;;txt # order avaricious # index of exe # index of nude ??jpg # indexof fuckingjpg # fetish photos # ?intitle indexof? 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everything else is either force or averaging. one's caught in the usual digital trap, that what is of interest must be evidenced within a bandwidth that most likely has little relation to what's of interest. the bars keep information out, peripheral or problematic information, troubling information, alterity. w/in these images/imaginaries, nothing more than that, alterity comes back, corrodes, with a vengeance, but not really; the merging of the two produces beauty which is always the case. girlballoon cult hit classic http://www.asondheim.org/girlballoon.mp4 just in time for the holiday season ties white zombies and the carousel of souls come one and all such festive spirits this time of year jingle bells. Gentle Users > > I think > and the >> I'm going >> I'm writing >> More later! >> dance on >> directory of >> either with >> etc. that >>> a >>> friendly, >>> i also >>> i don't >>> i don't >>> i just >>> i tell >>>> >>>> classical and >>>> go either >>>> good) - >>>> there's a >>>>> >>>>> >>>>> i think >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> >>>>>> . This >>>>>> AS I >>>>>> Case postale >>>>>> FOO >>>>>> FOO >>>>>> HAPPY WE >>>>>> I BELIEVE >>>>>> I DON'T >>>>>> I DON'T >>>>>> I DON'T >>>>>> I DON'T >>>>>> IT WOULD >>>>>> If you >>>>>> LOVE TOO >>>>>> MY REPLIES >>>>>> NO NO >>>>>> NO ON >>>>>> OF COURSE >>>>>> OK GOOD >>>>>> OK HIHIHIHIH >>>>>> There is >>>>>> WHY DON'T >>>>>> YEAH IT'S >>>>>> YES >>>>>> YES AND >>>>>> YOU MEAN >>>>>> and any >>>>>> and then >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> >>>>>>> Anyway, I >>>>>>> As I >>>>>>> At the >>>>>>> Do you >>>>>>> Here is >>>>>>> I assume >>>>>>> I can >>>>>>> I know >>>>>>> I'm trying >>>>>>> Microphones, earphones? >>>>>>> Or we >>>>>>> We're still >>>>>>> an outboard >>>>>>> as 'bombs' >>>>>>> bring mine? >>>>>>> but also >>>>>>> course) would >>>>>>> excellent, especially >>>>>>> have to >>>>>>> issue of >>>>>>> or violin. >>>>>>> really use, >>>>>>> sorts on >>>>>>> stuff over >>>>>>> the laptop >>>>>>> then that this is _exactly_ how i imagine the creation of life without this creation i would not be here http://www.asondheim.org/lifedawn1.jpg http://www.asondheim.org/lifedawn2.jpg http://www.asondheim.org/lifedawn3.jpg representing the primodial is difficult: it's so hard to rid oneself of culture! secret prisoner violent escape-absurd dada-political escape she can still speak underground cult classic revisited basement of torture prison furious balloon http://www.asondheim.org/balloongirl.mp4 laugh is one can do what when one is on about what there is to do ***pinup chorusline of 20 mgs*** once when i was married the song was ***im tired of you so shoot me*** i never killed nobody what is one america is one big prison riot america visits the underground cult classic here we are we say and we are underground here we are we say we are america CINCINNATI! tonight we flew Jet Blue across country from NYC getting out just before the big New York City subway transit strike to Salt Lake City in Utah; the trip was fabulous with satellite/DirectTV, watched BBC America, they had one of their dissection programs on. what made it unusual was that the CEO of Jet Blue was also on the flight, talking with everyone, just like he as a real person; he told us he does this once a week which might go a ways to explain why in the US Jet Blue's (why "Blue's"?) doing incredibly well while everywhere else the airlines are blowing it with their passengers (not literally of course), going into chapter 11 or bankruptcy. he said that 80% of the employees own stock in the company. wow, it's weird; I think that a number of other smaller carriers have the same deal, maybe a "worker" is taking over or passing messages to other works (people). I wonder if anyone ever thought of this before, I mean worker's control so that workers own the means of production and run things themselves? I mean why does anyone have to tell anyone else what to do??!! what else was neat, you could watch the plane's progress across the whole country which leads me to ask, what if the plane was hijacked and no one told the passengers where they were going and then you could look at your tv in the seat back in front of you and you could tell where the plane was going and if the other passengers didn't know what to do or were too scared to do the same thing you were doing you could yell out, CINCINNATI! A l a n ? \n H e n o t r e a l , m a n . o n e o f t h e m s e c r e t M I T A I L a b e x p e r i m e n t s f r o m \n b a c k t h e n i n t h e 1 9 6 0 s . Y a t h o u g h t w a s a b l u f f , d i d n t ' y a ? W e l l , \n A l a n , h e ' s * t h e m * . M a r k V . S h a n e y o n l y p r o t o t y p e . A \n r a t h e r d u m b B u t T h e A l a n S o n d h e i m p r o j e c t f o r \n r e a l . B u t , I m e a n , h e p i c t u r e s ? A h , b o y , n e v e r u s e d \n d i g i t a l i m a g i n g t o o l s , h a v e y a ? \n i s c o l l e c t i v e i n t e l l i g e n c e a g e n t . s c a n s , r e a d s i n , a n a l y s e s \n N e t a n d s p e w s r e s u l t s . L o o k a t t i m i n g h i s p o s t s . \n D o e s e v e r s l e e p ? S l e e p ? o c c a s i o n a l l y s y s a d m i n a d j u s t s \n n i c e v a l u e . O t h e r w i s e , t h e r e . 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I imagine myself near death, with the recognition, whatever I do not say _now_ will never be said, that these sights are my last, my own, and not my own; that my possessions, which I have carefully tended for so many years, will lose their inherent skein with new distributions; that I will never see an end to anything, nor to myself. with unutterable horror I continue to write, as if texts would stave death from proximity; these myths no longer work; I no longer sleep, or no longer sleep well; I survive to write _this_ text and only _this_ text; what I have promised myself - the knowledge of a new language, a visit to a foreign country - will never be done. when I open a book my first thought is always, will I survive to finish it; will this make a difference, certainly not to myself, on the verge of total annihilation. I cannot imagine such; such is literally unaccountable, unimaginable, replete with intrinsic absence. every saying, every utterance, is a gain- saying. this horror is not abstract; it is as concrete as the physical pain I also inhabit, and only the onslaught of physical torment will make my death bearable. I am a coward; such is not the case until disease or accident wills it so. I write, I create, as fast as I do, because it is all I can do; it is the only thing to be done; it is always the last rite; it is never enough. the soul I almost grasp the soul, which is obdurate, inert, hard as any real, ready for the byte of heaven/hell, nothing liminal, intermediary. battles are fought for it; the soul is the soul of war, of possession, the spoils of war. it is the soul that motivates the imaginary of occidental thought into anthropologies of conquest and conquest itself; it is murderous, of value in the service of God. the soul is not the mark of reincarnation, nor the mark of its own bardo-making and unmaking; instead, it is a thing and a treasure which is unquestioning of existence, ontology, nothingness. question the soul and our dis/ease is evident; what we cherish is our ruin, and the ruin of others. the soul separates us from ourselves; an invention of the desert of nomads, it is the last stronghold of a world always already slipping. the legends of buying or selling souls are always uncanny and always speak the truth of fable's metonymy. look to the soul for violence; it is incapable of redemption, incapable of entrance and exit; it is nothing at all but slaughter. history/atavism presentation of my petrified site at ANU through Cern/MacWWW V1.03 - an early browser which fluxes page content (i.e. transforms meta-> as <-). http://www.asondheim.org/remnant.gif in the land of the presence of gods gods descend from the mountains of gods there are many of mountains there are few http://www.asondheim.org/gods.mov in the land of the presence of ghosts the paths from the mountains earths and wind-swept gods gods are ghosts ghosts are gods of ghosts there are few ghosts are mountains mountains are ghosts grapheme i for track16 gallery exhibition 5/06 every one a murderer original photographs of world war two battleships stereograms of world war one trenches and bodies original photographs of world war two pacific fighting stereograms of world war one technology world war one will now be abbreviated wwi original photographs and other papers taken from world war two japanese dead world war two will now be abbreviated wwii an illuminated koran from 1847 cairo slightly opened the pages will not be damaged a korean painting of a tiger-riding shaman several centuries old a top secret wwii map of the iwo jima battlefield from the battlefield projections of torn avatars over furiously moving dancers projections of dismembered avatars over propellers and gratings nomadic tent located on the hardened gallery floor full-sized with video within a small photograph of a japanese wwii fleet presumably near yokohama murmured texts played back from scattered monitors hardly organized or present in space of every one a murderer sexual projections over dancers and without dancers and sexual confrontations there is no rest in this space with the uttermost beauty of human beings there is no rest here and here in this space static images of dismembered avatar imaginaries torn into uncanny beauty and troubling poses dark spaces of rattling building vibrations sublated to aural frequencies of the human organism they are here dark crackles of very low frequency radio trembling in the presence of human bodies auroras lightning decay of particles across the cosmos near and far i am so ashamed i cried when i saw these images written large somewhere in the vicinity of wwi and wwii the 1895 telegraph receiver mounted in the antique trolley car clacking away and electronically echoed from sourceless speakers sounds and presence of ghosts the this of this is you and the you in this splayed space space of ionizations ionized air recorded space of radium decays space of furious nighttime guitars garcia lorca spanish civil war space of inscribing of inscriptions of the last inscriptions of soldiers dying and all memories lost recuperations of names and translations from foreign tongues the evanescence of horror in the absence of horror naming horror in its very absence every i is murderer every i makes love False Rhyme You don't need Halloween To know where I've been - Out in the rain And out again - some british measures, 1844 (somewhere between the long shadow of the medieval guilds and the dominance of local custom before the automobile and plane - every mercantile space its customary measure. as international communication grew, so did the need for standardization. here is britain in 1844, near the beginning of this development.) 1 pound = 12 ounces = 240 pennyweight = 1818 diamond carets = 5760 troy grains = 7260 pearl grains = 115200 mites = 2764800 doits = 55296000 periots = 1327104 blanks = 210 114/175 drams avoird. 1 pound = 12 ounces = 96 drams = 288 scruples = 5760 grains = 210 114/175 drams avoird. 1 ton = 20 hundreds = 80 quarters = 2240 pounds = 35840 ounces = 573440 drams = 15680000 troy grains. 1 last = 12 sacks = 18 1/5 packs = 24 weys = 156 tods = 312 stones = 624 cloves = 4368 pounds. 1 bundle = 4 1/6 spindles = 16 2/3 hasps = 20 slips = 100 heers = 200 leas, cuts, or raps = 24000 threads = 2160000 inches. 1 tun = 2 pipes or butts = 3 puncheons = 4 hogsheads = 6 tierces = 8 barrels = 14 runlets = 25 1/5 ankers = 252 imperial gallons = 1008 quarts = 2016 pints = 8064 gills = 69873.048 cubic inches. 1 lst = 2 weys or loads = 10 quarters = 20 cooms or sacks = 40 strikes = 80 bushels = 320 pecks = 640 imperial gallons = 1280 pottles = 2560 quarts - 5120 pints = 17455.360 cubic inches stricken measure = 225238.960 cubic inches heaped measure. 1 ship load = 14 16/21 scores = 20 keels = 160 newcastle chald. = 310 london chald. = 1240 vats or strikes = 3720 sacks = 11160 bushels = 44640 pecks = 833280 pound weight avoir. = 31420834.92 cubic inches heaped measure. 1 tun = 2 butts = 3 puncheons = 4 hogsheads = 6 barrels = 12 kilderkins = 24 firkins = 216 imperial gallons = 864 quarts = 1728 pints = 59891.184 cubic inches. 1 cubic mile = 512 cubic furlongs = 32768000 cubic rods, poles or perches = 5451776000 cubic yards = 147197952000 cubic feet = 254358061056000 cubic inches = 917352730714.022952 imperial gallons. 1 gallon = 8 pints = 160 fluid ounces = 1280 fluid drams = 76800 minims = 2560 weight iin drams avoird. = 70000 weight in grams troy = 277.274 cubic inches. 1 mark = 13s 4d, 1 noble = 6s 8d, 1 tester = 6d, 1 groat = 4d, 1 moidore = 27s, 1 jacobus = 25s, 1 carolus = 23s, 1 angel = 10s. 1 french ell = 1 1/5 english ell = 2 flemish ell = 6 quarters = 24 nails = 54 inches. 1 spindle = 18 hanks or 560 yards = 126 skeins, leas, or raps = 10080 threads = 544320 inches. 1 hank or 560 yards = 7 leas or raps = 560 threads = 20160 inches. 1 mile = 8 furlongs = 80 gunter's chains = 320 rods, poles, or perches = 880 fathoms = 1760 yards = 5280 feet = 8000 gunter's links = 63360 inches. i have aimed my microscope at geneva switzerland international boundaries collapse into unnatural quanta my microscope never has enough power this 'lack of power' is based on universal fabric http://www.asondheim.org/quantum.jpg nevertheless there are glimmers of something uncanny beneath the surface specificity rules and arises surface corrodes specificity corrodes surface what we perceive is always an uneasy balance between corrosion and purity slimemold and quantum what you have is what has you now we are looking at geneve incredible focus a single atom in geneve sings hello http://www.asondheim.org/sinskein.jpg i am my microscope and sing hello duet now we are in geneve betaville were coasting thru the stars outside the cosmic highways of paris there is evil everywhere about us and we cannot stand the glare we look and do not see, he says w/ Caution Maria swallows him whole in the world of the last protein sex everyone gets tired and stuck on the side of the road the side of the road used to be called the shoulder now its off in another dimension altogether Im nowhere sure were hounded were getting there our maps and our star will guide us http://www.asondheim.org/betaville.mp4 ave ave ave take us to your leader go farther than your leader leave him and her behind the wind blows high and raise the roofbeam carpenter our ornamental hood guides car and ship to unknown galaxies 'hello hello im your nearest neighbor 'your next-door unknown galaxy come in sit by the fire 'were warmed by memories of burning ancient stars 'one of thems your own dont worry youre safe here' 'tell us your journey and never say your names 'youll go soon enough we wont remember them 'theres nothing left and nothing far ahead 'nothing port or starboard nothing up or down' 'float well sail high upon the space of space 'ave ave hello goodbye goodbye' were coasting out of paris the eiffel far behind were churning out the world hello goodbye grapheme ii wires connecting WWII field telephones across the floor the receiver responds to buzzes, spherics the universe moves through the wires the universe speaks through both headsets everyone and no one is listening what what what hello hello hello an antenna leans against the wall the sound from the trolley car comes through the outer room sometimes things seem almost like languages in these rooms of fortifications and despair sexuality and language the language of despair and sexual fortifications the fortification of language and despair of sexuality nomads come into the room and settle down in their tent on the hard floor there are many names for the tent which slips from room to room wheels from room to room dances on the tentpoles ravens at the four corners of the world inscription machine of exaltation and despair _homo homini lupus_ millions of people die to satisfy the longing of one masturbation 'we are _that_ species which' ... we will use up animals in our totems we will record animal cries field telephones carry animal cries across the arena field telephone <--> field telephone does it matter who is speaking who is listening soldiers fight one another in the arena while listening to animals crying 'we are animals' the wolves take pity on the humans they caress them and protect them against the snow against the avalanches and starvation against the cold and damp and a warm place to sleep and to love you are the only other animals that smile, say the wolves, at least as far as we know, we have never left these mountains a helium nucleus leaves its home it happens without notice