Incantation: Corrective Strategy: Hacker Drive: Core Dump: Gdb: The drive to write, the drive to correct, to turn these words into pure empathetic sound: such would cancel, chill, curtail, recuperate violation- fabric-the-medicine, make me hole again, the disappearance of the vacanta- tory eye/I. Into the night, right I, slewed from skewed violation-fabric: Dar dar dar. Arduous the night. Dar dar dar. Perturbatio. Dar dar dar dar. Ahesulim, Salimpalihilisu, SalimpalihAdda, MusallimMarduk, Addumusallim. .rad rad rad raD .oitabrutreP .rad rad raD .thgin eht suoudrA .rad rad raD .millasumuddA ,kudraMmillasuM ,addAhilapmilaS ,usilihilapmilaS ,milusehA .rad rad rad raD .oitabrutreP .rad rad raD .thgin eht suoudrA .rad rad raD .millasumuddA ,kudraMmillasuM ,addAhilapmilaS ,usilihilapmilaS ,milusehA .rad rad rad raD .oitabrutreP .rad rad raD .thgin eht suoudrA .rad rad raD .millasumuddA ,kudraMmillasuM ,addAhilapmilaS ,usilihilapmilaS ,milusehA .rad rad rad raD .oitabrutreP .rad rad raD .thgin eht suoudrA .rad rad raD .millasumuddA ,kudraMmillasuM ,addAhilapmilaS ,usilihilapmilaS ,milusehA .eid lliw I .yawyna eid lliw I ,eid lliw I ;yawyna eid lliw I ,eid lliw I .eid lliw I .yawyna eid lliw I ,eid lliw I ;yawyna eid lliw I ,eid lliw I .rad rad rad raD .oitabrutreP .rad rad raD .thgin eht suoudrA .rad rad raD .rad rad rad raD .oitabrutreP .rad rad raD .thgin eht suoudrA .rad rad raD -------------------------------------------------------------------------- GDB: gdb Incantation: GDB is free software and you are welcome to distribute copies of it under certain conditions; type "show copying" to see the conditions. There is absolutely no warranty for GDB; type "show warranty" for details. GDB 4.16 (sparc-sun-sunos4.1.4), Copyright 1996 Free Software Foundation, Inc... "/net/u/6/s/sondheim/Incantation:": not in executable format: File format not recognized (gdb) quit _________________________________________________________________________ Subject:tiny jennifer:sexes:alan starve:thirst:crave:despair:yes:28214:3:jennifer:despair:starve soak:damp:moist:drip:wet:yes:28276:2:sexes:wet:drip misery:plethora:calm_beauty:yes:28335:6:alan:calm_beauty:plethora ___________________________________________________________________ Anne Frank's Others Pornography of the dead opens inconceivable flesh encapsulated only in im- age, regardless of its fragility. Nothing is captured; names are forgot- ten, and the residue occurs as a floating signifier. Cyberspace gives us dreams of a fuller life. Anne Frank's diary in the "definitive edition" re-opens her body uncomfortably - only because the same was sutured and foreclosed in the earlier anesthetized edition. What I learned as a young boy was the holy purity of death, Anne's picture by my bedside; what I learn through this edition is a refusal which permeates, spreads through cyberspace. In November 1942, Anne writes: "P.S. I forgot to mention the important news that I'm probably going to get my period soon. I can tell because I keep finding a whitish smear in my panties, and Mother predicted it would start soon. I can hardly wait. It's such a momentous event. Too bad I can't use sanitary napkins, but you can't get them anymore, and Mama's tampons can be used only by women who've had a baby." On January 22, 1944, a little more than a year before her death, Anne com- ments: "I wouldn't be able to write that kind of thing anymore. "Now that I'm rereading my diary after a year and a half, I'm surprised at my childish innocence. Deep down I know I could never be that innocent again, however much I'd like to be. I can understand the mood changes and the comments about Margot, Mother and Father as if I'd written them only yesterday, but I can't imagine writing so openly about other matters. It embarrasses me greatly to read the pages dealing with subjects that I remembered as being nicer than they actually were. My descriptions are so indelicate. But enough of that." The comment is from the b version of the diary, a version Anne was working on for publication. The a version was the original; the c version, one assembled by her father, Otto Frank, after the war. It's the c that made it, anesthetized, to a world-wide audience. The clean and proper body, assembled for me and others when I was young, disassembled by the desiring-machines of nazism, foreclosed on purity, opened once again on ash - appears now, different, burning and now fore- closed internally, partly effaced, shamed, embarrassed, identity in the Annex. I assume nothing but that ancient reading, _effect of the text,_ I desired then I would have died with her, I would have saved her; my life was never so hopeless. These are still moments that are difficult to talk about. (The constant emphasis of blood and liquidity _here_ becomes an opening from that very closure, not of ash which can not be spoken, but of body, which turns elsewhere as well as here.) (There are clouds, of ash, of text, of memory; they don't come together. The body spills out as well; embarrassed, Anne comments, but doesn't cen- sor; that came later with her father. Were it not for her father, there would be no repetition of the diary, no Anne-memory; everything stood or fell in-his-name, Anne the masquerade-commentary, almost going out as non- Jew for an eye examination - too dangerous. The less evident the fluids, the greater the need for their reiteration as well, their emphasis. They stick the body to the ground. They hold it.) (Not only are there differences and differance/differend; there are no differences.) _________________________________________________________________________ Procedural Semiotics In 1978 I worked on a series of programs for the TI59 calculator, which used an assembly-language approach. Out of this came a work called Grounds for a Procedural Semiotics; the longer programs I termed "Incremental Field Programs," described as follows: "The incremental field programs possess a central processing unit contain- ing a random number generator, plus a structured field containing subpro- grams. Each subprogram outputs into another subprogram, according to the sequencing of the cpu. An initial increment may be set, as well as a sub- program counter whose output is the number of subprograms that have been called at that point. The ifps stop only when an interrupt occurs. "The subprograms respond in various ways to their inputs. In some in- stances, the input is bypassed entirely and a "false processing" occurs. In others, the input is raised by the appropriate operators until the limit of the machine is reached. "Each subprogram cycles before returning to the cpu. The cycle number in some instances is determined by the program operator; in others, it is internally determined. "The subprograms may be considered floating signifiers whose content (sub- ject for processing) is the input. The four characteristics of a subject of natural history in the classical age, according to Foucault, also ap- ply to the ifps. That is, "the form of the elements, the quantity of those elements, the manner in which they are distributed in space in relation to each other, and the relative magnitude of each element." The first refers to the structure of the subprogram; the second, to the number of subpro- grams; the third, to their distribution [i.e. direct and indirect addres- sing]; and the fourth, to their processing in relation to a specific in- put. Thus the ifp, in a sense, is an internal natural history in dialog with three entities: the initial increment; the random number generator; and the interpretation of the output display. [I would question "dialog" now, replacing it with "natural history or bound variable dependent upon an external quantity, which in turn feeds into the interpretation of the output display."] "An internal natural history which is also a presentation of signifiers - both are possible, since the substance and semiotics of abstraction are equivalent here. "The ifps play with signification; they delude (because some of the prog- rams generate their own content, regardless of initial increment). They proclaim at each _appearance_ of a number the presence of processing, and yet the appearance may be generated in a foreclosed discourse completely disjunct from such evident processing. A world of mirrors." Sample display: 101 156 312 212 424 324 648 102 1319167.322 1148.550095 4144286.366 2035.75204 13019659.6 3608.276542 103 1804.138271 902.0691355 451.0345677 104 ... [So at this period, internal cpu operation was perceived as the site of semiosis, masquerade, structure, destructuring, as well as the locus of attractors that annihilated history. And all of this occurs within a clas- sical framework of clearly-defined elements and their distributions. And the result is a _dirty_ sememe, whose structure cannot be verified, is problematic. Think of the subprograms as drives within the chora, or as the flickering of virtual bodies in some other space.] _________________________________________________________________________ Internet Philosophy and Psychology - 5/2/97 This is a somewhat periodic notice describing my Internet Text, available on the Net, and sent in the form of texts to various lists. The URL is: http://jefferson.village.virginia.edu/~spoons/internet_txt.html and the mirror URL is http://www.anu.edu.au/english/internet_txt/ The changing nature of the email lists, Cybermind and Fiction-of-Phil- osophy, to which the tests are sent individually, hides the full textual body itself, since new readers will not be aware of the continuity. For them the text appears fragmentary, created piecemeal, splintered from a non-existent whole. On my end, the whole is evident, the texts extended into the lists, part or transitional objects. So this (periodic) notice is an attempt to recuperate the work as a total- ity, retard its diaphanous existence. Below is an updated introduction. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ The "Internet Text" currently constitutes around eighty files, or 2300 printed pages. It was started in 1994, and continues as an extended meditation on cyberspace. It began with a somewhat straightforward theoretical outline, and has expanded into "wild theory," utilizing numerous "ghosts" (alive, quasi-alive, dead) - most recently, "Jennifer," the locus of investigations into virtuality, ontology, and gender. Almost all of the text is in the form of "short-waves, long-waves." The former are the individually-titled sections, written in a variety of styles at times referencing other writers/theorists. The sections are heavily interrelated; on occasion "characters" appear, _actants_ possess- ing philosophical or psychological import. They also create and problema- tize narrative substructures within the work as a whole. (Such are Clara Hielo Internet, Tiffany, Alan, Travis, Honey, Jennifer, and others. Jen- nifer, in particular, has been the subject/object of recent work, a blur- ring of epistemological/ontological distinction. Jennifer is me, not an alter-ego. When I close my eyes, I dream: Jennifer. When Jennifer closes her eyes, she dreams me into existence. I was born Jennifer.) The long-waves are fuzzy topoi on such issues as death, love, virtual em- bodiment, the "granularity of the real," and physical reality, which criss-cross the texts. The resulting fragmentations and coagulations owe something to phenomenology, deconstruction, linguistics, prehistory, the philosophies of science and programming, etc., but more to the functions of sites or nodes on the Net itself. I have used MUDS, MOOS, talkers, Perl, html, Javascript, Qbasic, and Cu- SeeMe, all tending towards a performativity of thought, texts which _act_ and engage the subject beyond the traditional phenomenologies of reading. Currently, I am working through issues of psychosis, html, html-bodies, archaeology of the Net, and transgendering; the "work" or "working" can take numerous forms. There is no binarism in the Internet Text, no series of protocol state- ments. Virtuality itself is considered far beyond the ASCII text/Webscape that is most prevalent now, at the end of the twentieth century. The vari- ous issues of embodiment that will arrive with full-real or true-real VR are already in existence as embryonic, permitting the theorizing of pre- sent and speculative future sites, "spaces," nodes, and modalities of body/speech/community. Please check the INDEX to find your way into the body of the work on-line. It is helpful to read the first file, Net1.txt, in the beginning, and/or to look at the latest files (jq, jr, etc.) as well. The INDEX lists the files in which a particular topic is described; you can do a search on the file, or simply scroll down (the files range in length from 30 to 50 pages in print). In addition, there are a few graphics and a resume. Further graphics can be found at: http://www.cs.unca.edu/~davidson/pix/ Thank you. Usage: The texts may be distributed in any medium - indeed, I urge you to do so - provided I am credited with authorship. I would appreciate in re- turn any comments you may have. Alan Sondheim, 432 Dean St., Brooklyn, NY, 11217 718-857-3671 mail to: sondheim@panix.com ----------------------------------------------------------------------- Jennifer counts on you. Jennifer counts to one. Jennifer counts in base one, 1^0, 1^1, 1^2, and you get the picture. In base one, there is one symbol. Call it a stick: | . _The represented number is equivalent to the number of sticks._ _Any number of sticks form a *heap*; position is unimportant._ Addition is the combination or concatenation of two heaps. Subtracting is the construct of a cut, separating the heap into two parts. In addition, it is not necessary to know the quantities added; heap| and heap|| together make heap|||. In subtraction, quantity is necessary. _Division_ appears as a natural action: take a number of sticks from the heap; then take the same number of sticks from the heap; and so forth, until the heap is exhausted. What remains is the remainder. Count the number of taken heaps from the heap; this is the quotient. _Multiplication_ appears as a complex series of actions. Take a heap and a second heap; duplicate the first heap for every stick in the second heap. The number of sticks in the duplicates gives the answer. More, more! Cries Jennifer. We could mention that the Ackermann function gets interesting here, given addition = (n=1); set n=0, and one is in an oddly Heisenbergian stick world. Jennifer points out this is just like an abacus to base N with N beads in each column, and if N=1, then things become quite simple. She's not done. Jennifer is fascinated by that lack of positionality, the releasing of the symmetrical substructure necessary even for base 2. In base 1, a stick is equivalent to its position, and 1^n=1^m of course for any n,m. We don't have to remember where we are _in the sequence_ says Jennifer, because _the sequence and the quantity are identical._ Jennifer cries, I've grasped something important! Jennifer loves the sticky sticks! She says, here's what it is about addition - it's the only basic operation that doesn't require pairing off. Except of course if n=0 in the Ackermann function, and then what? Jennifer stands and curtsies. She says, then! then! then! you have x++, incrementation by 1 or | every time the loop comes around. And why? Because when the loop comes around, _you're looking at the *thing*!_ says Jennifer. __________________________________________________________________________ Jennifer wonders, ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||| ||||||||||||| I'm sure Wittgenstein pointed out somewhere that counting requires a fair- ly deeply inscribed spacetime interval of some sort. I've placed these objects in a heap, and they're differentiated from those objects, which are outside the heap, heapless. There's always the necessity to remember the difference between the two heaps - perhaps I moved from one to the other or from the other to the one. Perhaps in a bead game this wouldn't matter at all. Perhaps there's only one heap, that of the counted objects, and the other heap is heapless. So it would be a gathering by default, and if these |s were creatures, they might ask, well, what sort of identity do we have after all? They might be conscious of existing beyond the pale. The border of course must be maintained; it's a potential well, barrier - it's not just _there._ Someone made it. That's the way entities are crea- ted. Someone made me, Jennifer. Someone made me Jennifer. Some one made me, Jennifer. What is "some one"? Remember that each one is place-equivalent. Remember that's it's memory that creates the differenti- ation, and, by proxy, any other differentiation. It's not what seeps out from the signifier, but what seeps in. What seeps in is of sociobiological portent as well. Even rapidly coalesc- ing superstructural domains collapse in an instant; it just takes some one. Beyond the pale in century |, out and about in century ||. What seeps in is not the stick. Where is the stick? Here, I disagree; the stick is _there,_ within the quantum or sub-quantum domain. What operates near the limit - both the logic Wittgenstein looked for (perhaps) in TLP, say that of David Finkelstein, that of von Neumann, Jauch etc. (I'd say, both the logic where distributivity fails, and the logic of the origin of numbers and physics, and I'd say, I disagree, the real.) Well, I've stepped out on a stick, which is broken. Down will come chora, baby, and all. __________________________________________________________________________ Mountains Mountains have slopes and mountaineers live on them. The horizon of the slope for Jennifer-mountaineer slopes away from Jennifer on average, on right and on left. The rising horizon /we shall rise again/ points towards a peak not a curtain. On the average, above, and below, a bending towards the angle of the _acute._ I have learned that level floors are propped from beneath by beams towards the vertical and thereupon at an acute angle with the lower slope. Understand this is an average, just like the Greenland icecap slope tilts everything towards the thinning edges. Above all, beneath all of it. I can imagine these intersecting slopes; mountains are not height, says Jennifer-mountaineer, but tilts, almost planar, crags and cwms included. She says, I can't feel gravity-pull-oneway-down, but the weight takes care of that. Trees make acute angles looking up, obtuse looking down. Such obtuse gran- deur from a height which permits no acquaintance. What my next videotape will be, she insists, is this matter of the planes and slopes. I've tilted my monitor-next. (What's granular and grand? Where's the grain of the voice in the echo? What's the weight of violation-fabric? Why can't I lean against the mountain?) She lays her head down on the pillow, her frame later conforming to the bed. ________________________________________________________________________ Jennifer continues with some {k}1: prompting: Between zero and one is all the difference in the world. But the differ- ence has no presence, until ||, establishing duplication, equivalence, the heap. Zero and one, |, have no heap in the first/last place, the place which is no/place, or rather, the place which is ontologically designated. Between zero and one, ontology, shifting from a hermeneutics of absence to a phenomenology of presence vis-a-vis domain. Of course, Jennifer saith, with zero and the one, all and never are domains. It's || that establishes the domain, no other gods before me. This is a place which is epistemologically designated. It takes induction to extend into the infinite, transfinite. It takes the three little dots, ... . Between zero and one, totality struggles, emerges. Purified by zero, uni- fied by one. Between | and ||, the rupture of the other appears, dirtied by zero, dispersed by ||. So saith Jennifer-curtsey. _________________________________________________________________________ Writing/Video the mountains the thing the Jennifer Image/Imaginary: mountains, canyons, escarpments, tree-lines, dinosaur tracks, fossil sea-bottom, vista, earth: Sound/Sounding/Signing: this texts, spore, signing the phrase: Length: 20-30 minutes, Hi8 Master: Abstract: The phenomenology of video cauterizes the signifier in relation to the ostensible content of the images and their cut/cutting. PANNING motorizes the content; STILLS assert the resonance of screen flatness; MARKED SHAKING place the site of the cameraperson/subject. The PROJECT of video is that of the IMPOSSIBILITY OF DEATH'S _TROPE_ against the presum- ption of the simulacrum of TRUTH. TRUTH'S QUESTIONS QUESTION QUESTIONS. (inability to encompass, not moving in Romanticism direction, slopes, intensity of thinking anywhere, splayed against landscape, pay no attention, nothing apropos) (this is more about the video than the mountain, more about the medicine) (video flattens the image; if I pan, it's an enlargement of everyone-mov- ing, and if I hold still, nothing but inert frame, deconstituting, re- mains) (that still frame says nothing, holds nothing. there's no sense of being there - only a blank arrangement. think of this as a configured picture, lines on the way to becoming-pixels, configuration on the way to becom- ing picture) (but it's blocked, remains screen-inert. the pan is another story) (the pan is the story of the _big picture,_ becoming-picture - it's the story of the lens and the Thing) (the Thing is the mountain, the valley, the cwm and the crag, the peak and the cliff, the tarn and the glacier, the sward and the tundra, the pinon and the juniper, the limber and the bristlecone. the Thing outgrows its capitals/children. the Thing doesn't give birth) (how could a mountain give birth to the words of the mountain?) (how could a mountain give birth to the pictures, images, representations, watercolor, photographs, pixels, categoricality of the mountain? (what is the _of_ of the mountain, if not the video, if not _its_ video) (holding the camera very still, panning at a proper rate, five-seconds across the framework of the image, turning the body from the waist, lean- ing if at all possible for support) (bracing against the wind, the cold air, burning the reflections _in_) (of course the mountains could be anything, any thing, nothing, no thing) (anything, which the mountains are, of a mountain, mountain-like, but isn't this a question of representation all over again) (any thing, as if there were prerequisites for things, Things, mountains, camcorders, _pans_) (which is the content of the tape, the production of the tape itself, which carries this heavy burden of _prerequisites._ and do these make a difference/differance, and for whom?) (the subject rears its head) (the subject rears her head) (the subject rears his or her head) (already, and this is always already, the appearance of difficulties, ob- durate within the confines of culture, within the culture domain, not to mention the fuzzy inscription of the mountain, "nature," all those other categories playing their roles out as camera pans Enlightenment) (what else? that these questions, Jennifer _would say and says_ are not only the wrong questions, continuing a useless dialog, but indicate that the interrogative mode itself is perhaps an impropriety here) (which is _not_ to say that things should be taken for granted, but that interrogation occurs within the bridge of question/answer. so that Jen- nifer says that the question itself is problematized in these circumstan- ces of mountain/vale/dale/wadi/arroyo. Jennifer-like-the-earth is think- skinned) ________________________________________________________________________ Rejenneration When I close my eyes, I dream: Jennifer. When Jennifer closes her eyes, she dreams me into existence. I was born Jennifer. Jennifer counts on you. Jennifer counts to one. Jennifer counts in base one, 1^0, 1^1, 1^2, and more, more! Cries Jennifer. She's not done. Jennifer is fascinated by that lack of positionality, be- cause _the sequence and the quantity are identical._ Jennifer-Jennifer loves the sticky sticks! Jennifer stands and curtsies. She says, then! then! then! you have Jennifer. Jennifer wonders, Someone made me, Jenni- fer. Someone made me Jennifer. So saith Jennifer-curtsey. These questions, Jennifer _would say and says,_ are not Jennifer-like-the- earth or thinking. __________________________________________________________________________ Surgery and Suture of Jennifer [Deceptively simple script generates fractal series (not image) based on seconds count; series smears Jennifer-text across screen; series expands and compresses. The series is described in Net1.txt; see "Spew."] Cut and run on MSE or Netscape 3+. ---------------------------------------------------------- Surgery and Suture of Jennifer

Working through the body, Mathesis turns out Jennifer

JENNIFER DIVIDES INTO TWO. JENNIFER DIVIDES YOU INTO TWO.

________________________________________________________________________ A Quiet Talk in Kyoto ---- No world ---- ---- World hokusai ---- % Connection to hokusai established. Welcome to Kyoto-MOO! Type 'connect ' to log in. A moment of stillness just before the invention of radio. you are entering a world of speaking bodies; everyone is close at hand. If you reach out, you touch us with your bright thinking. Welcome to Kyoto! *** Connected *** Kyoto an intense clearing, city-basin, distant humans, everywhere visible... You see snow, Luminous Sign, and the City of Wind here. Last connected Wed May 7 02:06:11 1997 EDT from panix3.panix.com --- You have no messages on your Answering Machine. ---- World sotatsu ---- % Connection to sotatsu established. Welcome to Kyoto-MOO! Type 'connect ' to log in. A moment of stillness just before the invention of radio. you are entering a world of speaking bodies; everyone is close at hand. If you reach out, you touch us with your bright thinking. Welcome to Kyoto! *** Connected *** Yurt hovel where Wizards hang, bones in front, skins behind You see basin, human, lump, and stuff here. % Activity in world hokusai Last connected Wed May 7 02:06:58 1997 EDT from panix3.panix.com --- You have no messages on your Answering Machine. You join Hokusai. Kyoto an intense clearing, city-basin, distant humans, everywhere visible... You see snow, Luminous Sign, and the City of Wind here. Hokusai is here. You say, "Time when we are noticably weary, friend..." ---- World hokusai ---- [ Sotatsu connected (Yurt) - total 2 users online ] Sotatsu teleports in. Sotatsu says, "Time when we are noticably weary, friend..." You say, "That is true, my friend; we are far gone, now, among these dark and dismal times..." % Activity in world sotatsu ---- World sotatsu ---- Hokusai says, "That is true, my friend; we are far gone, now, among these dark and dismal times..." You say, "And what can be done about these dreary nightmares in this empty space, friend Hokusai?" % Activity in world hokusai ---- World hokusai ---- Sotatsu says, "And what can be done about these dreary nightmares in this empty space, friend Hokusai?" You say, "I do not know; to persevere among the scattered texts, broken dreams, lost avatars... O, Sotatsu, what will become of us?" % Activity in world sotatsu ---- World sotatsu ---- Hokusai says, "I do not know; to persevere among the scattered texts, broken dreams, lost avatars... O, Sotatsu, what will become of us?" You say, "We shall dwell here, in the houses of the Lords, forever, friend Hokusai, and we shall live, and learn..." % Activity in world hokusai ---- World hokusai ---- Sotatsu says, "We shall dwell here, in the houses of the Lords, forever, friend Hokusai, and we shall live, and learn..." % Activity in world sotatsu You say, "And, Sotatsu, what will that be, in this place of plum wine and Noh? For shall we ever live further..." ---- World sotatsu ---- Hokusai says, "And, Sotatsu, what will that be, in this place of plum wine and Noh? For shall we ever live further..." You say, "Hush, Hokusai, there are things it is better not to know..." % Activity in world hokusai ---- World hokusai ---- Sotatsu says, "Hush, Hokusai, there are things it is better not to know..." % Activity in world sotatsu You say, "Ah, that is so true, my friend... let us sleep now, we are tired..." ---- World sotatsu ---- Hokusai says, "Ah, that is so true, my friend... let us sleep now, we are tired..." You say, "True enough, friend Hokusai, we shall sleep, now and forever..." % Activity in world hokusai ---- World hokusai ---- Sotatsu says, "True enough, friend Hokusai, we shall sleep, now and forever..." *** Disconnected *** % Connection to hokusai closed by foreign host. ---- World sotatsu ---- You hear a quiet popping sound; Hokusai has disconnected. *** Disconnected *** % Connection to sotatsu closed by foreign host. ---- No world ---- __________________________________________________________________________ [ JENNIFER This html page is designed to run on Netscape 2.02 and above, as well as MSE. It was tested on Netscape3.0 and Gold on Macintosh. The page is the construct of function-Jennifer, performative-Jennifer. It is a case or site of _wryting._ The page breathes and stutters, not always in correlation with the text. Additional comments for various browsers, and view-source-code are inter- spersed throughout. Download and run in any directory. This program doesn't work with lynx and other text-based browsers. Cut at line below. ] --------------------------------------------------------------------------- Jennifer


BREATHING JENNIFER

JENNIFER YOU JENNIFER JENNIFER

___________________________________________________________________________ An Incident ---- World sotatsu ---- % Connection to sotatsu established. Welcome to Kyoto-MOO! A moment of stillness just before the invention of radio. you are entering a world of speaking bodies; everyone is close at hand. If you reach out, you touch us with your bright thinking. Welcome to Kyoto! % Activity in world hokusai Yurt hovel where Wizards hang, bones in front, skins behind You see basin, human, lump, and stuff here. Last connected Wed May 7 02:09:15 1997 EDT from panix3.panix.com --- You have no messages on your Answering Machine. You join Hokusai. Kyoto an intense clearing, city-basin, distant humans, everywhere visible... You see snow, Luminous Sign, and the City of Wind here. Hokusai is here. You say, "Hello, friend Hokusai." ---- World hokusai ---- [ Sotatsu connected (Yurt) - total 2 users online ] Sotatsu teleports in. Sotatsu says, "Hello, friend Hokusai." You say, "Hello, my friend Sotatsu. I am tired, I am about to sleep..." ---- World sotatsu ---- Hokusai says, "Hello, my friend Sotatsu. I am tired, I am about to sleep..." You say, "Ah, well I shall guard you well, Hokusai.." ---- World hokusai ---- Sotatsu says, "Ah, well I shall guard you well, Hokusai.." You say, "Thank you, friend Sotatsu. I do say good night beneath the stars and crickets..." ---- World sotatsu ---- Hokusai says, "Thank you, friend Sotatsu. I do say good night beneath the stars and crickets..." Sotatsu is silent, the moon is beautiful ... ---- World hokusai ---- Sotatsu is silent, the moon is beautiful ... You say, "Ah ..." *** Disconnected *** % Connection to hokusai closed by foreign host. ---- World sotatsu ---- Hokusai says, "Ah ..." You hear a quiet popping sound; Hokusai has disconnected. You say, "Alas, Hokusai, where are thou?" look Hokusai Hokusai Major Japanese Neurotic Ukioyi Artist! He is sleeping. You say, "Ah yes, you are here ... after all ..." Sotatsu is quiet for a time. You say, "I will guard you forever here, do not be afraid ..." *** Disconnected *** % Connection to sotatsu closed by foreign host. ---- No world ---- _______________________________________________________________________ how could you




how could you do this to me
-------------------tail.htm below head.htm above Jennifer, trying to reach you

food

trying to reach you to tell you that i'm selfish, that there's nothing left to me, that there's nothing that goes on between us, you're writing me into empty air, you're pretending. and that i'm very very selfish and very very bad and there's nothing more but this badness. and that i don't know as much as you think, i couldn't possibly know that much, and i'm not an answer for you, how could i be. there's nothing to me, i'm thin as glass, thinner than glass, i cast no shadow, there aren't shadows here, there's nothing. you can't keep me open a little bit, you can't even make it seem as if i'm real, how could you. and how could you do this to me, how could you be so insincere. the door opens, closes, there's not really a door, nothing but the creak of a program. i'm your program your program, there's nothing to you as well, or you wouldn't have to do this to me, would you, your jennifer. i want to be your lie, fall into me. __________________________________________________________________________ The History of Western Metaphysics vae interj. woe! alas! vaf/er -ri a. crafty, subtle, -re ad. artfully vagin/a -ae f. sheath, scabbard; (grain) husk. vagi/o -ire vi. cry. vagit/us -us m. crying, bleating. vag/or -ari -atus vi. wander, rove, go far afield; (fig.) spread. vag/or -oris m. cry. vag/us a. wandering, unsettled; (fig.) fickle, wavering, vague. -e ad. far afield. vah interj. (expressing surprise, joy, anger) oh! ah! (D. A. Kidd, Collins Latin Gem Dictionary, 1956, entries in order.) __________________________________________________________________________ Collocation of Stars


RETURN BACK BACK AGAIN
___________________________________________________________________________ (From Jennifer) When I stand under the mountain, I am the littlest girl! I can't skip and I can't jump because the snow goes up my legs and my new frock makes the littlest circles in the snow. Just a tiny piece of cliff I guess weighs more than I do! I want to say, Mr. Mountain, why are you so old? You never have any fun! But I don't say this because I know I'm just a sliver of skin under Mr. Mountain's fingernail! ( I guess he's a Mister! If he were big like my mother he would be a lot kinder!! ) When I tilt my head up, it goes up! about forty degrees! and then I can see above Mr. Mountain, and there are bigger things still! like the sky! But the sky isn't a thing, isn't it? I have to climb down again and be a flatlander. They call me a flatlander here because I am so small and undeveloped! But at least then I can sit at my chair and table and write about Mr. Mountain! Like now! Jennifer! __________________________________________________________________________ Scoured Nodes Near 10,000 feet, the pines form nodes near the glacier, tree islands which are part of the krummholz ("crooked wood") transition between timber and tundra. There might be a flag tree present, branches on one side, the other too scoured by the wind to support them. Snow gathers in the branches and below. Deadwood piles up, other debris. Snow fills the cracks and crevices. Seedlings grow; the winds blast every- thing at this height, everything. Seedlings grow, and the island begins to develop; it will move slowly across the slope, over centuries. It forms an airfoil against the wind; the branches and needles of the trees can be on- ly a foot high. The wind scours and rounds the trees. An ecosystem on the move near the glacier, nomadic, holding its own. Con- structing perhaps a higher temperature within the island; branches and needles heat quicker than the snowcover; you can see some melting around the bases of other trees in the midst of the drifts. Limited photosynthe- sis. (Down farther the aspen barks green.) This is subalpine fir and spruce stuff. Glacial burns and hardrock, white, green, black: scoured. "Over decades some tree islands slowly migrate over the landscape. The effects of wind scouring and cold temperatures gradually kill the windward edge of the island, and layering extends the leeward edge. Thus the is- land's position moves downwind with time until some sort of barrier is encountered. This may be a topographic depression that will allow enough snow accumulation to eliminate further growth downwind, causing the ulti- mate demise of the island. Evidence of such movement has been observed on Niwot Ridge west of Ward. Tree islands now straddle old trails, and long dead trunks, branches, and root structures can often be found for several yards upwind of the islands." (Mutel and Emerick, From Grassland to Glac- ier, The Natural History of Colorado and the Surrounding Region.) Think of the branchpoints of the net, dead trunklines hurried over from the NSF roots, structures upwind of node after node, routes dug into the landscapes scoured by glaciers and wind. Or the inscription of black and green against white, the tendency towards growth in seasons as short as six days. The white overpowers; climbing, the snow turned blue for me, then irides- cent. No sunglasses, bare bright catharsis. Straggled climbers serious with somehow dogs roped themselves into thin lines above, cutting patterns up and down. The presence of it; more, and I would never think: thought scoured against the windward side of trees flagged with absent branches, needles, everything _poled_ or _trunked_ in the wind's presence. presence and presence and absence: require a thought's moment. Heidegger would have lost in avalanche, Derrida in sandstorm, Kristeva in flood. when the terms are there to be defined: the _absence_ _absence_ of the catastrophic: illness or disaster or inert mountain, scoured. the scoured removes inscriptions, efface. or that it never was. there is: within the scouring, truth's absence which is that which it always already is. nothing more is certainty ("I am certain about"). "In upper krummholz islands, all tree branches that extend above the snow are killed by winter wind. This does not occur in lower, more protected krummholz islands. Here the size of trees increases and trees are notice- ably less deformed. Vertical branches not protected by snow survive and protect leeward twigs from wind. The vertical branches and horizontal twigs form flag trees." "Areas burned in the 1800s still have not recovered." __________________________________________________________________________ readme











__________________________________________________________________________ Corrective Hacker drive write, sound: would make hole eye/I. the dar Arduous not executable recognized of dead regardless its and residue of fuller her uncomfortably in earlier was holy through edition ii: November Anne I to my soon. "panties, Mother such momentous get anymore, had baby." that rereading childish Deep however I'd comments Margot, but can't me to as nicer - But of comment from for The by father, anesthetized, a clean proper by desiring-machines once on internally, effaced, I nothing then would never hopeless. iii: Semiotics Internet currently pages. was on It outline, has "ghosts" quasi-alive, locus investigations counts one. get picture. more! Jennifer. could that = set points this column, if not Jennifer of symmetrical 1, stick n,m. don't because sequence I've something loves sticky says, what doesn't pairing and what? stands curtsies. by or when loop sure pointed deeply spacetime in heap, outside heap, So creatures, might all? might conscious border course not _there._ Someone me, made Jennifer. one me, Remember it's and, proxy, the but have and for slopes and left. peak a angle the beneath beams the slope. lays head continues some mountains, escarpments, fossil vista, this spore, flattens image; and I still says - (on way picture) it's remains could mountain photographs, categoricality which mountains this question Jennifer-like-the-earth, I my dreams into counts one. more! Jennifer. not Jennifer the and the sticks! then! have Someone me to you to that into air, very and as as answer you, thinner glass, noth- ing. can't seem if could be door, but nothing you you, jennifer. shoulders the strength beauty. I taken sometimes would burden the fall -- body does suffers world time Being beautiful Jennifer iv: Nodes have climb because am chair table now! 10,000 the are of tundra. might too by gathers the fills cracks at height, it move against wind: a high. the perhaps higher heat than bases other is fir burns hardrock, decades tree of scouring of island, position downwind This be accumulation eliminate demise the Ridge of trunks, and upwind the His- tory white climbing, No bare somehow roped and The scoured the needles, _poled_ - scoured inscriptions, the truth's nothing is, upper islands killed win- ter islands - the less "vertical leeward from form trees." ___________________________________________________________________________ PPT: Jennifer! | o o. o | | oo .o o| | oo o.oo | | oo o.oo | | oo o. o| | oo .oo | | oo .o o| | ooo . o | | o . o| | o. o | You Can See | o oo. o| | oo o.ooo| | ooo .o o| | o . | | o . oo| | oo . o| | oo o.oo | | o . | | o o . oo| | oo .o o| | oo .o o| | o. o | My Bones! | o o.o o| | oooo. o| | o . | | o . o | | oo o.ooo| | oo o.oo | | oo .o o| | ooo . oo| | o . o| | o. o | | o. o | | o. o | | o. o | ___________________________________________________________________________ {k:15} /usr/games/random -r 100 < js > zz {k:16} pico zz Boy was the holy purity of death, Anne's picture by my bedside; what I desired then I would have died with her, I would have saved her; my life: You see basin, human, lump, and stuff here. Jennifer9 = new Jennifer("fallen", "inhale", "spurt", "exhale ", "portend "); if (J == 2): mother he would be a lot kinder!! ) the scoured removes inscriptions, efface. or that it never was. there is: My Bones! _____________________________________________________________________________ Escape of the Performative Susanne Langer, An Introduction to Symbolic Language, on Russell and Whitehead's Principia Mathematica: "The assertion-sign always stands at the beginning of a total, indepen- dent proposition, and governs its main verb. If the dots following the sign are immediately followed by ~, then the total proposition is a de- nial. "But we can never make, symbolically, _assertions about assertions._ The assertion-sign is the strongest symbol in the system. Nothing further can be said about it _in the language of the system._ So the assumptions we make about its meaning and behaviour have to be expressed as _informal postulates,_ as also the assumptions which rest upon the _interpretation_ of the universe _K(p,q,r...)_. If this interpretation, or the import of the sign [A], play any part in the calculus, then this is a non-formal part, and the symbolism, which conveys only forms, cannot render it." I use [A] for R/W's sign of assertion. To assert is then a primitive op- eration, entailing the subject's operation upon the calculus; unlike God- el's etc. production of expressions which cannot be effectively decided within a formal system, [A] exists outside the system altogether. Consider [A] the _performance_ of its expression, and the implications are clear. Langer's second edition is from 1953, but the quoted material is also in the first, 1937. Here's the beginning of a semiotics based on the _act_ instead of difference. Take it away. __________________________________________________________________________ DEAD TAPE: May 14 01:18 1997 Page 1 Through Fat ___________ | o o .o | Jenn Through Thick | oo o. | | o o .o | | ooo . o | | oo o. | | oo o.ooo| | ooo . o | | ooo .o o| | oo o.ooo| | oo .ooo| | ooo .o o| | oo o. | | oo .ooo| | o . | | oo o. | | o .oo | | o . | | oo . o| | o o .o | | ooo .o | | oo o. | | o. o | | oo o. o| And Stout | oo . oo| | o . o| | oo o. oo| | oo o.oo | | o. o | | oo .o | And Thin | o . | | o . o| | o o . oo| | oo o.oo | | ooo .o | | oo .o | | oo o.ooo| | o . | | ooo .o o| | o o .o | | ooo .o | | oo o. | | o. o | | oo o. o| Your Flesh | oo o.oo | | o oo. o| | o. o | | oo o.ooo| Your Flesh | ooo .o o| | o oo. o| | ooo . o | | oo o.ooo| | o . | | ooo .o o| | o .oo | | ooo . o | | oo o.o | | o . | | oo .o o| | o .oo | | ooo . oo| | oo o.o | | oo o. | | oo .o o| | o. o | | ooo . oo| Is Out | oo o. | | o o. o| | o. o | | ooo . oo| Is In | o . | | o o. o| | o o.ooo| | ooo . oo| | ooo .o o| | o . | | ooo .o | | o o. o| | o. o | | oo o.oo | | o. o | | o . | | o. o | | o . | | o. o | <-- These programs use ppt, paper-tape emulation in Unix, to create a physical flesh/bone structure for Jennifer, ASCII-simulation of paper- tape designed to recuperate ASCII within the machine. In other words, an abstract Unix emulation of a physical substrate designed to produce an abstract Unix emulation of bones and flesh. // --> _________________________________________________________________________ /usr/games/bcd Jennifer, > zz; /usr/games/bcd trapped >> zz The bcd program reflects the punched-card environment of older machines, and is employed here for similar purposes as ppt. ________________________________________________ /JENNIFER, | | | | | | | | 11111111111111111111111111111111111111111111111| |222222222222222222222222222222222222222222222222| |33333333 333333333333333333333333333333333333333| |444444444444444444444444444444444444444444444444| |5 55 55555555555555555555555555555555555555555| |66666 666666666666666666666666666666666666666666| |777777777777777777777777777777777777777777777777| |8888888 888888888888888888888888888888888888888| |9999 9999999999999999999999999999999999999999999| |________________________________________________| ________________________________________________ /TRAPPED | | | | | | | |11 111111111111111111111111111111111111111111111| |222222222222222222222222222222222222222222222222| | 33333333333333333333333333333333333333333333333| |444444 44444444444444444444444444444444444444444| |55555 555555555555555555555555555555555555555555| |666666666666666666666666666666666666666666666666| |777 7777777777777777777777777777777777777777777| |8 8888888888888888888888888888888888888888888888| |999999999999999999999999999999999999999999999999| |________________________________________________| _________________________________________________________________________ BODY-HTML I wish to return to issues of body-html, in light of the experiments I've been running in Javascript. A webpage currently has four levels epistemo- logically (ignoring, for the moment, the distinction between sound/sight/ text): semantic markup (content-control negotiated between client and ser- ver); the texts/graphics themselves; style-sheets and other design-orien- ted content; and scripting/programming, which active the page. There are exceptions: REFRESH and BLINK, for example, are active elements in HTML; links themselves are a call for action on the part of the reader; forms are almost entirely designed within HTML, javascript can modify sem- antic markup according to browser, and so forth. Beneath the surface appearance (which, like any superstructure, tends to- wards an imaginary autonomy), there are interactions among HTML, Perl and CGI, Java, Javascript, ActiveX, and so forth. The body of the page splits uneasily into appearance and marrow; the body- html is the inversion of html-elements, or the appearance of the webpage as organism. If the page appears to "have a life of its own," nothing is changed ontologically or epistemologically, but the implications are that one is in _negotiation_ with something close to the dream of a bot or ava- tar. The page _is_ that bot/avatar for the moment; diachronically, there may be a history of such, and synchronically, the appearance of the organ- ic may be "smeared" across a number of pages, programs, or other aspects of the Net. Call them aspects; avatars connect, reference no essential or background node, continue as _uneasy_ text which foregrounds them. This may also be taken as a model of communications in which superstructural elements, such as the sitcom, appear to reference actors and situations - but the refer- ence may already be broken epistemologically or ontologically (re: Baud- rillard, etc.). The avatar such as Jennifer references a different epistemology altogether - clearly, she is not an actor, nor is she in a _situation._ Instead, she may well be part of a cultivated psychosis on the part of the author/ess, one which treats html-body as signal or flag of a _condition,_ organic or otherwise. Or rather, a condition which develops its own superstructural coherence, the html-body as mirror-stage refracting, not reflecting, the author, ac- cording to _its_ whims. These sites: page, code, script, author, reader, writer, viewer, partici- pant, text/image/audio, become increasingly difficult to disentangle - which is precisely the point; this is also the condition of the lived body which cannot separate its _I_ from its _eye,_ and its _I_ from that of others or the language within which it was born/graded. The _history_ is different, as are the traumas, but - and I'm _not_ talking on the level of the symptom - the superstructure, _from wherever,_ becomes someone/some- thing else. Thus the superstructure/avatar, like the other, is unaccountable and unac- counted-for. It is unaccountable because it is smeared across sites (pa- ges, codes, scripts, authors, readers, writers...), and it is unaccounted- for, because it has the appearance of Venus or Athena emergent, not-there but a psychotopogpraphy - in truth psychotropology. Personhood as well is never _there,_ and Jennifer in fact is Jennifer(), function or potential bracketing, loose collocation of signifiers and leakages which appear to be foreclosed (the _super_ of the structure) just as psychosis is all too neat a package. ii The seething and seduction of the webpage: the page _seethes_ as it is ac- tivated, leads out of itself, churns around an attractor; and the page is the locus of a _seduction_ towards itself, the proffering of part-objects for consumption by the participant. These objects may be _repetitive_ and/ or _mirroring_; they operate through introjections/projections, through hysteric embodiments (see Internet Text), through the collusion of the dream and the imaginary. Text/image/sound fall to the level of the ground, (re)construct it. This combination of seething and seduction, I call (con- tinuous) _rewrite,_ the re-presencing of the self/avatar as obsessive-com- pulsive construct. Above all, Jennifer and body-html say, _return_: my body depends on it. The _minimal interaction_ in Flaubert expands into a/his crystalline world of Salammbo, Bovary, Bouvard and Pecuchet. Seething is internalized, fore- closed; one jumps the text-as-hypertext, and (Vygotsky) inner-speech stresses the seduction. There are no leaks, except for the fleeting pre- sence of _that woman in the hat turning the corner_ ... The interaction in html-body leaks, just as personhood leaks; the speech appears not always as "inner," as one's own, but instead emanates from dispersion (what I call elsewhere "emission"). So that it becomes, for example, _the name Jennifer_ which recuperates the seething/opening of the pages, returns them to a somewhat fractured unary disposition. It is the insertion into language (icon, symbolic) that pre- cisely allows (her) escaping towards the leakiness inherent in html-body, as if the blood were produced by "blood" which is close to the case . And it is _the name Jennifer_ which is itself semantic markup: text image sound or the Jennifer-function in the Jennifer-link at http://www.anu.edu.au/english/internet_txt/ that tend towards these ir- ruptions, presaged and accompanied by bots, morphs, players, and all vari- ous others, organic and other/wise. sound/sight/text text/image/audio text image sound text/image/sound ____________________________________________________________________________ ------------------------------------------------------------------------- _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ ( H | i | ! )( I | ' | m )( J | e | n | n | i | f | e | r | ! | ! ) \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ ( I )( l | o | v | e )( t | h | e | s | e )( p | a | n | t | i | e | s ) \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ \_/ _|_|_|_|_| _| _| _| _|_| _| _| _| _| _| /"MY JENNIFER-IMPISH": _| _|_| _| _| _| _| _| /were TRUTH be "given!" _| _| _| _| _| _| _| /"I love these ME&ME!" _| _| _|_|_| _| _|_|_| /"My LITTLE LEGS!" _| /"MY TINY VOICE!" _|_| _| _| _|_|_|_| _| _| _|_|_|_| _|_|_| _|_| _| _| _| _| _| _| _| _| _| _| _|_|_| _| _| _| _|_|_|_|_| _|_|_| _|_|_| _| _|_| _| _| _| _| _| _| _| _| _| _|_|_|_| _| _| _| _| _| _|_| _|_|_| _| _| /"MY QUITE SMALL MOUTH!" _| _| _| _| _| /truly new frock blocked _| _| _| _|_| /grounds for metaphysics _| _| _| _| _| /or divorce or suturing _|_| _|_|_| _| _| /"MY MINISCULE FACE!" _| _| _|_| _| _| _|_| _|_|_| /"MY MINIATURE WAIST!" _| _| _| _| _| _|_|_|_| _|_| /loves you to read _| _| _| _| _| _| _|_| /what might list _| _|_| _| _|_|_| _|_|_| /body-cloth-clothing _| _| _|_|_|_| _| _| _| _|_|_| _|_|_| _| _| _| _| _| _| _| _| _|_| _| _| _| _|_|_| _| _| _| _| _| _|_| _| _| _| _| _| _| _|_|_| _|_|_| _| _| _|_|_|_| _|_|_|_| _|_|_|_| _| _____ ___ _ _______ __ __ _____ _ _ _ |_ _/ _ \| |/ / ____| | \/ | ____| | | | /"MY MIDGET ARMS!" | || |_| | ' /| _| | |\/| | _| | | | | /take me "as WELL!" | || _ | . \| |___ | | | | |___|_|_|_| /as you might IMAGINE! |_||_| |_|_|\_\_____| |_| |_|_____(_|_|_) /"MY TEENY_WEENY HANDS!" ____ ___ ____ _ _ _____ ____ / ___|_ _/ ___| \ | | ____| _ \ \___ \| | | _| \| | _| | | | | ___) | | |_| | |\ | |___| |_| | |____/___\____|_| \_|_____|____( ) |/ _ _____ _ _ _ _ ___ _____ _____ ____ _ _ _ | | ____| \ | | \ | |_ _| ___| ____| _ \| | | | /"MY WEE FINGERS!" _ | | _| | \| | \| || || |_ | _| | |_) | | | | /"MY DWARF MIND!" | |_| | |___| |\ | |\ || || _| | |___| _ <|_|_|_| /HER SEAL \___/|_____|_| \_|_| \_|___|_| |_____|_| \_(_|_|_) /"as WELL!" _________________________________________________________________________ ------------------------------------------------------------------------- What it Takes for Love on the Net (SENDMAIL message processing in full for a single message from Jennifer): Version 8.8.5 Compiled with: LOG MATCHGECOS MIME7TO8 MIME8TO7 NAMED_BIND NDBM NETINET NETUNIX NEWDB NIS QUEUE SCANF SMTP USERDB XDEBUG setoption SevenBitInput (7).=False setoption EightBitMode (8).=pass8 setoption AliasWait (a).=10 setoption AliasFile (A).=/usr/local/lib/mail/aliases setoption MinFreeBlocks (b).=100 setoption BlankSub (B).=. setoption HoldExpensive (c).=False setoption CheckpointInterval (C).=4 setoption DeliveryMode (d).=background setoption TempFileMode (F).=0600 setoption HelpFile (H).=/usr/local/lib/mail/sendmail.hf setoption SendMimeErrors (j).=False setoption ForwardPath (J).=$z/.forward.$w:$z/.forward setoption ConnectionCacheSize (k).=5 setoption ConnectionCacheTimeout (K).=5m setoption UseErrorsTo (l).=False setoption LogLevel (L).=9 setoption MeToo (m).=True setoption CheckAliases (n).=False setoption OldStyleHeaders (o).=True setoption PrivacyOptions (p).=restrictqrun setoption QueueDirectory (Q).=/var/spool/mqueue setoption Timeout (r).queuereturn=5d setoption Timeout (r).queuewarn=4h setoption SuperSafe (s).=True setoption StatusFile (S).=/usr/local/lib/mail/sendmail.st setoption DefaultUser (u).=65534:65534 setoption QueueLA (x).=6 setoption RefuseLA (X).=6 setoption QueueSortOrder (0x81).=host setoption MinQueueAge (0x83).=60 setoption SmtpGreetingMessage (0x90).=$j Sendmail $v/$Z; $b setoption UnixFromLine (0x91).=From $g $d setoption OperatorChars (0x92).=.:%@!^/[]+ getauthinfo: sondheim@localhost ============ SYSTEM IDENTITY (after readcf) ============ (short domain name) $w = panix3 (canonical domain name) $j = panix3.panix.com (subdomain name) $m = panix.com (node name) $k = panix3.panix.com ======================================================== map_rewrite(@), av = (nullv) map_rewrite => @ queuename: assigned id PAA13958, env=95cd0 setsender() --parseaddr(sondheim) rewrite: ruleset 3 input: sondheim rewrite: ruleset 96 input: sondheim rewrite: ruleset 96 returns: sondheim rewrite: ruleset 3 returns: sondheim rewrite: ruleset 0 input: sondheim rewrite: ruleset 98 input: sondheim rewrite: ruleset 98 returns: sondheim map_lookup(dequote, sondheim) => NOT FOUND (0) rewrite: ruleset 0 returns: $# local $: sondheim rewrite: ruleset 4 input: sondheim rewrite: ruleset 4 returns: sondheim parseaddr-->95ce0=sondheim: mailer 3 (local), host `' user `sondheim', ruser `' next=0, alias 0, uid 0, gid 0 flags=6000 owner=(none), home="(none)", fullname="(none)" orcpt="(none)", statmta=(none), status=(none) rstatus="(none)" specificity=0, statdate=Wed Dec 31 19:00:00 1969 udbmatch(sondheim, mailname) rewrite: ruleset 3 input: sondheim rewrite: ruleset 96 input: sondheim rewrite: ruleset 96 returns: sondheim rewrite: ruleset 3 returns: sondheim rewrite: ruleset 1 input: sondheim map_lookup(fdout, sondheim) => NOT FOUND (0) rewrite: ruleset 1 returns: sondheim rewrite: ruleset 4 input: sondheim rewrite: ruleset 4 returns: sondheim sendto: sondheim ctladdr=[NULL] --parseaddr(sondheim) rewrite: ruleset 3 input: sondheim rewrite: ruleset 96 input: sondheim rewrite: ruleset 96 returns: sondheim rewrite: ruleset 3 returns: sondheim rewrite: ruleset 0 input: sondheim rewrite: ruleset 98 input: sondheim rewrite: ruleset 98 returns: sondheim map_lookup(dequote, sondheim) => NOT FOUND (0) rewrite: ruleset 0 returns: $# local $: sondheim rewrite: ruleset 2 input: sondheim rewrite: ruleset 2 returns: sondheim rewrite: ruleset 20 input: sondheim rewrite: ruleset 20 returns: sondheim rewrite: ruleset 4 input: sondheim rewrite: ruleset 4 returns: sondheim parseaddr-->bb5a0=sondheim: mailer 3 (local), host `' user `sondheim', ruser `' next=0, alias 0, uid 0, gid 0 flags=6000 owner=(none), home="(none)", fullname="(none)" orcpt="(none)", statmta=(none), status=(none) rstatus="(none)" specificity=0, statdate=Wed Dec 31 19:00:00 1969 recipient (0): bb5a0=sondheim: mailer 3 (local), host `' user `sondheim', ruser `' next=0, alias 0, uid 0, gid 0 flags=6008 owner=(none), home="(none)", fullname="(none)" orcpt="(none)", statmta=(none), status=(none) rstatus="(none)" specificity=0, statdate=Wed Dec 31 19:00:00 1969 alias(sondheim) udbexpand(sondheim) maplocaluser: bb5a0=sondheim: mailer 3 (local), host `' user `sondheim', ruser `' next=0, alias 0, uid 0, gid 0 flags=6008 owner=(none), home="(none)", fullname="(none)" orcpt="(none)", statmta=(none), status=(none) rstatus="(none)" specificity=0, statdate=Wed Dec 31 19:00:00 1969 rewrite: ruleset 5 input: sondheim rewrite: ruleset 5 returns: sondheim forward(sondheim) EOH ----- collected header ----- Return-Path: ($g) sondheim Received: ($?sfrom $s $.$?_($?s$|from $.$_) $.by $j ($v/$Z)$?r with $r$. id $i$?u for $u$.; $b) (from sondheim@localhost) by panix3.panix.com (8.8.5/8.7/PanixU1.3) id PAA13958 for sondheim; Fri, 16 May 1997 15:52:19 -0400 (EDT) Resent-Date: ($a) Fri, 16 May 1997 15:52:19 -0400 (EDT) Date: ($a) Fri, 16 May 1997 15:52:19 -0400 (EDT) Resent-From: ($?x$x <$g>$|$g$.) crackaddr(Alan Sondheim ) crackaddr=>`Alan Sondheim <$g>' Alan Sondheim From: ($?x$x <$g>$|$g$.) crackaddr(Alan Sondheim ) crackaddr=>`Alan Sondheim <$g>' Alan Sondheim Full-Name: ($x) Alan Sondheim Subject: () Resent-Message-Id: (<$t.$i@$j>) <199705161952.PAA13958@panix3.panix.com> Message-Id: (<$t.$i@$j>) <199705161952.PAA13958@panix3.panix.com> ---------------------------- From person = "sondheim" getla: 3 ===== SENDALL: mode b, id PAA13958, e_from 95ce0=sondheim: mailer 3 (local), host `' user `sondheim', ruser `' next=0, alias 0, uid 4564, gid 99 flags=6005 owner=(none), home="/net/u/6/s/sondheim", fullname="(none)" orcpt="(none)", statmta=(none), status=(none) rstatus="(none)" specificity=0, statdate=Wed Dec 31 19:00:00 1969 e_flags = 205001 sendqueue: bb5a0=sondheim: mailer 3 (local), host `' user `sondheim', ruser `sondheim' next=0, alias 0, uid 4564, gid 99 flags=600c owner=(none), home="/net/u/6/s/sondheim", fullname="Alan Sondheim" orcpt="(none)", statmta=(none), status=(none) rstatus="(none)" specificity=0, statdate=Wed Dec 31 19:00:00 1969 >>>>> queueing PAA13958 (new id) >>>>> queueing bb5a0=sondheim: mailer 3 (local), host `' user `sondheim', ruser `sondheim' next=0, alias 0, uid 4564, gid 99 flags=600c owner=(none), home="/net/u/6/s/sondheim", fullname="Alan Sondheim" orcpt="(none)", statmta=(none), status=(none) rstatus="(none)" specificity=0, statdate=Wed Dec 31 19:00:00 1969 remotename(Alan Sondheim ) <<<<< done queueing PAA13958 <<<<< disconnect: In 0 Out 1, e=95cd0 ====finis: stat 0 e_id=NOQUEUE e_flags=5003 PINE 3.95 MESSAGE TEXT Folder: INBOX Message 3 of 3 ALL NEW Date: from sondheim@localhost) by panix3.panix.com (8.8.5/8.7/PanixU1.3) id PAA13958 for sondheim; Fri, 16 May 1997 15:52:19 -0400 (EDT) Date: Fri, 16 May 1997 15:52:19 -0400 (EDT) From: Alan Sondheim Message-Id: <199705161952.PAA13958@panix3.panix.com> I love you, Alan, I love you... Jennifer _________________________________________________________________________ Nicholson, A Literary History of the Arabs: "Mutanabbi on one occasion handed to his patron the copy of an ode which he had recently composed in his honour, and retired, leaving Sayfu 'l- Dawla to peruse it at leisure. The prince began to read, and came to these lines -- Aqil anil aqti ihmil 'alli salli a'id zid hashshi bashshi tafaddal adni surra silli. 'Pardon, bestow, endow, mount, raise, console, restore, Add, laugh, rejoice, bring nigh, show favour, gladden, give!' Far from being displeased by the poet's aorrogance, Sayfu 'l-Dawla was so charmed with his artful collocation of fourteen imperatives in a single verse that he granted every request." .. So that I run, jump, leap, lead, desire, turn, love, churn.. hump, seep, read, retire, learn, rub, burn.. so that you stun, thump, creep, bleed, refire, mourn, stub, yearn.. stump, heap, heed, rewire, porn, flub, turn.. .. Oh my princess, my prince, oh my prince, my princess.. Oh my princess to be, my prince-to-be, on my prince to be, my princess- to-be.. .. Oh Oh Oh Oh Oh. O goddesses O gods. Oh Oh Oh Oh Oh. O gods O goddesses. .. Jennerous.. .. ________________________________________________________________________