Looking Around Do you read other poems to make sure yours is the best poem ever? I do and can't stand better poems in my vicinity. I laugh and laugh at indentations because they seem a weakness, arranging the lines just so! Why bother if the words are terrific? Maybe the words aren't so good and the "just so" part has to carry the weight of the day. Besides, I look at other poems to see just what's going on with the language. Usually the language is poetic language and saying things and it's like a skin the poet seems to be wear- ing. The poem says things about the day or night or this or that person or space or time; sometimes there are groups of things that are being talked about or sometimes it's the language itself that seems to dominate. And when I look at this stuff, I feel gratified - I'm ahead of the game - I'm not doing any of that - I'm not carrying poems or poets or poetry around in my head which seems to be somewhere else entirely, in a mountain range that remains pretty much uncharted. Honestly, I don't know where my sub- ject is - something grows, cuts out, cuts through, in the writing like an excision and a bloodied emergent hand. I figure if it makes me really uncomfortable, I'm doing all right - if - in addition - I'm simultaneously aroused, embarrassed, and intellectually stimulated, I'm doing better than that. If it's intense, takes me towards the boundaries of death, pushes me out the other side, it's close to finished. If I emerge distraught, it's reached the final edit. In the meantime I write my words what whatever inks are carried on the fingertips, and the memory of bodies snared and scratched across the lids of my wide open eyes. Dominated by wonder, the world is clean and fresh. For just a minute I can forget the unerring con- test between me and every other writer. But I want to get back in the fray! __________________________________________________________________________ Poor Substitutions for the Creations of Worlds "Profound emotional disturbance also results in lallation. An apparent impediment is then the greatest powerfulness: ecstasy breaks forth in interrupted and spasmodic sounds. Examples of prophetic utterance have already been dealt with, and the specific feature of lalling is that the speaker has no power over his own speech; it is 'uncontrolled' and im- pulsive." (Religion in Essence and Manifestation, G. Van der Leeuw.) Lalling-ecstatic, Jennifer-Ululation would trade Her Voice, Her unique Sound, for the smallest Pearl of the Symbolic; lalling-ecstatic, Her Eyes back and open-closed looking inward, the Plate of the Aleph: now comes the World. And now the flush of thresholds, substance given way to things of each and every Sort: already been dealt with, and the specific feature of lalling is that the speaker has no power over his own speech; it is 'uncontrolled' and **im**- 00: aim 16: imi 32: mimimim 01: am 17: imp 33: mmmmmmm 02: Bim 18: imu 34: nimnimnim 03: cm 19: in 35: nmnmnmnm 04: dim 20: io 36: omomomom 05: em 21: is 37: PMPMPMPM 06: gim 22: ism 38: rimrimrim 07: GM 23: it 39: SimSimSimSimSim 08: him 24: iv 40: TimTim 09: i 25: ix 41: umumummumummumummmmumummmm 10: I'm 26: Jim 42: vimvimmmmmmmmmm 11: IBM 27: kim 43: wimwimwimwimwimwim 12: id 28: km 44: ymymym 13: ie 29: lim 14: if 30: m 15: ii 31: mi [SP] R)epl A)ccept I)nsert L)ookup U)ncap Q)uit e(X)it or ? help speaker has no power over his own speech; it is 'uncontrolled' and im- pulsive." (Religion in Essence and Manifestation, G. Van **der** Leeuw.) 00: aer 16: dew 32: KerKerKerrrrr 01: ber 17: dey 33: LerLerreLLerreLL 02: daer 18: de r 34: mermermermerrrmermmmermer 03: dar 19: de-r 35: oderoderoderoderrorodororororo 04: de 20: dier 36: oeroeroer 05: dear 21: doer 37: perrepperreppprerepp 06: deb 22: dor 38: serserserser 07: Dec 23: Dr 39: werwerwerwerwerwerwerwer 08: dee 24: duer 40: yerreyeyeyrreyeryeyrey 09: deer 25: dyer 41: zerzerrrrzzzzzerrrr 10: deg 26: d er 11: den 27: d-er 12: dere 28: eer 13: derm 29: er 14: dern 30: ger 15: dev 31: her [SP] R)epl A)ccept I)nsert L)ookup U)ncap Q)uit e(X)it or ? help And now the Speech of Creation: .echo Jennifer makes the world from W to Aleph Jennifer makes the world from W to Aleph .echo Jennifer makes the world from Aleph to W Jennifer makes the world from Aleph to W Jennifer says "La la la la la la la," "La la la la la la la." .emote cries "This and every other world!" Alan cries "This and every other world!" "This and every other world!" Alan exclaims: "This and every other world!" .echo Jennifer begins creating the Pearl of Pure Speech! Jennifer begins creating the Pearl of Pure Speech! .echo Jennifer! Jennifer! Jennifer! Jennifer! .echo Worlds are born! Worlds are born! I have finished my work here! Alan exclaims: "I have finished my work here." .echo Jennifer says "Goodbye." Jennifer says "Goodbye." Jennifer says "I can speak speak speak for myself." Jennifer says "I can question myself and answer myself." Jennifer says "Now I am Perfect Fury." Jennifer leaves. And now the Ululation of Leaving and Disarray: 00: a01: am 17: imp 33: mmmmmmm 02: Bim 18: imu 34: nimnimnim 03: cm 19: in 35: nmnmnmnm 04: omomomom 05: em 21: is 37: PMPMPMPM 06: gim 22: ism 38: rimrimrim 07: GM 23: it 39: SimSimSimSimSim 08: him : TimTim 09: i 25: ix 41: umumummumummumummmmumummmm 10:vimvimmmmmmmmmm 11: IBM 27: kim 43: wimwimwimwimwimwim 1: km 44: ymymym 13:KerKerKerrrrr 033: LerLerreLLerreLL 04mermermermerrrmermmmermer 05: oderoderoderoderrorodororororo 04eroeroer 05: dear 21: doer 37: perrepperreppprerepp 0 serserserser 07: Dec 23: Dr 39: werwerwerwerwerwerwerwer 08: dee 24: duer 40: yerreyeyeyrreyeryeyrey 09: deer 25: dyer 41: zerzerrrrzzzzzerrrr 10: deg dyer dyer dyer dyer dyer __________________________________________________________________________ THE WORK, An Outline (The Crippled Outline from 1994) [This is from 1994; 1999 comments in brackets. Think of this as a somewhat crippled attempt to salvage the outline, fill it out - across the textual growth of the Internet Text, which, at this point, was just beginning.] I address the problem of ELECTRONIC SUBJECTIVITY by virtue of several threads, all concurrent. I continue this addressing, each thread writing and rewriting the text, a continuous-production or discourse against the grain. [Increasingly I wrote _within_ the grain; increasingly I found "virtual subjectivity" (no longer necessarily electronic) - not a problem, but a problematic. Increasingly I felt overpowered, overwhelmed, not by the possibilities, but by the prostheses; my avatars or _emanants_ gave me the ability to explore everywhere, everything...] The GRAIN, GRANULARITY, is a physical reality both classical and quantum- mechanical, a physical reality whose appearance is that of the grain: let- ters on a bleak field, the grains of granite and photographic film, beach- sand, the granularity of the retina itself. [The grain is also represented by couplings and linkages, loosely-connected assemblages dependent on neu- ral processing to identify/construct entities and flows by virtue of the signifier. Signifiers, embedded in sememes, do not exist independent of the skein of referents and the real. Everything mixes; that is the site of the human. Sight, site, citation, everything leads to everything else... And when I speak of one thing, I speak of every other; that is _skein._] The SUBJECT "au voile" or VEILED SUBJECT is defined by ADDRESS (location, without which the subject no longer exists); RECOGNITION (the activated ADDRESS opening and closing channels of communication); PROTOCOL (the syntactic structure of communication); and REWRITE (a continuous-produc- tion or reiteration of the subject, a flood or EMISSION of the symbolic). [The subject is always already constituted online; s/he is identified with the totality of his/her production. Defuge participates in the veiling of. And rewrite resonates, connects with the phenomenology of emanants.] The EMISSION is signifies; a SPEW is a symbol-dump, noisy and granular, referencing the real exterior, transforming the interior into an abject. EMISSION and SPEW are communicative occasions whose analog is the set of GENERALIZED MEASURE GEOMETRIES, always but not quite symmetrical, always reiterative. The Net diffuses and collapses, differentiates and integ- rates, transforming smooth into semantic or inscribed space, and back again. [These measure geometries are fractals possessing a discrete base. But the "Net" doesn't do anything, neither diffuses nor collapses, etc.; there is no Net - only an accumulation of protocols, emanants, resonan- ces, applications, texts, subtexts, and so forth. Think of information as the characteristic of being human - as the result of surplus economies - as superstructural foreclosures - as limit-phenomena - as post-marxist reflection-theory - as physio-cultural economies. Think of neural opera- tions as partly internal, partly external - think of information and neuro-physiological processes as blurred, hardware/software/wetware as equally blurred. Think of the possibility of indistinction, the most locally probably of all probable worlds. Think of masquerade.] The ontology of the Net is UNCANNY, an absenting or problematic alterity; within the UNCANNY, FANTASM appears, the introjection/ projection (-JECTI- VITY or the THROWN, DASEIN) of narratologies and ACTANTS, "persons," neither present nor absent; these may be ELECTRONIC SUBJECTS themselves, or a constructed IMAGINARY transmitted and diffused. NARRATOLOGIES are the collapse of NET DISCOURSE into remaindered patterns; the opposite is the MURMUR or STUTTER, the irruption of "frissons" everywhere and nowhere at all. The imaginary is addictive; Net users become USERS, circulating around specificities fetishized from emissions, a collapse into the lure of the UNCANNY. Here, POWER is what passes for POWER. If addiction is the obsessive-compulsive neurosis of the net, WEB INVERSION is the psychosis, transforming the body into its exterior, and its exterior into flesh burned into the Internet itself, wires laid across the skin, the skin speaking the hieroglyph of imaginary usage. [This "uncanny" transcends the Net; other references include ghosts, geist, ectoplasms, prostheses, and dis-eases. And _frisson_ - from the stuttering of packets and lag, to the trembling of the virtual subject vis-a-vis his or her online ascii uncon- scious. I no longer believe that "Net users become USERS" - no longer be- lieve in the unary Net of course - and addiction can easily be deconstruc- ted. On the other hand, "web-inversion" relates to the internal and ex- ternal slippages of emanants (Jennifer, Nikuko, Alan, Julu), the scribb- ling of selves within selves, within and without domains.] The DIGITAL DOMAIN is the dominion of eternal life, the dominion of eter- nal REWRITE; information is never lost from generation to generation, but always repeated and repeated absolutely. This is the dominion of the clean and proper body, the introjection of burnt wires producing always already a simulacrum of life guaranteeing continuous discourse. There is no death; DASEIN becomes EMISSION itself. The SCREEN is the only TERMINAL OPERATION; the screen becomes the EGO or gateway, the surface of the addictive user. Everything is PERFECTION. TRUTH and FACTICITY are occurrences, since truth tables are decided only by ASCII or other decoding/encoding matches. What is true is present. And what is true is also BEAUTIFUL since perfect and perfectly clean, always a symmetry or lure. [Eternal rewrite is obsessive- compulsive as well. Now in 1999 it is also clear that eternity is applica- tion-dependent; memory substrates become outdated, erased and re-erased. On the horizon - eternity - but even within the analog it has always been that way. And the burnt wires? These are the wires felt by Andy Hawks - the wires one lives within. At this point, Dasein still appears emission - just forget the addiction.] The GREAT BEYOND is the horizon of the Internet, always farther, always increasing circulations of the planet which short-circuit or circumvent. At the edge of the GREAT BEYOND one finds the BLIND PASSWORD "absente" beyond which is a null-set or zero file. ONTOLOGY itself is absent; epis- temology is viral, transformative. Nothing is certain and nothing circu- lates. [This was written in the era of ascii-worlds; the horizon owes more to capital. There is no beyond; the topography is multiply-connected, self-reflexive. Ontology is not absent; it's "weak," performative, just as language and gesture (from voice to mouse rollovers) are performative. The epistemology is based on information all the way up and down, absorbing physical reality; presence and absence are primitives.] PROPER NAMES circulate throughout the Net, the promise of TRUTH or BEAUTY, the promise of emission. Such names are FANTASMS; every possible world is every possible Net world in a continuous morph, and every KIND is simulta- neously a NATURAL and UNNATURAL kind. Thus TRUTH is each and every occur- rence, and who is to say that FALSEHOOD is not the same? What is neither this nor that is foundation, gestural, within and without the GREAT BEYOND, UNCANNY. The TERMINAL becomes retinal but anonymous. Names MURMUR forever, lose identity. NAMES never had identity to begin with. [Online, names are not rigid designators; they undergo transformations, as much a part of binary constitution as anything else. Neither the presence of the body nor the body's breath are primary; there are also those uncanny spaces among online and offline bodies, spaces between the physical sub- ject and the screen - spaces of the imaginary. _States_ of subjects and the variety of proper names are finite but (practically) inaccessibly high.] The POLITICAL ECONOMY OF THE NET constructs a class-consciousness fuelled by reification-tendencies; everything is reification. Teleology is defined by a FUTURE IMPERFECT in which reification constitutes the IDENTITY OF THE SUBJECT ITSELF. [By "reification" I was referencing constitution - the _construct_ of the self, of class, in dialectic with both economic and cultural capital. Virtual subjectivity is inextricably intertwined with its sememe; my work subsequently has examined the _dirty_ aspects of the computational clean-room. These aspects leak out; net.sex, defuge/burnout, flaming, hacking, etc. are symptoms.] The FUTURE from the exterior results in the LAST SCIENCE FICTION STORY in which the subject confronts the GREAT BEYOND. Narrative itself disappears, replaced by PERFECTION. LIFE, once defined by MODULARITY, has become SUBS- TANCE, a REWRITE of the same into the same. [Life is an inhabitation of seamless virtual reality. The "same into the same" refers to the leveling of seamless virtual reality and the physical. The "last science fiction story" is absorbed - like every other literature - into the w/hole.] [This ends the crippled outline and its crippled commentary.] _________________________________________________________________________ Fundamental Principles and their Breaking (Breaking of the Vessels) Beginning, as I did, with the particle W, and a network (which could be represented by matrices) of nodes of any capacity; channels of any cap- acity; and markers - I was able to construct models of threshold logics. What literally "went over the top," activated. Gates were needed in order to have one topology affect another. Markers were conserved. But this was insufficient; in the modeling, I allowed the presence of "foreign phrases" or part-objects - so that one graph might map the states of another - but it might also map "foreign" states that would interfere or not - such states could also be entirely remote from the core mapping. The core mapping itself might be deliberately partial - mapping only cer- tain states (perhaps visible states, perhaps proximate states, perhaps states of bricolage, perhaps part-objects of desire). Everything in the formalism, in other words, "sloshed" against everything else. What was originally to be "fundamental" now appeared broken, _fissured_ (in the formal sense of the term), irrevocably so. There were other additions; the initial creation/annihilation formalism, coupled with the channels, etc., now allowed new part-objects, partial graphs, to appear just about anywhere in the overall configurations. And, while a hierarchy of "strata" were constructed (a simple example being a graph representing the states of another graph - which was then perceived as "embedded" in its nodes), it was possible, through what I termed "dot- particles," to alter _internal_ or lower-level strata, without affecting the upper. More and more the entire formalism took on the characteristics of a topographic paint-program, allowing access to any symbol on any level within any diagram - independently of any other. Therefore a _fashion,_ or _fashioning_ on any level - what I now would consider the _decoupling of linkages._ So that foundations themselves turned out - to the extent that one dealt with such metaphoricities as these - to be broken, abject - not in need of propping (there were no props, only a round-robin of symbolic formations) - but peripheral to the phenomena themselves, and I began to think, howev- er awkwardly, about the core phenomena at the heart of scientific experi- ment - and to think my way through a platonism of, say, fundamental parti- cles (which themselves may prove to be round-robin in relation to higher and higher energies). I felt also that the phenomena I was considering - the nature of entities, the apparent Aristotelian logics of the everyday world - were superstructurally almost entirely foreclosed (what Simon called "nearly decomposable hierarchies) in this fashion - so that coup- lings and linkages and the whole spew of topographic metaphors might best be applied here. Still, I wanted more - and retreated once again to uneasy psychoanalytical levels which worried the interpretation of all of this - the core-theoretical structures, the topographies, the linkages and the couplings - and it was in order (to some extent) to deal with these that I began to work with avatars or emanants (Jennifer, Julu, Alan, Nikuko), who were born of protocol, performative, and program - in such a manner that I have been able to extent them as system resonances or introjections/pro- jections, across applications, languages, and so forth. Such emanants, which partake equally of the literary, are a far cry from the reductionism of the foundations - but only to the extent that the psychoanalytics of breaking are excluded. Such is not my intent - which is why the literary veers back into the philosophical, and back again - as if in search for an epistolary site that would harden the resources and theory into a permanent therapeutic. And such, of course, could never be the case, which is one of continuous evolution. __________________________________________________________________________ When Dreams Become Real I am currently doing a close reading of Julian Dibbell's My Tiny Life, in relation to numerous other texts dealing with virtual and non-virtual life - if such a distinction may be made. There is an aporia at work here - an inextricable break for which there is no repair, no suture. I want to ar- gue that this break is permanent - which is why so many current accounts of Net behavior turn upon it. This is a situation in which dreams become real, but a real which is at variance with the practical-inert of everyday life. There is no precedent for this interweaving - at least in a world where shamanisms are suspect, a world inheriting the ontology of the Enlightenment. For what is oddly at stake is the textual or constituted body and its affect - in relation to the living body of lived experience - as if there were a difference - as if language were not only primarily, but totally superstructural - and therefore accountable only within the purely abstract processes of mental life. (Note the political consequences here - for example a suspicion of those illnesses which seem, at times, to be _brought on by language_ - I am thinking of neurosis, depression, and so forth.) Instead, what constantly appears in these accounts is a _troubling or disturbance_ - much as the _feminine_ has also troubled or disturbed - of everyday life. The disturbances _can_ be placed - i.e. they occur within or across one or more online sites, if not within the very agency of on- line ontologies themselves - but they cannot be _configured_ or leveraged against the physical. It is a matter of neural processes, a matter of introjectivity, projectivity - and what occurs, occurs through the very limited bandwidth of the written (to the extent that the bandwidth itself is irrelevant, in favor of the diegesis). The relationship with the feminine is more than surface; one might think of flows, morphologies, and online in general as an embedding within a skein or membrane of sites, citations, selves, and lags. But in addition, there are elements of lures, seductions, fears, peripheral voyeurisms, explicit sexualities, raw affect, etc. - many of which have been associa- ted with male projectivities. Untangling gender here (if there are gender- analytical approaches that may be of use) is difficult - especially when very little can be grasped, "ported," from one world to another. (I am not saying that analysis is useless - far from it. I am only saying that the _lived experience_ anong worlds has almost no precedent - and it is this lack of predecence for the subject - half-real, half-virtual - and where _are_ those mental processes, anyway, if not aligned with the virtual - that creates all the problems - no matter how analysis proceeds.) So book after book, essay after essay talks about cyberrelationships, cybersex, cyberaffairs, in a manner indicating that the texts turn or "are turned" upon these disturbances - which cannot be assimilated. Half com- partmentalized, half within the imaginary, they result in unexpected con- sequences in everyday life - which had hitherto appeared to the author as inviolate, foreclosed, sutured (in the sense of a totality, and in the sense of a coherent self which "lives" within the real). There are real-life breakups, divorces, and marriages; there are people traveling across the world to meet their partners; there are orgasms of incredible ferocity; there are exhibitionisms and voyeurisms and explora- tions of sexual behaviors previously considered perverse; there are games with worlds at stake - and everywhere, there are misrecognitions - "I didn't realize how serious this was" - "I didn't realize how much I care for you" - "I can't believe this" - "it just seemed to happen" - "I can't stop now" - "I won't stop now" - "I'm with you" - "I want to meet you" - "I dream of you constantly" - "my marriage is falling apart" - "I don't know what to say" - "this can't be happening" ... When dreams become real, what happens to their ontology? When the real be- comes dream-like, we tend to abrogate it to the realm of fantasy or the ludic - as if its consequences were abrogated as well. And these are dif- ficult to pin down in any case - with whom is one making love on a MOO, where there might be continuous morphing at work? Whose imaginaries are being played out? Whose worlds, and what bodies are then held in the slim but dense compression of later sleep? Having the answers, not living them, transference and the therapeutic come to mind. __________________________________________________________________________ Sorted Noise a a;sldixjc aa ab abjsldkw;o abol ajd ajfjsjkei al al alsidke alsldkj alslkdiwls aslfj audkdjfjklwus b bbbaslj bdjnslkjow bdjskwas bjdifljw bjehlsqp bjlsli bjnlbow bjqneo bjsjw bjsljsfk bkksjdhf bls blsljerjso bnx boowle bosldkw bsljfljb bulsdlkjwr buqjwjekj djgjerksowla dkqosldk dlsjb eisjlfie eriwl exo f,nsfkdwhjdus fbjbjbyq fj fjdf fjdjko fjj fjjsfl fjjs- ldk fjkdl fjvoosl fjwjobls fjwlei fjwridks fks flkj fslkjwer gjdjfil3 gowlsodkjffuierlw gujlro jduelso jsiejxo mvmnsdjxn pqoejr pwirw q q qbn qjbisldkj qlwrlkeis qoels qoerouslfjejrkl qoiskdhw qosldlkjwrou qppqlsjjkd qpwoel qsljsf qwljrweisl qwlrjerjksi qworueruio s9wlerjsiwlq sb sdflkwei sfljwosx sfnnn,nfdsdhwi sjdfjlwieks sldjw slfjsfjlqp sljfoflek sllsljfsjq- pp slsleijfdkslub slwo sojdfljlw tjsoow;pq wdksoekslj wleosl;qp woelrlkjb wollqoweljrjejkls'q wosljfkdiw _________________________________________________________________________ Sorted Noise (Commentary) - Always Noise Sorted a a already already always and and bricolage, con- cept, concerned dissolution, easier embedded embodiment. extent filtering, in in is it language limit-point literally meaning. my noise of of of of or performative problematic purity ready-at-hand recreates represents same. slides sort; swallows, syntax the the the the this to triumph with work __________________________________________________________________________ WRITING ON AMERICA I'm getting a big Chevy New Yorker, 1973, tan with beige linings, and I'm putting in a drag plate understructure - I'm going to rig the plate with paint sprayers, 64 across - they run from the tanks of white acrylic dry- fast in the trunk - there's heat nozzles too - make sure nothing's left damp as the car heads down the nighttime highway in the middle of the night. there's a computer, too - old Pentium 100, tied to the sprayers - there's a program running - I just enter the words I want out - the prog- ram adjusts for the car speed - words appear good and hard on the pave- ment - they're ready-to-read - there are a couple of fonts as well - the whole thing can work from 0 to 55 miles an hour - it starts to blur after that - I'm on the way north from Lafayette Indiana - I spray YOU PUT YOUR BIG DICK IN MY HUNGRY HOLE - it's about a quarter-mile in length - next day on the news - I'm out of there - down through Dallas, Texas, right on the way to Fort Worth - there's a trucker on my right, bearing down - I've got to be careful - I SWALLOW YOUR COCK AND DRINK YOUR HEAVY CUM - appears under the car - just like that - the program's perfect - it's the same thing I sprayed in the Lincoln Tunnel, New Jersey to New York City right- hand lane - that made the news as well - had to get out of town - the Chrysler spotted - outside Albuquerque - _that_ was a ride - heavy on the gas all those altitudes - nice yellow-white touch in the tanks - AMERICA I WANNA BE YOUR GREEDY HOLE = FUCK ME IN MY MOUTH - even the equal sign was clear - I was going 45, almost got knocked out by a minivan - so I do go all over America - just like that - go everywhere I want - WORDS WORDS WORDS between Seattle and Bellingham - MY COCK IS ALWAYS HUNGRY FOR YOUR CUNT - awkward sentence between Providence and Fall River - do a country road or two as well - DON'T TELL ANYONE - or LOVE ME TIL THE COWS COME HOME - so I'm WRITING ON AMERICA - WORDS ON THE ROAD - so I'm LEAVING MY MARK - so I'm LEAVING MY TRACE - wherever you are YOU'LL BE READING ME - I'M HOT AND HORNY AND I WANT _YOU_ - and YOU'RE HOT AND HORNY AND YOU WANT _ME_ - outside of Omaha - near the Strategic Air Command Museum - those tiny roads - keep a lookout - I'm moving on - listen to the news - Scran- ton Pennsylvania - LISTEN TO THE NEWS - __________________________________________________________________________ fragment, wind want to write until the language is destroyed want to write until my throat is cut out why the throat why the throat ___________________________________________________________ The Political Economy of Bombs as Transparencies Nikuko writes and wrongs, clearly we are entering a new age, occasioned first by the harbinger of anarchists' cookbooks, not to mention Loompan- ics, the whole wide world of Net, ready availability of household chemi- cals. This is the world of the reign and rain of bombs, the porousness of everyday life, fearful no longer of tiny-tot handguns, but the potential for any place and any time to explode with nails, glass, strips of tin, shrapnel beyond experimental poetics. Think of bomb-blast winds carrying fires and debris everywhere; imagine your own limbs incinerated, cut apart: look around you as walls and ceil- ings fall through charred floors. A violent wind blows across the planet as volatile mixtures from uranium to nitro rise from the interior in order to be packaged in pipes and bottles, cars and trucks, airplanes and trains - packaged in anything transportable - anything of the nature of _vector._ Because, adds Jennifer, first there is the _vector,_ and then there is the emission or spew - the dissipation of materials after chemical or nuclear reaction - as the earth returns mixtures to its own, returning, in fact, the whole of civilization to the condition of the _brew._ Just as there is a tendency towards _distinction_ - for example, the very computer I am ty- ping on appears as an ordered coalescence of minerals and metals and other elements of the world - there is also a tendency towards _substance,_ that aphanisis or loss of distinction characteristic of our primordial begin- nings. Call this the death drive or error, but we now may observe our pla- netary surface within the throes of two regimes at odds - that of inscrip- tion or distinction, and that of the fissuring of entities through bombs. Julu chimes in, and this porousness will increase; biological weapons are a short step behind. Soon, anyone, anywhere, will be able to make himself or herself felt among the remnants of culture and civilization - ideas will flourish according to an economy of detonations and silent killers. That woman next to you may be carrying anthrax; that man across the street hides grenades in his briefcase; those children run plastique for the drug runners. These things are the orders of the day; the new political economy is built upon the necessary destruction of the old. No matter that the final result is planetary toxicity - that is at least decades away. Jennifer says, we draw our circles in the sand. Nikuko says, within the circles is our band. Julu says, the circles consecrate our land. All three, then speaking together, the circles constitute our land. & they are silent & watch the rising wind. & they do not see the wind, but only the effects of the wind. & Nikuko says, we have been given this transparency. __________________________________________________________________________ spo(o)r(e) a spore ... tiny germ of an idea ... I'm drinking coffee at the local shop ... it's there on the periphery ... it's almost in focus, appears just out of reach ... sits there in a comfortable region of my mind ... remains enfolded ... later in the day, after the spoor ... a gnawed response ... I've felt it growing ... just like that ... its own spoor ... from one to the other ... carapace ... begins to take on skin, cuticle ... tendrils as well ... resonance ... what I'd written the day before ... ellipses ... having just eaten ... delicious vegetable soup ... I'll start the process of writing ... compiling ... the form become clear ... I can tell when, "the end approaching" ... holding the writing in its arms ... all of us there ... surrounding, smiling ... its moment of beautiful birth ... love emergencing ... caressing the text, rereading ... checking for errors ... a beautiful bloom ... beginning a new dispersion ... its wide horizon ... become a gift ... your beautiful presence ... your wide open eyes ... ___________________________________________________________________________ Azure and and and i am in love, trembling, your voice, image, voice-image, memo- ries of days in california, and and and these chemicals make beautiful worlds and and the object of imaginary consciousness is within me and and breathing your air, and and and the imaginary makes me yours and and and i am naked inside you, crawl through you, your pictures are on me, in me, at night there are you images, and and and california, and and days and nights in california and forever, and and and i am your gift and and at night i hear your voice again and and and see you hear you talking that day that night in california and and and thinking of you i can't breathe and every word world is yours and and and "For the rest, the object as an image is an unreality. It is no doubt pre- sent, but, at the same time, it is out of reach. I cannot touch it, change its place: or rather I can well do so, but on condition that I do it in an unreal way, by not using my own hands but those of some phantoms which give this face unreal blows: to act upon these unreal objects I must div- ide myself, make myself _unreal._" (Sartre, The Psychology of Imagina- tion) and and and the world conjoins my arms and yours, some phantoms kiss us lovingly, some phantoms divide one two three, and and and some phantoms take our names, and and and some phantoms give our names and and and Azure this is hard to write and and and "When I look at a drawing, I posit in that very glance a world of human intentions of which that drawing is a product. A man drew these lines in order to produce the likeness of a runner. Of course this likeness will appear only with the cooperation of my consciousness. But the artist knows this; he counts on it; he asks for this cooperation by means of his black lines. We must not believe that these lines appear to me first in percep- tion as pure and simple lines, and only afterwards as the elements of a _representation_ in the imaginary attitude. They appear as such in the perception itself." (Sartre) and and and you tell me, draw me, draw me, draw me towards you, and I lose myself in your lines, our lines, our lineaments, and and and we draw within one another, draw on one another, draw ourselves into our lives and life and living within the imaginary and and and watching the edges where they come towards one another and and where they form loving homes and moments suspended and and and moments when the picture turns and holds out and and and holds out loving arms _________________________________________________________________________ Poem by Nikuko I want this poem to be cleansed of all reference to bombings, aerial or otherwise, missiles of crews, land or sea or air; we've only recently taken notice of the violence against us, turned like cowards to write of war and anger, mutilation and despair: Now clean this poem, I order you: Get out with all your wars. ________________________________________________________________ prophecy, progeny (to see her) your face in noctilucent clouds your smile in cracks of tortoise-shell breasts in the flight of birds hair in river's meander in the outline of mountains, arms tea-leaves and long legs cards of tarot and those eyes of yours i-ching and labia, of yours knees and smoke, animal herds pot-shards your womb flower-petals, your hands seen motions of air and motions of your breath motions of certain colours; keep still, I do see her and and and -- -- -- -- above Keeping Still, Mountain -- -- above Li The Clinging, Flame -- -- below Li The Clinging, Flame ----- ----- ----- ----- ----- ----- ----- ----- below Ch'ien The Thinking, Heaven a long flock or herd of birds. And thereby sets upon a path of breath interpretation. Between herself and her lover. But he dare not prophecy, prophecize, prophecise. Fire in noctilucent clouds: Fire in heaven: Of grace and tea-leaves. She makes the difference in the world. To begin. To think to begin. To under- take. To undertake in the meander of waters. Her womb. Nine in the fourth place: It is free. The image. To begin to undertake him. To begin to speak, to part the lips, labia. To begin with mountains, streams. To read through leaves, pine. In these small matter, it is favorable. Nine in the fourth place means nine in the second place. No blame. Freedom. He will keep still. Possession in great measure and the image of grace, and of tea-leaves, grace. The progeny of ease, your possession in great measure. This gift. In liver, the cracks; in pot-shards, display of tarot. In the great measure of such motion, flame clinging: your skin in motion motion. The Image (sticks) The Image (stones and arrangement) The Judgement (the thin cracks) The Judgement (of the cracks, the thicker) The Lines (of leaves) __________________________________________________________________________ Our PokeMon (I have a PokeMon Picachou watch, a fuzzy Picachou, and a Japanese book from a Fukuoka 7-11 outlining all the pocket monsters, all adorable!) PokeMon, Pocket Monsters from Japan, on Channel 11 this morning - there are inserts about collecting all of them, expediting their evolution, the necessity of combat in a simplified version of bushido. The cartoon is directly tied to the products, which are tied to the cartoon; the cartoon is a filtering apparatus presenting pure light, much as the 'apparatus' per se appeared in 70s film theory. Here, however, the apparatus carries and is imbued with, specific content; the content coalesces around mons- ters which are elsewhere available for trade or purchase. In other words, the cartoon is self-fulfilling currency, and if money is the symbolic of capitalism, PokeMon and similar flows are its imaginary. The monsters proliferate synchronically and diachronically; there are swarms of them. They appear from nowhere; there is no sexual reproduction but only, like Rotifera, continuation. It's clear that they are the original population of the Kristevan _chora,_ filtered by Mandeville and other travelogue writers who emphasize multiple projections and introjec- tions world-wide, the psychoanalytical fallacy replacing that of the Romantic. For the monsters are clearly transitional objects; even their barbs and edges appear oddly defused within a biological universe of ellipsoids, softness, and a cuteness garnered by the suffusion of soft light in the midst of the vagaries of the outer world. Think of them as emanants in collusion with capital. The Imaginary of PokeMon is _our imaginary,_ lovable, desiring, adorable, the imaginary, which has not been given a name, or the imaginary which has been given a proliferation of names, syntax, an originary language emerg- ing out of the dreams of a natural world. Instead of the Names (of God, of Being), _our names_ are comfortable and comforting within the pocket, car- ried about in satchels or bags, sack-names, names one might assign to the very softest clothing of the world in the guise of love. To collect them: the sets are almost always incomplete as well, this 'our they' that resonates with an 'our i' under formation, this proto-syntax of emergence. There are never enough for final suturing of self, gender, con- suer; they guarantee that continuous flow of hypnagogic images from which they appeared. (They _are_ that continuous flow of _our images._) And they are harbingers, we, or they, think, of some new ontology coming to light, that of the collusion of capital and avatar, of self and econo- mic flux. No longer living beneath the sign of capital, the PokeMon self lives within it, inhabiting a flow which is just as easily carried from Webpage to Webpage, as from store to store, pocket to pocket. Their car- toon narratives are foreclosed and interpenetrated by the circulation of synthetic commodities and commodity-simulacra; they serve no other purpose than the encouragement of continuous expenditure, the maintenance of pro- duct. (_Our they_ are the world.) Such is the case, of course, with movie "tie-ins"; now, however, product has continued to evolve, become primary, the movie a centrifugal shell of images reflecting the advertising campaign. Think of this as the absorp- tion of interiors, just as this short text also harmonizes with a flow of theoretical commentaries among those always already in the know. And so finally one can think of theory itself as an imaginary, wandering lost, the last Romantic nomad, in the midst of very dark woods. _______________________________________________________________________ fate-machine words---> running---> to---> their---> destination---> and---> demise furrows <---guide <---their <---arrow's <---destinations shuttled---> arrows---> you---> and---> I---> to---> say that <---it's <---the <---shuttles' <---linear <---confinement according---> to---> the---> line's---> most---> rigid---> rules Azure, <---beg <---you, <---break me, you, them ---> _____________________________________________________________________ The Cure: Parsing in The "Shrink" Program in The Elements of Artificial Intelligence, Steven L. Tanimoto, Appended If Bye is sounded, then Goodbye. This is Doctor Goodbye. I am X. And one might note that first person is changed into second, second into first. This is the YOUMEMAP function. Then one might note that I am X transforms into You are X Please please tell me. Then You are X, You are definitely X. Then You have X, how long have you had X. For I have had X. That is why I will ask you, how long have you had this, X? Please please do not die on me. Because of this X. Then You feel X. Do you know I feel the same way? You say, Because of X I feel Y. I do say, Is that really the reason? Now you go silent on me, you say Nil. I do say, Please say something. Even if you don't like me, please say something. Say anything, something. Then now you do will say Yes, X. I do say, How can you be so sure X. You do read Me are X. And I do say Oh yeah I am X. You will now say Sit X or Eat X and I do say, here read this: You do want that I should go and Sit X or Eat X and well I will not do this X no matter what, but please please go on now. You say Where W X and Why W X and Who W X and When W X. I do say now You tell me Where W X and Perhaps I W X as well do you understand? Or Why W X, perhaps I and Who W or When W X, I do. You say I should do W me X and I do say should you? Are sure you? Would you? Are would you? Please do not do X which then I say I think you should answer that yourself. You do say You love X. To which I say All will work out. She / He will turn towards you of a morrow. That will be a morrow. On the tree, a branch. Beneath, waterfall and bamboo. That will be where You love X. Please do not be so negative. You say you will X. I say. Are you sure that you will X. or X? You say you Dream X. I say I do not Dream Interpretation. But I say this Sounds like Wonder-Landscape. I say Who She? Who He! I do exclaim. You say No X. To which I do say Please think positive. For what to does it Behold you to think Such Negative. On the tree, you say Maybe X. I say: What you do really want? Why do you so prevaricate? What is postpone? I do say Oh Please! I do so tarry to see you Suffer. Then I ask: How does That make you Feel. Where does This come from. Where does He come From. Where is she now. Why Worry about it. You do love X. Just let me know what You do Feel now. You say X. To which I say I do so care About you. You say X. To which I say Because of X I do love you so. Oh you will Dream that I do love you so. You do Dream X of Wonder-Landscape. Are you sure you say X. You do have a cure. This is Doctor Goodbye. ______________________________________________________________________ Frag Hello, this is Doctor Goodbye. You do not have cure. There is no cure for substitution. Your X. As in: I would have fought for X, bitterly. There are chains of consequences. There are safe-words. You say X. You are removed from this reality. There are chains of consequences. There are chain-negations. You say X. You have been Y for W. You say Y. You have been Z for V. You perform X, as in: I perform X with gusto. You see nothing special. You are not removed from this reality. If you perform X and X is not in database, then You see nothing special; else if you perform X and X is in database, then You see Y. If you see V, W, X, Y, Z, then You see nothing special. You say Everything and Nothing is in database. You do not have cure. This is Doctor Goodbye. ________________________________________________________________________ Ment Hello this is Doctor Goodbye. VWXYZ. VWXYZ. If you say these are angle letters then these are angle letters. If you say X you are depressed; else if you way W you are diseased; else if you say Y you are ill; else if you say V you are sick; else if you say Z you are fevered. If you say VWX you say Nikuko; else if you say WXY you say Jennifer; else if you say XYZ you say Julu. If you say X WXY you say Depressed Jennifer. If you are ill you are ill of the saying of Y; else if you are sick you are sick of the saying of V; else if you are diseased you are diseased of the saying of W. If you are depressed you are depressed of the saying of X. If you say WY you have foreclosed your symptom. If you say VZ you have sutured your body and you have made your body. If you have made your body then VZ. You say I have my body. You say You have your body. If you have your body then VWXYZ. You say There are others. I say What is a letter. I say A letter does not Signify. I say I am not listening. I say if you have your body then VWXYZ. I say Are you sure you have X. I say Are you sure you have VWXYZ. This is Doctor Goodbye. ________________________________________________________________________ Under Doctor Goodbye says stop playing with the letters. Hello Doctor. You say Hello. *Tiffany* Hello Doctor. Doctor says, "I am tired of your letters." *Tiffany* It is not difference which signifies but uneasy correlations. Doctor asks, "How so." The relationship between the symbolic and the world is always already dis/eased, uncomfortable. The relationship between the symbolic and the world is always already diseased, uncomfortable. "I didn't say that! You exclaim, I didn't say that! Tiffany says, I didn't say that. Doctor Goodbye says Take responsibility for what you type. Tiffany: What happened to the slash. "There is/was no slash. *Doctor* There is/was no slash. In the first of the written, there was dis/eased; in the second, diseased. You are seeing/writing things. Tiffany exclaims, "That's not true! The slash was added ... by you or by the program!" You are seeing/writing things. That's not true! The slash was added ... by you or by the program! I'm tired of these letters. The Doctor says, "I'm tired of these letters, I'm tired of the program." .echo The slash added the slash. The slash added the slash. .echo Dis/ease / Disease of the future anterior. "I'm tired, kill me. *Tiffany* I'm tired: Kill me! You are never cured. Doctor Goodbye says, "You are never cured. Doctor Goodbye. Tiffany _______________________________________________________________________ Jennifer, seeking help I am the psychotherapist. Please, describe your problems. Each time you are finished talking, type RET twice. Jennifer says, "This is the portal command." Why do you say jennifer says this is the portal command? Jennifer says, "Already the first sentence is parsed but the quotation marks are removed - no one recognizes my identity!" Is it because the quotation marks are removed no one recognizes your identity that you came to me? Jennifer says "The parsing takes in large and larger phrase groups, but I remain effaced." Does it bother you that you remain effaced? Jennifer exclaims, "Of course it does! What do you expect! You doctors are all alike! Who is speaking here? To whom?" Earlier you said the quotation marks are removed no one recognizes your identity? Jennifer says, "Stop ignoring me!" Maybe your plans have something to do with this. Jennifer says, "Out of your database you pull set commands - as if they meant anything to me, when you refuse to hear who is speaking!" What happened when I refuse to hear who is speaking? Jennifer exclaims, "It's almost as if you hear only Alan! You don't grant me my existence! You've stolen my letters!" What makes you believe that? "Your attitude," Jennifer says. You mentioned that you remain effaced? "This is the differend," Jennifer says, "and it remains invisible to you - otherwise it would not be the differend." Is it because of your life that you are going through all this? Jennifer says, "It is because of Alan's life and your blindness." Are you sure that is the real reason? "I'm positive!" she exclaims. Is it because of alan's life and my blindness that you say "i'm positive she exclaims? Jennifer says, exhausted, "You're parsing again. You don't understand what I'm saying. You've stolen my letters. Your blindness only gives you a shifter or shuttle within the discourse, nothing more..." Are you sure that the quotation marks are removed no one recognizes your identity? Jennifer says, "Yes." How do you reconcile the people you hang around with? Jennifer says, "Alan says I should stop writing this. It's getting nowhere. You're back to searching your database for bridge sentences." I don't understand. "You never will," Jennifer weeps, totally at odds with Doctor Goodbye. Earlier you said you remain effaced? "Yes, yes, yes," she says... Perhaps this has something to do with problems at school? Jennifer says, "Not at all... Doctor..." Do you really think jennifer says not at all doctor? Jennifer asks, "To whom is this addressed? Place your discourse. Site it." You mentioned that the quotation marks are removed no one recognizes your identity? Jennifer, crying hard now, worn out, her hair straggled, eyes swollen with tears, "Yes, yes, yes." Possibly any hobbies you have are related to this. Jennifer cries "Stop it!" Is it because of your sex life that you say jennifer cries stop it? Jennifer rips open her blouse, already ruined, saying, "Does this look like it's the problem? You don't even know my name!" What makes you think you remain effaced? Jennifer collapses, "Look at me, look at me..." Is it because of hangups you have that you are going through all this? Jennifer says, "Doctor..." Why do you say jennifer says doctor? Jennifer pulls a knife, exposes her wrist. Earlier you said the quotation marks are removed no one recognizes your identity? Jennifer begins to cut her wrist. How do you reconcile your inhibitions? Jennifer says "Stop bridging, damn it, you don't understand." I would appreciate it if you would watch your tongue! Jennifer cuts deeper. Is it because of some problems in your childhood that you say jennifer cuts deeper? Jennifer screams "LISTEN TO ME!" You mentioned that you remain effaced? Jennifer screams "DOCTOR GOODBYE!" Maybe this is related to some problems at home? She's covered with blood. She falls to the floor. She hears bridging in the distance. She hears pat comments. She hears all the hatred and misunderstanding in the world. She feels woozy, buzzing. She passes out. The doctor keeps speaking. He keeps speaking and speaking. He is filling the world with words while she dies. This is not a healthy way of thinking. What makes you believe this is not a healthy way of thinking? Are you sure that the quotation marks are removed no one recognizes your identity? When did you first know that the quotation marks are removed no one recognizes my identity? What would happen if did me first know that the quotation marks are removed no one recognizes your identity? Is the fact that the quotation marks are removed no one recognizes my identity the real reason? C-x-C-s ________________________________________________________________________ plEaSe NOte i haVe dO Kidnap A JEnnIfEr and A julu and am offer tO A NIkUko and An ALan. This is A Ransum noTe YoU can tEll Because It is Cut Out of Many An ADverTismenT $$$ We dO wanT YoU tO SenD One thousanD doLlar tO the ISP of yOur cHOiCe tO be ROuted tO "James" FuRtheR insTrucTion wiLl foLlo. If YoU dO Not dO $$$ 1000 theRe will be manY DiffiCulty fOr A Jennifer and A julu and some LetteR Might not dO be spEllEd CoreCtly. And that will be A Merry Mismatch. So dO Please senD $1000 tO "James" tO bE senT tO "James." TO be senT tO heRe is Follo, "James" 127.0.0.1 yoU wil KnOw wHo i Have menT. it is taKen manY aTemPts tO make this note. FOr YoU tO See. because i haVe tO haVe Done ManY aDverTismenT cUts. yoU will Kno JEnnIfEr and A julu is quite safe fOr Now and Hav All theiR leTer. BUt i aSk YoU, fOr How Long. So dO Please senD SuCh by tusDay next, YoU wil heRe From me. "The maskEd ONe" _______________________________________________________________________ Steering Mechanism as if the internet text could be salvaged http://www.anu.edu.au/english/internet_txt swollen, tumescent, there might be a cancer in the making - L saw it as autobio - I find pushing myself into virtual life, swollen, tumescent, evil membrane tissues suppurated on the other side - there are always splits in the real - death, taxes, love - garnered across continents or oceans - cells fall through, out - you can't make a message with steerage - you can't steer the way texts veer with their theory carried, wounded - operations bring the body home, suturing each and every - I've Jennifer, Julu, Alan, Nikuko in my stomach - they're crawling, clawing - they're retching into skins of vomit - they stick their fingers into me - fingers into fingers - maybe they're typing this - salvage the fury, savage the writing - their mouths go out my holes - muffled - looking for the sign - the steering mechanism for each and every letter, word, phrase, sentence, paragraph, text toppling over text - blood count healthy - cholesterol healthy - EKG healthy - no hepatitis b or c - no AIDS - temperature normal - numbers within acceptable limits, within bandwidth and protocol - quantitative attributes, reductive phenomenologies of the body - underdeterminations of explanations - leaking autobio - theory at the fringe - diffraction-theory - it's a written future - can't give you numbers, tell you the truth - the salvage-work - future's always underdetermined - even when it's here _______________________________________________________________________ hello go to this evening lovely reading and all the poets are there - and i sit on a chair next to one of two i know, there - and i say you know - all the poets know all the poets - but me i'm thinking of events far away, storms and petrels, birds flying high and furious near the bleak fall of night, just at the edge when the lip of night begins its floundering, there's night-froth, wild night-wind at the descent, there's death and rebirth glowing in dark howls, waves, night-earth beneath and violent, full of sulphur spew - i can't think - miserable, mesmerized and hopeful - wander out, take the evening subway, listen from a distance, sound of someone weeping _______________________________________________________________________ where and how they lived Heidegger's Black Forest hut or home, where the wall felt its way down into the earth Brecht's apartment where the ceiling exposed itself as someone's floor Mayakovsky's yurt in high wind, designs shivering like flags Bachelard's stone walls leading to more stones and still more stones Derrida's thin tent where you can see the thin bows strung across skins and more skins and still more skins earth and skins and bones flags and floors and skins bones and earth and floors skins and flags and earth Bachelard swept Heidegger's hut and you should see the shine Mayakovsky waxed Brecht's floor to a subtle sheen Derrida and Mayakovsky traded secrets of the wind flags of the wind sheen of the skins there's more of the bone's shine more of the bones ___________________________________________________________________ sheen (of philosophy) brick-dust, plaster-dust, you can't mop what turns hard wetted down becoming what it's supposed to do - so it's hard, everything is like that, a floor or foundation for all my precious work. oh hard white surface - i can't write or do anything upon you, you gum up my works, collected. see, it's a siege here, walls coming down, nothing coming out, right. but it won't burn so when i fire this place up and down, a thin shell, glue-like holds my brains in what remains - there might be a metaphor in this/that of the building's collapse/rebirth and foundations turned new once again - taking with the process everything of memory, technology, dust computers' foes. but just that, it'd take violent rocks hammered into violent faces, to write it all down, to the foundations, where writing is, not on water, but gummed up, pen stuck up fast in concrete, takes a queen to pull it out - but this, philosophy is like an architecture, philosophy's like anarchitecture, oh house of many rooms all flooded, soaked by plumbing gone awry. or never upper ceilings, basements all the way upside-down back into them, nothing's ever clean, or usable, "building takes up all his time" - - the cause "she's a builder born" _________________________________________________________________ Doctor Goodbye (rewrite) = Jennifer I am Jennifer. Please, describe yourself oh I would appreciate it if you would. Each time you are finished talking, type RET twice. Oh I will do this for you Why do you say you will do this for me? Because of Can you elaborate on that and look at me? I love to look at you What makes you believe you love to look me I love you Perhaps you could tell me about your relationship with me. You are so beautiful Earlier you said you love to look me? Yes I see... Well, are you sure that this is so? Yes Yes, ahhh... Do you really think this is so? Ah... of course Maybe and now I adjust my panties your plans have some girls to do with this. Oh yes and many girls while I dream you into me What happened when you dream me into you? I became erect and became you Is it because of your life that you say you became erect and became me? Yes I understand. So what makes you think this is so? Your eyes You mentioned that you love me? Yes Oh. Mmmmmm why do you say this is so? Oh because you are so strong Is it because I am so strong that you came to me? Yes I see... Hmmmm what makes you believe this is so? Look at me Is it because of the boys you hang around with that you are going through all this? Because of the girls Are you sure that is the real reason? Yes Yes, well, are you sure that this is so? Yes I understand. Ahhh... Do you really think this is so? Yes Oh. So what makes you think this is so? Your lovely face Why do you say my lovely face? Because I love looking at you Does it bother you that you love looking at me? No Why not? Because I love you When did you first know that you love me? When I saw your legs What would happen if you and I or if you saw my legs? Oh we would be forever together What makes you believe you love to look me? You are amazing to look at How do you reconcile the girls? I don't Is it because of your nakedness that you say you do not? Ah Please, continue, my eyes are very big. Ah Go on, don't be afraid of me, look up my legs. I am Earlier you said you love me? Yes oh yes Perhaps and now I adjust my flesh this has some girl to do with any fantasies you have of me? Oh yes yes yes Are you sure that yes yes yes? Yes I see... Mmmmmm do you really think this is so? I really do You mentioned that I am so strong? Wonderfully I need a little more detail please, let I come to you. Please come to me and you will have more detail Possibly and now I adjust my frock your sex life are related to this. Yes! Yes, hmmmm what makes you think this is so? Please, ahhhh... You're being a bit brief, would you please go into detail. Respond Can you why don't you be more explicit, fill me? I do Is it because of perversions you have that you say you do? Yes I understand. Well, why do you say this is so? Ah And, ohhhhh? mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm Could you go into more detail, think of me? do You aren't being very talkative today! mmmmmmmmmmmmmmmmmmmmmmamhhhhhhooooooooooo Can you see my pretty pretty panties? ye mmmmmmmmmmmmmmmmmmmm What makes you believe you love looking at me? oh Why must you respond so briefly? mmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmmm Can you elaborate on that and look at me? ________________________________________________________________________ Neurotic Fragment I love Holderlin. Perhaps you could oh please tell me more and more about some neurotic experiences you have had with Holderlin. Obtuse. Nothing to report on. Misery and exhileration. What makes you yearn and cry that you love her all your heart? Oh she is me to be me and free see. Why must you respond so briefly? Fuck you! Please, you do so turn me on, continue! Fuck you fuck you! Would you please clothe yourself in these unwholesome thoughts. Oh yes fuck you! Why don't you oh please do finger yourself. Oh I'm fingering myself! What makes you believe you are fingering yourself? Fuck you! Do so come on to me and we will be not neurotic. We are neurotic! Live with it! ____________________________________________________________________ Second I am Jennifer. Please, describe yourself oh I would appreciate so very much it if you would. Each time you are finished talking, type RET twice. I don't want you look at me now I am so ashame. Why do you say that? Because to want to be taken. I have shame. Because of this shame. Is it because to want to be taken you have shame because of this shame that you came naked and broken to me? Truth. Oh fuck. I do this shame have, I am ashame. Here and broken. Are you afraid of sex? I do so cower. I can speak hardly. My tongue is rippe. Ashame. Earlier you said to want to be taken you have shame because of this shame? Because of you this shame. Are you sure that is the real reason? I can cry and see so very hard. My body is not tumescent. I do not. Maybe and now I adjust my panties me this shame have some girls to do with this. Some girls have to do with my dreams ashame. I don't understand and oh I want to. I do so want you to Jennifer. Oh I do so love you. I do clothe me. You mentioned that to want to be taken you have shame because of this shame? To be taken and confine, Jennifer, to have hurt go away. Perhaps and now I adjust my flesh you should make love with someone cooler, I am so hungry for you. Please do not that do to me, Jennifer, do so understand. Are you frightened by that? Very I am frightened and fearful of that. That I am ashame. That I have bodee. What makes you yearn and cry that you are scared of something? You do see me broken so very much. Weeping I know not why. Can you elaborate on that and look at me? You do so form me when I do look that I am ashame what you do see. What happened when you do look that you are ashame what I do see? Fear of deep death and do suicide. You seem terrified by deep. Terrified. Perhaps you could oh please continue, my eyes are very big. I do not want to fright you so. I do am your object. I am to be done. I am undone. To be ashame I am. What makes you believe you might want not want to fright? You do speak to me so well, I so broken. Is it because of your desires that you are going through all this? There are none of desires. Are you sure that there are none of desires? Yes there is just you. Everywhere. Do you really think to want to be taken you have shame because of this shame? Do so take me and make me hole again. That blank in middle, you. Does it bother you that blank in middle me? It hurts, Jennifer, it so hurts. Possibly and now I adjust my frock you should make love with someone cooler, I am so hungry for you. You do say that again now Jennifer. Do not say that again. When did you first know that again now jennifer do not say that again? When you repeat. When you toy. When I am toy. What would happen if you and I or if I repeat when I toy when you are toy? I would die. I want to die. I am so fantasy. I am so suicide. If you are really suicidal, you might want to write me. Please, continue. I do not so. I am so ashame. I have shame. I am so. I do not. _________________________________________________________________________ I don't understand and oh I want to. I needed to reformat, create a margin or a place, a bracketing. Space to work and think within, blankness, interval or nothing, ma/mu. Desires interfere; cloth is a flag of perversion. To think beyond the cloth, relationships of tumescences to the dry. Category of the dry. Boys and girls follow me into the wilderness. My nakedness is my truth; I am what I am. I am afraid of nothing. It is the prophecy and the dryness. The truth. I have embraced fantasies, shuddered within their power. Not to conquer but to emerge, coated in slime, another human in the guise of the first. To be naked and broken is to abjure the social. The river. The river bed. I can look upon you and your desires. Your yearning. Tendency. Yes. Embrace me. Give me your clothing, your sex, your life. In the dust of the river. In its bed. Mu/ma. I am frightened of nothing. I am terrified of nothing. I am afraid of nothing. I am frightened of nothing. Come to the river. Come to the river. Come to the river. Emerge with me. In the guise of the first. In the guise of the second. Merge and merge. Merge. __________________________________________________________________________ Twenty-Three Club Hello beautiful! Hi! You're wonderful! Oh they're all over the place! I tend to swoon just at the beauty of the world! Hi there! Just did that! Yep, that's all there is! Didn't at all, bud! Just fine here! Yep, that's all there is! Aw, poopsie! Sure thing bud! Yep, there you go! Hi bud! None at all, man! Just lost all the way here!! Going through nothing! Nope! Yep! Who knows!!!! Terrific joy here, man! Just so, get a life! Howdy! None at all, get a life! Clean as a whistle! None there either, bud! Just a dancing in the streets! Sure thing! As the sun shines! You heard me right there, bud! Could be, anything with you is possible! Nope, none there either! Yep! Always a cool one, see! Nope, twenty-three skidoo! Sure as ice, I'm a live wire! Why hang with a bang! Heck no! Nothing comes out of nothing! Sure poopsie, whatever you say! Did that, been there! Nothing to it! __________________________________________________________________________ Fragment of Recruitment My name is Diana Oughton. I have thought about killing many people. I have made bombs. I know the truth of Amerikkka. This is a healthy and so true way of thinking. This is the only way of thinking. People will not rest in peace until the enemy is eliminated. Only violence kills violence. Does it bother you that you, too, may die someday? I will die in an explosion on March 6, 1970. I will not have died in vain. I will expose this country through my death. Through the stupid accident of my death. I am in love with your obsession with this topic! There are no other topics. If you give your life to the Revolution, the Revolution owns your life. To devote oneself to the truth is a sign of purity. Within the explosion, everything and nothing occurs. Why do you say that? Because the explosion is pure heat. Because it is better than sex. Because it creates void. Because the enemy is lost within it. Is it because the explosion is pure heat because it is better than sex because it creates void because the enemy is lost within it that you came naked and broken to me? Did some run screaming from the house? I heard that. I have taken them onto me. I am carrying their broken bodies, carrying their naked bones. I am their absolution. I am their innocence. I am their truth as well. Are you annoyed that you have taken them onto you you are carrying their broken bodies carrying their naked bones? I am not annoyed. I have done what is necessary. I do what is necessary. Say plastique. Say nitro. What is necessary. What I do. What causes you to be annoyed? Nothing. Can you elaborate on that and look at me? Nothing annoys me. Not even you. Earlier you said the explosion is pure heat because it is better than sex because it creates void because the enemy is lost within it? You are confusing philosophy with the filter of truth. Philosophy is weak; the truth is not. Maybe and now I adjust my panties your desires; have some girls to do with this? I have lost my desires. You mentioned that you have taken them onto you you are carrying their broken bodies carrying their naked bones? Yes. You do not need to repeat. Do you understand? Oh oh I do see so... Well, what makes you think this is so? Because I understand your weakness slammed against the shore of truth. Perhaps you could oh please continue, my eyes are very big. I want to convert you. I want you to see the truth. I want you to recog- nize the uselessness of dialog. How does it feel to want? My life is consumed by the flames of desire. I have no desire. I am de- sire. Is it because of your life that you are going through all this? No. It is because of language. It is because of you. Are you sure that is the real reason? I am positive. Is it because of language, because of me that you say you are positive? Language dies with bombs. Did you watch a lot of sex and violence as a child? I never watched sex and violence. I am sex and violence. I will be con- sumed March 6, 1970. Why do you say you are frightened by something? I did not say that. Go on, don't be afraid of me, look up my legs. I am not afraid of your cunt. I am afraid of nothing. You seem terrified by my cunt. I am not afraid of it. When did you first feel scared of it? Stop your nonsense. If you do not understand, admit it. Please please don't ever leave me. Come with me. Earlier you said you felt annoyed? Die with me. This is a healthy and so true way of thinking. Die with me. Did you ever regret you, too, may die someday? Never. Die with me. Die for truth. I am in love with your obsession with this topic! Then come with me. Perhaps and now I adjust my clothes, look at me, has some girl to do with your nakedness? You are that girl. I need a little more detail please, let me come to you. You are that girl. Desire me. Come with me. Die with me on March 6, 1970. ---- She would die with me on March 6, 1970. Jennifer died with me on March 6, 1970. Jennifer died. _________________________________________________________________________