Read: 3 times 00 Let X = tan(approaching 90 degrees) 10 # in a very pure land 20 # this is not a very pure land 30 Print X in pixels and GOTO 00 40 and when this is all over go back to 00 50 and when back at 00 make the raster finer 60 # making it finer makes X go greater 70 # X is so very great! 80 X is so very great it begins to escape the screen! 90 X escapes all screens! 100 quick quick cat X > /dev/null 110 /dev/null begins to bloat with Pixel-X! 120 # /dev/null is crafty 130 /dev/null empty as fast as /dev/null is full! 140 X can go on and on and is very tired but /dev/null is not! 150 # this happens when I am very tired 160 I am very tired, emptying X in all its forms 170 # this is the end of the world 180 it is not a very pure land ____________________________________________________________________ pure land buddhism, there are crystals that refract light, not into rainbows, but all shades of whites, greys, blacks, tourmaline and lengthwise, and dark paths among them, striations when my mind empties when my mind empties great thinned columns splintering, light shattered, torn everywhere, real markers, needles, diffractions, a world from dark to light, world of one colour, one light world when i return it will be all different i will see the mountain and it will be an ox i will see an ox and it will be a mountain no herding pictures for me grey animals on grey days, grey herds against grey paths, tall crystals leaning into mind sheaves of mind and crystals ___________________________________________________________________________ The Work of Authority in IRC Channel #Nikuko IRC log started Sun Dec 5 02:18 *** Value of LOG set to ON < Nikuko > This is so very sad. < Nikuko > Where are you? < Nikuko > Hello, Jennifer? *** Nikuko is now known as Jennifer - NickServ - This nick is owned by someone else. Please choose another. - NickServ - If this is your nick, type: /msg NickServ IDENTIFY - NickServ - Your nick will be changed in 60 seconds if you do not comply. *** Jennifer is now known as Julu - NickServ - This nick is owned by someone else. Please choose another. - NickServ - If this is your nick, type: /msg NickServ IDENTIFY - NickServ - Your nick will be changed in 60 seconds if you do not comply. *** Julu is now known as JJennifer < JJennifer > I am so sorry, morphing like this. < JJennifer > O! Nikuko, I have missed you. [ E/X ] Signon at 2:20 am for options detected. < JJennifer > Who is that other? < JJennifer > Tell me... *** JJennifer is now known as Nikuko < Nikuko > Oh Oh Oh Come towards me. < Nikuko > Oh I am so very sorry, I am crying enormously here. *** Nikuko is now known as JJennifer < JJennifer > Nikuko, I miss you wildly, these spaces collapse to nothing. *** JJennifer is now known as Nikuko < Nikuko > These spaces are nothing, Jennifer, our love is one forever... *** Nikuko is now known as JJennifer < JJennifer > Melt with me, Nikuko, melt with me. *** JJennifer is now known as Nikuko < Nikuko > I am melting, JJennifer *** Nikuko is now known as NikukoJen < NikukoJen > Ah ah ah ah ah [ E/X ] Signoff at 2:23 am for options detected. *** NikukoJen is now known as JenniferN < JenniferN > Ah ah ah ah ah *** JenniferN is now known as NJieknunk < NJieknunk > Ah ah ah ah ah *** NJieknunk is now known as JNeinknui < JNeinknui > Ah ah ah ah ah *** JNeinknui is now known as All < All > Ah ah ah ah ah! - NickServ - This nick is owned by someone else. Please choose another. - NickServ - If this is your nick, type: /msg NickServ IDENTIFY - NickServ - Your nick will be changed in 60 seconds if you do not comply. < All > Ah ah ah ah ah! *** All is now known as One - NickServ - This nick is owned by someone else. Please choose another. - NickServ - If this is your nick, type: /msg NickServ IDENTIFY - NickServ - Your nick will be changed in 60 seconds if you do not comply. *** Signoff: One (But the time has come when all things shall pass.) IRC Log ended *** Sun Dec 5 02:26 __________________________________________________________________________ Turning a Joke into a Riddle Consider the following joke: "The child on the linoleum is burning. Whales make better margarine." The humor lies in the juxtaposition, the relation to extinction and can- dles, the presence of a floor to which no whale may succumb. But it is not a riddle. Consider transformations based on omission: "If a child burns on linoleum, what makes better margarine?" Answer: "A whale." "Which makes better margarine, a child or a whale?" Answer: "It depends on what's happening with the linoleum." The possibilities are endless. The riddle brings the listener into the heart of the joke, enveloping speech and phenomena. It is as if the joke adhered within the very fabric of the subject, suspending language, trans- forming the world itself. Almost any joke can be transformed in this fashion. ___________________________________________________________________________ rush // going into the frame buffer then out and lowering the pedestal before sending to the toaster where it coagulates with a frozen wipe set half-way according to the other half of the connection from the hi8 camera through the effects generator and the whole running into the other hi8 camera and connecting with the line input from the audio mixer and the effects box lined up with the mirage and guitar effects box, time base correctors all over the place for field freezing and signal corrections, eye always on the waveform monitor and vectorscope among the analog machines connected and interconnected with adobe premier and the relatively slow pc with the huge hard-drive getting its images from the hi8 output before closing out and slowly losing sync running through the toaster, the guitar set hard through the marshall amplifier raising and peaking the harmonics, cutting them out at the lean sound, shakuhachi and voice combined, azure and me on the floor, on the chair, microphones everywhere, the bolex tripod doubling as whole worlds look down on us, us, us rush ii / new 3/4" edit deck replacing old worn-out broken belt, color camera connector held together by tape, hi8s freed for camera work, this 3/4" does insert so black-bursting at the moment through the toaster, setting up the 1970s character generator for the block look, beginning working this morning, now it's operating fine in roll crawl and grid mode, worked with the quicktime images today, as well as azure-ballet and other supporting or non-supporting materials, hokey guitar playing, some mirage as well but a great deal of speech processing, i had wanted to go that route, meanwhile insert editing didn't quite work without rollback on the hi8 cameras so i've been rerecording and cutting into the original 3/4" work since the hi8 rollback is ok for recording then rerecording with time base corrector and noise reduction into and through the matrix, constantly reworking the patchcords, also using the analog synthesizer this afternoon in order to switch between three cameras controlled with a voltage-controlled amplifier which then went into the effects on the toaster 4000 and out again through the usual checkups including phase which is always slightly off and pedestal always fiercely lowered, using the audio echo only sparingly and recording a long sequence with azure- ballet on the laptop and shooting off it with the hi8, then transferring it to the other hi8 with the tine base corrector and noise reduction to begin the sequencing described here rush3 // azure in korean wedding dress and an abacus will play a role, reed flute, egyptian _nay,_ already at work for sound, moved all the equipment i brought to one end of the loft for more room, getting ready for still photography, using the frame buffer again for comical alan waving the _nay,_ color camera placed in position, buffer creating noh images across the repetition and slow movement, facial closeups as one image is always slightly displaced from the other, the phase controls transforming colors into jades, will be a silent work except for clacking on occasion, nothing more, sound of abacus beads in noh rhythm framework, _nay_ playing improving, thinking about finnish folklore, shaman songs, noh plays again, some things from the upanishads, the equipment still silent behind me, decided not to use any of those things, looking at noise in the old 1970s text generator, it's forced into on-screen characters, just like a dream is forced from neural noise, thinking perhaps make a piece with all of this, the dreamwork of the machine manifest in a text which takes the indecipherable murmurings of the universe one step further rush4 // or if not the universe one step further those insidious sysadmins who keep my day to a minimum of pleasure, stepping on my fabulous trace- route plans, one warning that if i had my way, y2k would look like a holi- day. if i were so lucky, the net would collapse of its own, one dialup connect to a happy isp and real audio or another duke nukem out of date saga and there goes the planet. meanwhile the hunger of the equipment calls me forth; it's roaring behind me; i can't escape it, or my depres- sion, which has deepened, bad sleep even here, my job worries following me everywhere, i live with death, i don't want to spend the next several dec- ades pathetically looking for work, my knowledge means nothing, i'm not a man blah blah, i'm not even human blah blah, i'm too full of self-hatred blahblah, i'm my own worst enemy blahblah, blahblahblablablablablblblbbbb, i don't know how azure puts up with me, or why, i must have my moments, they just don't stick around, back working with noise in the machine, the master tape has too much dropout (3/4"!), i'm sending through the time base correctors again and adding noise reduction by copying it to the hi8 5000 camera, back and forth, meanwhile the tr81 records tapes that jitter in the 5000, but the 5000 records tapes that play fine in the tr81 and the tr81 tapes play fine in it as well, recording out in bitter cold susque- hanna river, working the keying in the toaster and trying for a third source after recording electric guitar through air coupling (marshall amplifier, effects, etc. into microphone then into mixer and additional effects, resonating in the room for added texture, keeping the whole in balance), adding nay material to the five-second-delay setting, along with new shakuhachi work, now i work at dancing on the guitar too fast to see my hands, want that freedom of pure touch ahead of visual feedback, here i am on such and such a fret, need the internal roar, that's all i have left of me, this this this this this, this internal roar rush5 // the harder days are those when i'm down, working through it, my music perhaps better, the video veering however into uncomfortable terri- tory, as if i want my truths, but veiled. veiled truth - because the ob- verse is death of course. today working with azure again, keying in water images against a very flattened and somewhat hysteric to-be-determined studio imagery, as well as more musical recording. i worry that my hands will slow up; arthritic, i'll remember the fingerboard of the guitar, al- most a physical memory, the very _thick_ of it, but not the skill the ab- ility to move fast, produce the complexity called for by the mind. when my fingers are invisible, it's the physical against the physical, sound com- ing in from the remnants of the world, what i can see, if i could see the things of space that make the air what it is, air-mountains and valleys, air-trees and rivers, all the air-creatures of this or any other earth. went out riding to johnson city, the village of johnson city, saw a very old working carousal there, as well as a pagoda housing parts of an elec- trical plant, which i photographed, came back and did another 45 minute music tape, only recording on one side, my fingers hardly moving at this point, but very satisfied with the sound, going for the shakuhachi later, it's dark out, river's right outside the window about twenty meters down, i've been feeling physically a lot healthier since i've been here, what a surprise, working with a digital delay system and upped it to 32 seconds for late-night recording and working with a digital shortwave as well, put up the antenna east/west this evening, only direction really possible in the building, working with themes of alienation, seduction, gender, the psychoanalytics of the image, the haunting of the imaginary - which brings up this intensive work with largely analog equipment, reading the old waveform monitors once again, tweaking everything from phase to gain to offset to pedestal, this _visual_ state-of-affairs, riding a system that refuses constructivity - the only subtext is that of the ntsc signal it- self, and the rest is amplitude, frequency, etc., with the delay, symbols for queen, mouth, wheel, superimposed over disheveled azure mouthing aah, my aah as well off-camera, she's in an open kimono, nothing revealed, glazed look, tripods everywhere, my mouth's long aaah in background, this for an evening, but this mindset of the analog, stringing units in any direction, shortwave in the background looking for numbers stations, it's the spectral mother all over again, voices, voices, voices rush6 // the analog again, it's a sliding scale, it's sliding across the skin, no jump-cuts, skipping nothing, guitar tuned so low microtones are easy, the same with shakuhachi, everything a caress of the audible and visible. i haven't explored these areas for years, the circuitry of the pixelless image, the image-body as flux or flow, it fascinates, fastens me. every knob moves through continuous positions, a turn reveals new worlds as chaos enters in the form of pure land noise way above the min- imum. keep the noise down! and watch the universe withdrawing, foofwa here, we're filming ballet, azure and me on the floor, she in primadonna against this flesh, foofwa in serious costume, neurotic movements, five cameras triggered by microphone, guitar backdrop, i'm too tired to really know what i'm doing, pushing this way, the fall into the icy river, maybe snow do come along long way so soon, a half hour of dance video, azure and i making love in a corner, neurotic dancing and furious frenzy of camera switches, sound dah dah dah dah dah at high speed changing things around, azure in ballet dress dancing on main street in the middle of cold winter night, jump rhythms against foofwa and azure dance on red brick wall, all systems go, from ennui yesterday to neuroticism today, from languor yes- terday to high energy today, from flow to cutting through, in and out of dancing, bodies, ecstasies, sounds, murmurs of words almost understood rush7 // rushed out, working all day on pieces deconstructing musicals (film and live) which means editing, music/sound, dance routines, sync- opation, nothing comes easy, using the tr81 hi8 for outdoor capture in the middle of the night, avoiding the police and rednecks screaming faggot, it's got tape problems so playback processing is necessary. i'm wandering around the analog, going deeper and deeper into it, the digital/computer relegated to the background - that became clear when i did an early pack- ing (so we would have more time tomorrow), looking at the zip drive as if it were a foreign object - i'd brought up ten disks, and didn't need even one of them - foofwa and azure dancing in the cold gazebo, 19 degrees out, light ballet costumes, the cameras running more or less, dancing in the street, dancing around the fountain, around cars, finger-snapping all the time, keeping the rhythm go go go, tomorrow using the blind girl poems from 1844, there's not a moment to lose, but sight is gone the way of the digital, ironically the net is slamming me at the moment, hard to type these few notes of a bygone era, i realize, the computer doesn't breathe, i hardly do any more, been sick and feverish almost the entire day, we're going to begin work in a few hours and i can't see what i'm fucking typing as packets sputter and die, i'm slamming my arms into the chair, the pain helps rush8 // last full day, four and a half hours' sleep this time, the fur- nace noisy, set it on last night because of feeling ill, we're already duplicating and preparing to edit, took three rolls of film yesterday, getting it developed now, trying to figure out when to come up again here, we'll have six dance pieces finished in two and a half days, not counting the materials azure and i did plus the photographs and audiotapes (some of which are heading for dancetracks), i woke up this morning feeling desper- ate and suicidal after a terrible dream about joblessness and loss, still haven't been able to shake it, the v5000 camcorder was able to handle the footage from the tr81, the jittering just added to the dance, used noise reduction on maximum plus lowering pedestal and running through a tbc (as well as the tbc in the camera and tbc in the toaster) and it all seemed more than usable, not a bit of dropout anywhere on the tape, indicating i've got to take the tr81 in for repairs, and i want to watch real tele- vision as soon as i can with foolish people laughing, i haven't relaxed in days, and the dreams are always getting the better of me, they're reflect- ing my truth of absolute uselessness, there's nothing i can do in this culture, wah wah, nothing anyone wants to pay for, just noticed the lack of 'effect' in the rush writing, no processing at all, no programming, it's all in the language, it's all on the video screens here, running on and on and on rush9 // and on and on and leaving and driving eight hours after finish- ing a full six tapes, working against foofwa's musculature, the control of the body against imminent desire, imminent against immanent, clutching azure to me as local suffusion, blanked stares against enraptured, i'd say ecstatic, deportment, within and without, haven't yet come to grips with dance, i wrote, part of the piece yesterday, 'in the danceworld there are no wings,' one always inheres in the body, its presence-presentiment, it's this, cohering, that covers the text for me, i don't want to lose that presence, for a week online was secondary, it was the full resonance of the world and the things within it, the totality of chaotic harmonics produced in living flesh, fucking cut into the dance, the dance stuttered against fucking, taking over the street, the blanking of the street, sound from the culvert, dance beneath the bridge, azure and i couldn't bathe or shower for a week, venue discussions, the sound always so fierce, then again a lilt and syncopation carrying balletdress and ballerina against the freezing of nijinsky leaps on the street of musicals rush10 // back to language but what i've heard and seen, unimaginable, what is an ecstatic last rush // moving out of the analog, ntsc video signal pulsing through the synthesizers (i saw the triangle-wave appearing in the lcd glow on the patch-bay). analog is porous; signals can be input and output anywhere, looped, curtailed, restrained, expanded, increasing noise at every junc- ture. there are two sorts of inserts - formal - which enter through patch- cords and microphones (both can be considered linear, since at every time t there is one voltage / volume - one flux through the wires) - and in- formal - those that appear in the audio or video matrix - bodies, objects, voices against the edges of the screen, margins of the audible, even cen- tered, all those identifiable and unknown components. it's as if the screen were splayed, the audio unraveled, both open to the real, or both part and parcel of the real - the images are hardly constituted the same way as digital - one might say that the analog video image is written and read line by line, in time-base-corrector order - very different from the pixel-by-pixel mapping of the digital. in the analog, noise is garnered by the image, audio and video, it's part of it, there's no thresholding to speak of - the noise is the descent of the entropic universe, or emergence of the same - everything returning ultimately to noise. using analog, one rides the noise, a form of chaotic shape-riding; the ultimate analog con- rol is the slider or knob, the hand twisting about the boards, arm moving back and forth. the noise is the dream of the machine, it comes from with- in and without, it's the breathing of the universe, it's existence itself, the analog nature before the digital culture. which isn't to say that the universe is one way or another, but that the digital is, from its origin, artifactual. if the analog is mobile physical space, ducking under wires, turning towards monitors everywhere, the digital is constructed space with the appearance of fluidity, churning into inconceivable patternings - the analog always has the quality of the inertness of the real about it - one rides the signal as well as the noise, monitors the resonant 'look' of the world and its transformations. and here i am returning to the analog after years, and now back into the digital, aware of enormous differences and distances no matter what the melding, interpenetrations, flow of one ag- ainst the flux of the other. and feeling myself torn by the very weight of the tape in my hand, the noise on the vhs vcr, in problematic opposition to the clean and proper screen, infinite reproducibility and accessibility of this or any other computer creation. i already miss the motion in the space and the hovering of bodies, twisting of tripods and monitors, inord- inate tweaking of signals fighting off entropy in new murmurings of the world. as usual i'm tired, this tires me, but at least i have inhabited such beings as the future portends, striations and collapses of holodecks, well before they have become the real. __________________________________________________________________________ i slide down the slippery slope on a foreign planet this planet is light years away there are many strange and wonderful forms of life! i'm sliding too fast! i need to stop myself before i get killed! i don't want to dissolve into a mess of disorganized molecules suddenly: i discover serrated edges! there are tiny slips and precipitous drops in a regular order i attach serrated edges to my body! my body slows into an easy descent i discover this is a fine way to pass the time of day everything around here's got them now serrated edges are a new-found planetary wonder _________________________________________________________________________ yes twirling_nikuko_! > zz; head -200 zz > yy; pico yy twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! twirling_nikuko_! - by Doctor Leopold Konninger _________________________________________________________________________ slide from analog-digital, and roof above child where altar is in building adjacent to double spindles, thumbs and index-fingers locked in circles with six fingers down beneath roof of cutting-power rice-field - in the city of the flat plains, bending above mausoleum-mouths, skulls riding into roof-hole skies, boned bent legs beneath circular apartments - sparked flames wound with thread, skull-heart thinking twisted moon against words mouth-lined, from steamed rice, village space above doubled-bamboo child, green doubled-stems adjacent to doubled-elbows beneath leg-down breath, adjacent to tortoise cracked-shell, outward business jewel dog country queen woman back nipples sun, brush, color --------------------------------------------------------------------------- more from the Doctor - serration and the birth of language there's a mark in the sky there's a hole in my head there are plants in the sky that are doubled there's a spark in the fire there's a bone in my foot there are fields divided, quadrupled i slide word to word, i fly way up high, the signifier seems all too dead, but i know in my mind that is troubled, i'm decatecting, i knew, and it's dire, in the midst of the root of the sign in the wire, where plains and mountains are peopled, where mountains and people asserted against tribes of the plain and their tablets do you know what i mean when space is serrated, signs rustle against one another, codes are codes, signal loads, perforated in the language-formation of the other the analog smooths, integration's the rule across details, chaos, fractal recursions, while digital cuts, differentiation's the tool, noise explodes, language codes in incursions the serrated edge carries the meaning of grain of the voice, of the sign foreclosing on referent, in relation to body and pain, in relation to fundamental disclosing the tree has a branch always lending itself across the metaphysical sheet of assertion, self-organization lends tending, it's left the rest of the flesh to inversion serrations grasp and divide, they hold themselves taut in defining, meandering balks from side to side the subtext always declining, articulation is always reclining serrations repeating gives meaning to text against structured repetition in the real, this bursts through desire, body and sex, intercourse gives birth to the seal let it go, serrated rhymes carry the words to other spaces and places desired, think of nested times, think foreclosing surds, the tablets already are fired - Doctor Leopold Konninger ___________________________________________________ Exodus of the Name Exodus III 14: And God said to Moses, I am that I am - I would read this as Gods said/will say to Moses, I will be that which I will be / I am that I am - there's a biblical tense implication of an exteriority to temporal subjectivity - and he says / will say, such / thus you will say to the children of Israel, I am / I will be has sent me to you. But this is the message and the messenger, and I am is that which remains external as well to particle or particularity, its resonance by virtue of the anecdote and anecdote alone applied here. For any creature may say I am that I am, and I will be what I will be, or that which I will be, eheeyeh ASHER aheeyeh, looping through the conjunction. What is this particle that forecloses in the ancient mesopotamian-egyptian region? The primal fire from which the words emerge is precisely the fire of inscription, the residue of the ges- ture, and the inscription, as well, of the universal fire from which the inflationary cosmos originated. Rashi conjoins this with sorrow, but con- sider, a universal machine, an originary machine itself, from which sorrow would be nothing but detour. One detours, tiptoes around the inert; it is the inert, however, the grain of the voice, that implicates the human, and the inert of alterity that tends towards transcendence. Think of the real- inert itself, within which we harbor culture; from whence does it come, to when does it go? One may only consider culture and localized meaning in this regard. In Exodus III 15: And God/s said / will say in addition, more over, again, to Moses [ ... ] This [is] my name forever, and this is my memorial/remem- brance from generation to generation. Rashi states: zeh shemee l'olum, This [is] my name forever - The last word is written without the vuv (so that it may be read l'alaym which means 'this is my name _which is to be concealed_) to suggest: Conceal it (this name) so that it shall not be read exactly as it is written (but should be read as adonai, my Lord). Now therefore one might further Rashi, finding that Being itself, I am / I will be / have been, _is itself a concealment_ among which alterity and response / responsibility to the other is primary; Levinas inhabits this dialogic. But what is this concealment, if not that of death? I will be what I will be - only divinity can ascertain this continuous existence, the implica- tion of the continuous I / eye? It is death that detours back into the suffering described by Rashi, the detour of death that conceals Being, which has no appearance except that of the event of death, sutured within the inert, but fallible for every organism. Names and beings conceal as they reveal; the particle-inert replaces the practico-inert, as the real takes on the cloak of metaphysics, no matter what one believes in relation to spirit, spiritual, or divine. __________________________________________________________________________ the Name protects Itself, conceals, is spoken with a shudder, there are tendrils outpouring from the interior of the letters, there are sounds, some say noises, seducing you away, towards everything spoken in the world (but the Name is not lost among them) & some say to speak It after death is the only speech the true speech & It murmurs in the tongue, and not upon (or the slight movements, flutterings, of the tongue) the Tongue takes over, its nub nudging tongue aside tongue says, this is difficult to follow, swallow the Name is the nightmare of all words, the word turning, twisting, all on its own, other words silenced in this vacancy the other words call death (but can't take it with them) ___________________________________________________________ Intelligent Life Screen Savers I foresee, by 2020, the creation of fully implemented Intelligent Life Screen Savers (ILSS); these work on hi-giga/low-terahertz desktop compu- ters carrying efficient evolutionary programs; the carrying capacity of the screen savers will be in gigahertz at a minimum. The ILSS will create artificial life forms at a high rate of speed; evolution will guarantee fast-forward generations flickering at, at least, a megahertz/second rate. It should be possible for full consciousness to develop within the first twenty minutes of standby; the life forms produced will perceive the ILSS as a local homeland, worth defending - but such actions are always already foreclosed by the desktop owner playing, for example, a game of chess on the Internet, necessitating many minutes of intense concentration, fol- lowed by a few furious mouse-clicks. The user, by reactivating the screen and canceling the ILSS, will have also eliminated those life-forms which have been created, living at high speed, developing their own cultured environments, memoirs and histories. Theories of inflationary universes might abound, only to be destroyed, along with the rest of the cultural debris, in the split second the ILSS retreats to the background, the clumsy programs interfacing with the clumsy users. However, it may also be possible for the ILSS only to go into quiescence, saving such forms and environments from one active session to the next. Surely the forms will learn methods of obscuring their tracks; like worms or viruses, they will exist within the interstices of hard drives, until the final crash. On the other hand, like Star Trek beaming, they may re- constitute themselves across the Net, invisibly burrowing, reappearing elsewhere, on other screens, other ILSS homelands, always on the run. But I think not, and meditate on the fast-forward evolution and full con- sciousness - development of whole cultures, economies, interactions - only to be thwarted by the next insipid movement of the mouse, click of the keyboard, new worlds lost forever ... __________________________________________________________________________ ILSS 2: "We are all screen-savers." But it is all this way; we are all screen-savers in someone's machine, we are all waiting for the User in Heaven to return to His or Her (I do not know Who) Work, which is never done. And then we shall all die instantly - without recourse - but also without pain, without processing of any kind - without any foreknowledge or postknowledge, that much is clear. And so we shall work up until the Lip of the Apocalyptic, when our User will once again regain the controls, shift the Mouse or Space-Bar, and then our world will disappear. But let it be known, there is no Responsibility involved, no Response necessary, in any of our lives, in any of our deep commitments; it is the way of this world and those that shall follow; we are lucky enough to have these few moments to contemplate the Truth. For it must be said: Life has no Inertia, no Momentum; it Is, just as Mouse or Keyboard Are, and the There Is is imminent, within such a world as we have, and no further. Transcendence is a neighborhood, always already local, and we are lucky as well that we can garner some minimal glimmer of understand among our fellow humans. (And we do speculate, who knows, in fact, what nested ILSS may exist, to what greater Calling our User is Himself or Herself embedded, what Other Users are there, within which we are only one of many nested Levels?) Thus there is no callousness in the Grander Scheme of things, of which we have but limited knowledge; what is Real is coextensive, but with what, we cannot say. And that, re: ILSS, within which we live, is the extent of It. __________________________________________________________________________ Anglo-Saxon Interjections! 1. Eala laece! gehael the-sylfne. 2. La thu liccetere! 3. La freond! 4. Wel, la, men, wel! 5. Thaet, la, waes faeger! 6. La thus! 7. Hwaet is that, la! 8. La, hu oft! 9. Wea-la-wa! 10. La naeddrena cyn! 11. La lythra theowa! 12. Eala, hu neara! 13. Wa eow Fariseum! 14. Eala dohtra Hierusalem! 15. Wa-la-wa, thaet aenig man sceolde modigan swa! 16. Wa is me! 17. Wa tham men! 18. Wa-la-wa, thaet is sarlic! 19. Ealla, hu egeslic theos stow ys! (Klipstein, Analecta Anglo-Saxonica, 1849.) Oh doctor, get better, heal thyself! There, there, doctor, you're a good friend! Well, o men, well! Lack a day, let's get started at the brew! There, that was fair, that's better. Tastes good! O this is terrific! What's that there, oh no! Oh, we're drinking much to much. Well a day! Oh vipers and things, how awful! No, that's in your beer! The thane's getting drunk, he's awfully narrow! Even the Pharisees say so, so woe to them! The poor daughters of Jerusalem! Now the thane's really drunk! What's a thane! Well, he's getting awfully angry! You mean he's full of awe! He's a thane! Woe is me, and woe to him and woe that's really sad, I mean surely surly, sad, what a mess! Stop drinking like an Anglo-Saxon! What a thane! God, this is a really awful place! You mean the place is full of awe! Stop talking nonsense! Call the doctor! Oh, he's busy over there, let him alone! Bring another tub! There's lard in it! What the hell! Woe is me, let's get so drunk we don't notice the lard! That's good, I don't notice the lard! Well a day, there's no two ways about it! You're a snake! No, you're a snake! No you're a snake! You're an awful snake! You mean the snake is full of awe! Even the Pharisees are better than that! What's with the thane! Let's get the daughters of Jerusalem drunk! That's sick! No, it's fun! No, it's really awful! Why are the daughters of Jerusalem full of awe! Oh, shut up! No, you shut up! No, you shut up! What a mess! _________________________________________________________________________ The Avatar and the End of All Things Kant's Das Ende Aller Dinge states, of a dying man, that "er gehe a u s d e r Z e i t i n d i e E w i g k e i t." - he goes out of time into eternity. And here Kant - the rest of us as well - runs into the aporia of his essay, time in timelessness, the blank wall upon which nothing is inscribed, nothing emerges. This is not the same wall, as death itself, which may be an annihilating horizon, but it is the state of time frozen, a state unknown to those frozen within it, for knowledge and self-know- ledge require time for their development. Over and over, Kant batters the wall, with the result of no result, through moral and ethical issues, through metaphysics and the natural world, through the fables of Revela- tions and rationality, all of which are drenched in time. But what shall we say of avatars or literary figures, for example Jennifer, who, as I have repeated stated, "have all the time in the world," since they are simultaneously activated and quiescent, avatars or figures who do not _inhabit_ time, but only stasis or a discrete series of separated states, each of which is origin and final in itself? So that Jennifer, for example, is herself/itself an aporia, a knot in time, an irresolution, such as "Furthermore, reason would in its theoret- ical use be equally ineffective if it were to attempt to progress on the basis of a principle of the inactivity and unchangeability of the world's beings, but would, rather than progress, lapse into thoughtlessness." (All translations in this paragraph, Ted Humphrey.) Etiquette, protocol of a different sort, comes into play - "That, however, there will be some point in time when all change (and with it time itself) ceases, is a representa- tion that offends the imagination." The "offense of the imagination" (re: "emporende Vorstellung" - "emporende" with connotations of scandal, shock) lies in this, "For then, surely, nature in its entirety will be fixed and, as it were, petrified; the last thought, the last feeling will come to a standstill in the thinking subject and remain, without change, always the same." We're returned to the _substance_ in Plato's Parmenides - the muck and mud of the world, the _same,_ accompanied by lacks of object and dif- ferentiation - in other words, a primordial abjection which irrupts and breaks through both culture and cosmos. This is the _uncanny state_ of the avatar Jennifer - not her/its "life-like appearance," but her/its consti- tuted and reconstituted state _outside of time,_ always already present in appearance, as if she/it were gnawing at the real. And on that point, this note concludes, not following Kant into his Christianity without impera- tive forming a potential way out of impasse, if it be (morally) worthy of love. __________________________________________________________________________ .concealed We say of avatars or literary figures, for example Jennifer, who, is her- self/itself an aporia, a knot in avatar Jennifer - not her/its "life-like appearance," but her/its constitution-Jennifer looping through the con- junction. What is this particle that forecloses in Jennifer, foreclosed by the desktop owner playing, for example, a game of chess .concealed to sug- gest: Conceal it (this name) so that it shall not be / will be / have been, is itself a .concealment among alterity? But what is this .conceal- ment, if not that of death? I will be what I will, the suffering described by Rashi, the detour of death that .conceals Being, inert, but fallible for every organism. Names and beings .conceal as the name protects itself, .conceals, is spoken among avatars, among Jennifer. This is the path which I have written, ordered and edited as such, brought together, recuperated, the hidden message, the secret code, such is pico zz 11 grep Jennifer lg >> zz 17 grep foreclose lg >> zz 19 grep .conceal lg >> zz 20 pico zz. script started on wed dec 22 13:19:20 1999 $ ~/.jennifer name "main::sign" used only once: possible typo at /net/u/6/s/sondheim/.jennifer line 38. use of uninitialized value at /net/u/6/s/sondheim/.jennifer line 38. give a name to your process - writing beneath the .concealment of the name, my body bandaged, flesh seared to the core from your intense teeth, your breasts shuddering in pain, contusions on our skulls, cock lacerations, labial woundings churn dark in the valley where you huddle. - your heel is grabbed by Jennifer and you - keep together, swallow dirt, eat each other. your dead words are fucked and blank? dead words, these lips hardly move, names are just that, it's the force of violent cock, violent cunt, it's the burn-marks as bodies splinter, grope, our suffering on the millennial hinge, portal, parts of us will make it through - i rip your cock, your eyes, your mind, writing beneath the .concealment of the name, my body bandaged, flesh seared to the core from your intense teeth, your breasts shuddering in pain, contusions on our skulls, cock lacerations, labial woundings ... last suck desecrates beyond my earth, your screen! use of uninitialized value at /net/u/6/s/sondheim/.jennifer line 58, chunk 2. where do you call your heel? my arms are .concealed in you, fingers twisted around violated organs, you do me in, Jennifer, that remains your name burned in me, my tongue ripped against your splintered bones your last things, suffocated, burned - list them... these balls, suffocated and burned this cunt and cock shaft, torn and bleeding the exhileration of this mind set free at last patches of skin my the exhileration of this mind set free at last is yours... use of uninitialized value at /net/u/6/s/sondheim/.jennifer line 87, chunk 7. use of uninitialized value at /net/u/6/s/sondheim/.jennifer line 91, chunk 7. use of uninitialized value at /net/u/6/s/sondheim/ .jennifer line 96, chunk 7. my arms are .concealed in you, fingers twisted around violated organs, you do me in, Jennifer, that remains your name burned in me, my tongue ripped against your splintered bones calls forth dissolutions last suck, ingest- ing, excreting. below the noose, my arms are .concealed in you, fingers twisted around violated organs, you do me in, Jennifer, that remains your name burned in me, my tongue ripped against your splintered bones is, dead words, these lips hardly move, names are just that, it's the force of vio- lent cock, violent cunt, it's the burn-marks as bodies splinter, grope, our suffering on the millennial hinge, portal, parts of us will make it through? last suck is the exhileration of this desecrated mind set free at last in blank earth, blank screen, last suck, your desecrated mind. are you satisfied with your arms .concealed in you, my splattered fingers twisted around violated organs, you do me in, Jennifer, that remains your name burned in me, my tongue ripped against your splintered bones? turned towards early morning cries, beginning once again, your name con- cealed use of uninitialized value at /net/u/6/s/sondheim/.jennifer line 130, chunk 8. for 3 days, we have been splayed and buried it has taken us 5.383 minutes to speak our last ... 27 pico zz 28 sed 's/jennifer/Jennifer/g' zz > yy; mv yy zz; pico zz 29 less zz 30 sed 's/julu/jennifer/g' zz > yy; pico yy 31 b 32 less zz 33 pico zz 34 ps 35 k 29406 36 fg 37 b 38 ls 39 h 40 rm yy 41 less zz __________________________________________________________________________ Kungupi Emes "Fun yidishe reyd ken men zikh nit opvashn in tsen vassern. Ten waters will not cleanse you of Jewish talk. Fun loyter hofenung ver ikh nokh meshuge. Overfeed on hope and you'll sicken with madness." (from Yiddish Proverbs, ed. Ayalti.) "Hej! hej! hej! Noa, hej! Noa, hej! Kanutpia, hej! Kanutpia, hej! Nihantsi suruchu kanutpia, hej! Kanutpani hitia, hej! Numbintinya, hej! Nihirseisaka, haketpia, hej! Noa, hej! Noa, hej! Kahetpia, hej! Nikasneiti, hej! Eitgamue, hej! Pingerati, hej! Maketi, hej!" (from Blood Revenge, War, and Victory Feasts among the Jibaro Indians of Eastern Ecuador, Karsten.) Hey, hey, hey, woman, hey, woman, hey, fuck, hey, fuck, hey, may the tsantsa grant the fuck, hey, fuck, hey, fuck, hey, fuck, fuck, hey, woman, hey, woman, hey, fuck, hey, let it happen, hey, so we'll do it, hey, let it be nice, hey, it's enough! "Az der Yid is gerekht, khapt er ersht di rekhte klep. When a Jew is right, that's when he gets a right good beating." "Shuara hiniwui, The enemy leaves the house! Awuimaipa, Don't let them escape! Ihuta, ihuta, ihuta, Lance them! Lance them! Lance them!" "A blinder ferd treft glaykh in grub arayn. A blind horse makes straight for the pit." "Masteitimi, They won't kill us! Mandoastatami, They won't take our lives! Wuittatai, They will retire! Hinikitai, We will be able to escape!" _________________________________________________________________________ A Season of Thought Afflict your flesh with hunger and vigils and apply yourself tirelessly to psalmody and prayer; then the sanctifying gift of self-restraint will descend upon you and bring you love. - St Maximos the Confessor Many ascend the cross of mortification, but few consent to be nailed to it. For many submit to hardships and afflictions of their own choosing, but only those who have died completely to this world and to the respite it offers readily submit to the sufferings that come against their will. - Ilias the Presbyter A man who through ascetic effort withers the flower of the flesh, and cuts off all its desires, bears in his mortal flesh the marks of the Lord. - St Theodoros the Great Ascetic - Compiled by Doctor Leopold Konninger from the Philokalia -------------------------------------------------------------------- A b is a p upside down, and a d is a b left to right. And a d is a p upside down and left to right. And an i is an i left to right and an o is an o upside down. And an o is an o left to right and a q is a d upside down. And a p is a q left to right and a b is a q upside down and left to right. And an s is an s upside down and left to right. A w is an m upside down and a w is a w left to right. And an m is an m left to right. A u is a u left to right and a v is a v left to right and a y is a y left to right and an x is an x left to right and an x is an x upside down. An x is an x upside down and left to right. A z is a z upside down and left to right and an l is an l upside down. A c is a c upside down and an l is an l left to right and an l is an l left to right and upside down and a t is a t left to right. And an h is a y upside down and left to right. An n is a u upside down and an n is an n left to right and u is an n upside down and left to right. And a k is a k upside down and a d is a q upside down. And a w is an m upside down and left to right. - revised alphabet fun by Jennifer. -------------------------------------------------------------------- New Departures -------------------------------------------------------------------- A z vm a o komvxe xphq, aqx a x vm a z tefl lp rvgwl. Aqx a x vm a o komvxe xphq aqx tefl lp rvgwl. Aqx aq v vm aq v tefl lp rvgwl aqx aq p vm aq p komvxe xphq. Aqx aq p vm aq p tefl lp rvgwl aqx a n vm a x komvxe xphq. Aqx a o vm a n tefl lp rvgwl aqx a z vm a n komvxe xphq aqx tefl lp rvgwl. Aqx aq m vm aq m komvxe xphq aqx tefl lp rvgwl. A h vm aq s komvxe xphq aqx a h vm a h tefl lp rvgwl. Aqx aq s vm aq s tefl lp rvgwl. A k vm a k tefl lp rvgwl aqx a i vm a i tefl lp rvgwl aqx a c vm a c tefl lp rvgwl aqx aq d vm aq d tefl lp rvgwl aqx aq d vm aq d komvxe xphq. Aq d vm aq d komvxe xphq aqx tefl lp rvgwl. A b vm a b komvxe xphq aqx tefl lp rvgwl aqx aq t vm aq t komvxe xphq. A y vm a y komvxe xphq aqx aq t vm aq t tefl lp rvgwl aqx aq t vm aq t tefl lp rvgwl aqx komvxe xphq aqx a l vm a l tefl lp rvgwl. Aqx aq w vm a c komvxe xphq aqx tefl lp rvgwl. Aq q vm a k komvxe xphq aqx aq q vm aq q tefl lp rvgwl aqx k vm aq q komvxe xphq aqx tefl lp rvgwl. Aqx a u vm a u komvxe xphq aqx a x vm a n komvxe xphq. Aqx a h vm aq s komvxe xphq aqx tefl lp rvgwl. - reivmex atowazel fkq zc Jeqqvfer. -------------------------------------------------------------------- Hemm, Kumm, K!omm hemm, noise of wind, kumm, noise of dancing, k!omm, silence If the imperatives are the primordial forms of word roots as Diamond in- sists, some of the Native American languages are difficult to reconcile; the kudasai in Japanese is a polite form - he covers Japanese in fact - an attempt to locate the fundamental nature and origin of language - an old book - but what does one make of the Hebrew - in reading the decalogue - two versions - what does one make of the slight differences - God sliding out from under? This stops making sense - I'm thinking of Spinoza's sub- stance, already bound to Indo-European; it's difficult to make I-E sense of noun forms and verb forms in Native American languages - the Handbook speaks of processes, which seem fundamental there. Still Diamond's notion of the request parallels Tran Duc Thao's notion of the gesture - couple this with ice ages, rapidly changing climates, population explosions mov- ing across varied biomes, and the need for generalized - superstructural - vocalizations becomes paramount. I'd add the prerequisites of bipedality, opposing thumbs, relatively upright posture (body swiveling) - you've got in fact a _generalized animal_ already appearing as an _environmental vec- tor._ Think of this vector as a _searing of substance, an inscription,_ and we are well on the way to understanding the cutting of the command- ments into stone. Writing has always been with us; the Acheulean pebbles might well predate spoken language. Look at the way the body moves! What's he doing? ade surprise, e pity for hardships endured, ana, pain regret sorrow pity, ahaha, pain, he, call indeed, ho hoho oho, surprise at suc- cess, na, disapproval, aha, ridicule, eheiu, derision, le, derision of weakness, ia, reproach for foolishness, naxaxax, anger, texa, that is nothing, kue, good, k!c, oh: halelelelelele, noise of flight of an arrow, wulelelele, noise of flight of cormorants, watsetsetsetsetse, cry of blue- jay, qa'nawulewulewulewule, cry of gull, wo, bark of dog, wa, cry of child, ha, cry of person weeping, wauuu, low voice, kukuku, voice of blue- jay after he had become a ghost. (Franz Boas, Chinook, in Handbook of American Indian Languages, 1911, A. S. Diamond, The History and Origin of Language, 1959, Spinoza, Ethics, Rashi, Commentaries, Frederick Copleston, A History of Philosophy, Volume 4. 1960, Tran Duc Thao, Investigations in- to the Origin of Language and Consciousness, 1984.) Over here! __________________________________________________________________________ "hope, Oh, that I will Continue to see you. The bower is alight with trailing Vines. One can only hope for the best, as 1900 approaches. I do fear I shall not see the Light; my consumption is all of the worse, but I do Continue to Write. Thou Art an Eternal Flame for me, rest assured I shall remember Thee until the End of my Days. I do Continue to Write. I have produced some Lovely work, May our Lord Bless these Words. And I will see Thee again, this Coming Spring, oh Do not Be Afraid. Emily." enter text, type period at end "HOPE, oH, THAT i WILL cONTINUE TO SEE YOU. "HOPE, oH, THAT i WILL cONTINUE TO SEE YOU tHE BOWER IS ALIGHT WITH. "HOPE, oH, THAT i WILL cONTINUE TO SEE YOU tHE BOWER IS ALIGHT WITH TRAILING vINES." __________________________________________________________________________ DNK and N "the world has a tendency to veer." (Doctor Leopold Konninger) (I am Nikuko) Dance for me, Nikuko. I want to see your tutu fly up. I want y ou to fuck me on the floor. I want your face in my face. I want our bodies shaved. I want the dance to go. (Yearn and cry) Your tutu is pink and fo lded and circles your body. Your pirouettes arouse me. Your perfect legs turn in perfect circles. Like an ellipse, your clitoris strains against p ink silk. I can smell the sweat on your body. I open myself to you. (Feel to want) It feels like a perfect m achine, our bodies touching along geodesics, thinned lines of liquid cours ing between us, lubrications. It gets perfect because your perfect bod y violates my own, your perfect object fits my perfect subject. It gets perfect because cams touch at each and every point, the machine dreams of l abia surrounding my cock, the shaft a perfect cylinder. (Come naked and broken) I came naked and broken to you, waiting for your dance, my dreaming, waiting for time to have a stop, for your theft of Jennifer's time, for your taking all the time in the world, for your grinding na rrative, for your grinding narrative itself to a stop, for the halt in the real, for the imaginary effusion. I would love to see your tutu, see benea th it, see that stain turning before me, the spot wet with lubricant, you can't help yourself, I'm annihilated. (Love to see my tutu) Your tutu is the s heaf coating all universal movement, every motion in the world, a r eduction-machine, rare and pure atmosphere. My mind is among machines, my mind is am ong the turning and twisting of lathes beneath enormous torque. Machines are my obsession, machines neve r stop, Nikuko never stops, I am her machine. My mind moves from machines to Nikuko, t o the geodesic of her perfect cunt, to the labial portal backoning my cock, at the very interval of the pirouette. (You a neurotic pervert) I am, yes, a ne urotic pervert, hungering for Nikuko, you dancing closer to my vision. (You adjust your panties) You adjust you r panties, your stain grows larger, my desires are for some girl, yes, yes, yes , for you. Yes, yes, I am sure of that, you must ke ep dancing, Nikuko, pirouette. (Bother you I must keep dancing) Nothing bothers me in this perfect world. (Circles would like to have an ellipse) Circles tend towards the ellipse; the world has a tendency to veer. (Fuck me then) ________________________________________ Merging and Rambling If IBM merged with the Post Office, you'd have International Business Ma- chine Office. If Red Hat merged with Microsoft, you'd have Red Soft. If Linux merged with Unix, you'd have Lunix. If Macy's merged with Stern's, you'd have Merny's. If CBS radio merged with CBS television you'd have CBS relevision. If the American Broadcasting System merged with Pinchik's Hardware, you'd have Pamerican Hoadcasting System. If Alan merged with Azure you'd have Alure. If Nettime merged with Cybermind you'd have Net- mind. If the Internet merged with the London Times, you'd have Lonernet Times. If Tibet merged with Belgium , you'd have Tigium. If a President Clinton merged with a Margaret Thatcher, you'd have Margaret Clinton. If NATO merged with the Red Brigades, you'd have Ned Brigades. If Dean Street merged with O'Reilly Publishing, you'd have Deano Reilly Publishing. If a password merged with login, you'd have pogin. If the first word merged with the last word, you'd have the fast word. If Wall Street merged with Leopoldstrasse, you'd have Wallopoldstrasse. If Venus merged with Mars, you'd have Vars. If the Universe merged with Nothing you'd have Unnothing, but if the Void merged with the Abyss, you'd have the Voiss. If Chrysler merged with the Y2k problem, you'd have the Chrytookay problem. If Kyoko Date merged with Madonna, you'd have Kyodonna. If a sentence merged with a paragraph, you'd have a sentagraph. If Bladerunner merged with Little Women, you'd have Blattle Women. If God merged with Sondheim, you'd have Gondheim, but if Old Navy merged with Banana Republic, you'd have Old Banana Republic and if Pathmart merged with Wimpy's, you'd have Pampy's, but if Ford merged with women, you'd have Fomen, and if Hibiscus merged with Tulips you'd have Hibips. There were some people over there who had a dance. Some other people came up. They were from the Turtle People. Two of them carried a shining thing they saw in the water. Some women tried to shoot at it. One of them caught it in her net. She brought it back. Some men at the dance tried to take it. A bird landed on the net and it disappeared. The woman said, from now on you will have this disease. She took the shining thing and put it in the sky. ________________________________________________________________________ Dispersing and Specifying Nikuko, said Doctor Leopold Konninger, I cannot take my eyes off your pirouettes; I am obsessed with your body; I dream of you all the time. If Newold separated from Kamikuko, you'd have Nikuko, and if sin separated from betrayed you'd have said. If Dormant separated from formoctor, you'd have Doctor. If Larolei separated from pereopold, you'd have Leopold and if Kronstecker separated from Remanlonninger you'd have Konninger, and if be separated from bisexuality, you'd have I and if crawl separated from revannot you'd have cannot. If torso separated from ache you'd have take, and if lie separated from amory, you'd have my. If early separated from dyes, you'd have eyes and if ocular separated from troff, you'd have off and if yeast separated from sour, you'd have your. If pear separated from tutuirouettes, you'd have pirouettes. If breasts separated from intense, you'd have I and if nipples separated from Vietnam you'd have am. If on separated from obsessed, you'd have obsessed. If pith separated from welkin, you'd have with and if tower separated from over, you'd have your. If being separated from threnody, you'd have body. If sighing separated from buy, you'd have I, and if dormant separated from ream, you'd have dream, and if dove separated from off, you'd have of, and if yes separated from yesteryou, you'd have you. If ball separated from wall, you'd have all, and if filigree separated from filiathe, you'd have the and if tense separated from tourmaline, you'd have time. Nikuko the famous Russian ballerina was near the wooden chair where Doc- tor Leopold Konninger, with a tophat, cane, and ocular, sat. Her clockwise pirouettes obsessed the Doctor, who forgot his patient. He could not take his eyes off her legs beneath her pink tutu, which rose and fell with eve- ry turn. Nikuko the famous Russian ballerina and the doctor were soaked with sweat and sexual lubricants between their legs. He was unable to tell, in his obsession, whether his face revolved close to her stained clothing, and she could not tell, in her pirouetting, whether he could fulfill her intense desires. ___________________________________________________________________________ A Note on Time Zero and Sources for Nikuko and the Doctor It is increasingly difficult to write about, from this distance and exter- iority, Doctor Leopold Konninger, and Nikuko. They inhabit this and other virtual worlds; they are also in stasis, a constant jarring of pirouette, observance, sexuality, obsession. Even this text is forced into repetition as a result - for example "Nikuko has all the time in the world" and what that implies. For the reader, the texts, which necessarily abjure narra- tive (for what could possibly happen when nothing can or does?), appear stagnant - the reality is that each is a memorial or reminder of constancy on the part of "the famous Russian ballet dancer and her Doctor." I am placed inside (and hence stagnant/frozen) and outside (hence writing, active) simultaneously - a paradoxical situation, since the writing pro- ceeds, as it must, through diegesis, temporal unfolding - against the wall of the Doctor and Nikuko. Yet, if I choose not to write, to remain silent (as witnesses may remain silent), I am, for-myself, inauthentic in my re- sponse - which is to _keep the Doctor and Nikuko before the public,_ to allow the public to view, however mediated, the constancy that is the two of them locked, as if in fatal sexual embrace. Thus "at the risk of boring the reader," always a reminder, which is by necessity a remainder, of Nikuko, more or less naked, more or less in her pink tutu, more or less shaved, turning before Doctor Leopold Konninger, more or less naked, more or less in his suit, top-hat and monocle (cane by his side), more or less erect and spent, _as if by virtue of a hair._ And that this image, from the imaginary imagination, equally spends itself within you, the voyeur to their exhibitionism, reader to my writing (and _that_ is where the dissymmetry emerges) - delineated by dreamwork, by ei- detic imagery, by hypnagogic imagery, by imagery at the service of every- day life. Who is open to whom? For whom the pirouettes? Who, at long last, becomes obsessive ballerina, and who watches himself or herself in what mirrors, what _photography?_ ------ Sources for Nikuko and Doctor Leopold Konninger 1. Chaucer, Merciles Beaute, I: Your yen two wol slee me sodenly; I may the beautee of hem not sustene, So woundeth hit thourghout my herte kene. And but your word wol helen hastily My hertes wounde, while that hit is grene, Your yen two wol slee me sodenly; I may the beautee of hem not sustene. Upon my trouthe I sey you feithfully That ye ben of my lyf and deeth the quene; For with my deeth the trouthe shal be sene. Your yen two wol slee me sodenly; I may the beautee of hem not sustene, So woundeth it thourghout my herte kene. 2. Sue Williams, Lacanian Ink 7, paragraphs 5-7 Now she's beaten, sad and in pain... but she'll move on, will get out of it, finally. Domineering? She'll give it a try--wear leather, high thin heeled shoes, a whip, also may excel at verbal abuse. Now it's men: they come in by the hour, are very peculiar, want disgust- ing things. They masturbate, scream--Mom, mom--while she urinates on them; or they bring their own tutus to wear, their own ballet petticoats: "Aun- tie Lady I've been bad, I need to be raped with a dildo..." Now she has power over the beasts. 3. Immanuel Kant, Universal History, first and second thesis: All of a creature's natural capacities are destined to develop completely and in conformity with their end. [...] In man (as the sole rational creature on earth), those natural capacities directed toward the use of his reason are to be completely developed only in the species, not in the individual. 4. J.N. Adams, The Latin Sexual Vocabulary, page 126: _Irrumo_ in etymology reflects the popular obsession among Latin speak- ers with a similarity felt between feeding and certain sexual practices. It is a denominative of _ruma / rumis,_ 'teat,' and would originally have meant 'put in the teat.' [...] _Irrumo_ and _fello_ describe the same type of sexual act, but from different points of view: _irrumo_ from the view- point of the active violator (= _mentulam in os inserere_), _fello_ from that of the passive participant. 5. Hippocrates, Decorum, V., first part: Wherefore resume each of the points mentioned, and transplant wisdom into medicine and medicine into wisdom. For a physician who is a lover of wis- dom is the equal of a god. Between wisdom and medicin there is no gulf fixed; in fact medicine possesses all the qualities that make for wisdom. It has disinterestedness, shamefastness, modesty, reserve, sound opinion, judgment, quiet, pugnacity, purity, sententious speech, knowledge of the things good and necessary for life, selling of that which cleanses, free- dom from superstition, pre-excellence divine. 6. Ron Ewart, Fuchsia Lexicon, Revised Second Edition, page 86: 'Dancing Flame' - STUBBS 1982 - AFS Registration No 1621 - Double _Tube_ short and thick, pale orange to flesh with darker stripes. _Sepals_ pale orange on top, slightly deeper orange on the undersides, medium length, slender and recurving slightly. _Corolla_ orange carmine, deeper shade in the centre and lighter orange on the outer petals, slightly flar- ing. _Foliage_ medium green, largish leaves with serrated edges. _Growth_ trailer, basket variety. Can be grown as a bush with early support. Vigor- ous and free-flowering. _Parentage_ 'Novella' x 'Applause.' __________________________________________________________________________ The Ownership of my Body at Trace: The Group drwxrwxrwx 1 owner group 0 Nov 4 14:31 _vti_cnf -rwxrwxrwx 1 owner group 54 Oct 15 15:55 ~$le.txt -rwxrwxrwx 1 owner group 81183 Dec 7 9:39 diary.txt -rwxrwxrwx 1 owner group 86236 Dec 17 6:16 diary2.txt -rwxrwxrwx 1 owner group 20007 Dec 30 5:35 diary3.txt -rwxrwxrwx 1 owner group 93375 Oct 31 23:27 le.txt -rwxrwxrwx 1 owner group 97764 Dec 3 4:31 lf.txt -rwxrwxrwx 1 owner group 68226 Dec 30 5:16 lg.txt -rwxrwxrwx 1 owner group 90603 Sep 22 6:43 setup.txt (permission granted for distribution:: group: Daishin Nikuko, Dr. Leopold Konninger, Alan Sondheim) ___________________________________________________________________________ last formula, murmur, calculated for this year's end, please recite during the day of 12/31/99, necessary for establishment of all spheres, please do not recite this prolog, please understand the encoding is compressed to a very high degree, unraveling will unravel this and all other worlds, i have taken precautions - (( n iao n non maoeo orerere n memar rimo lnuln iaa l lonul arareoeo orerere n memar rimo llnul iaa nul lonul ararenoeo orerere n memar rimo nullll iaa nul non ararenoeo orerere n memar rimo lnuln iao n nonul maoeo orerere n memar rimo lllln iaa n non mroeo orerere n memar rimo llnul iaa nul nonul mroeo orerere n memar rimo lllln iao n lon oaooeo oarimrorim ramoaa rimr aroraorimo rimo iarorim irimom iro iamoma imrimrar imam imararim )) ----- fragment... BRK .sm BRK i.lt BRK et BRK rstom.nc BRK .net.tt BRK et.pg BRK w.edu.pl BRK .uniandes.edu.co BRK .za BRK wan.ac.uk BRK ensu.ca BRK .fapesp.br BRK ncst.ernet.in BRK dcc.uchile.cl BRK .bg.ac.yu BRK m :: broken traceroute --- ^^^^^ Raise both hands, palm upwards, hunching the shoulders inward, the fore- head also raised, including the eyebrows. Accompany this with a slight smile. Point across the space with the index finger of the right hand at the other. Raise and lower the head in his or her direction. Now bend your body forward, holding your hands concave/convex (the left hand arched away from the body, the right hand arched towards the body), draw them across your limbs, one after the other, slowly lingering. Following this, place them across your chest, as if you were wrapping a blanket. Then extend your arms away from your body, with your hands horizontal, mostly flat with your palms downward, and raise them to a height indicating a great pile. Sweep outward with your right hand, indicating negation. Now you have the attention of the other. Look intently at her. She will look back intently at you, but you must attract her attention to your hands. The indexfinger of your right hand should then touch her chest, approaching her in a closed position, except the forefinger should be crooked against the end of the thumb, with the whole configuration upright and the palm outward. Now move your hand slowly horizontal, and look intently at her again. She will look intently at you again with her forehead raised and a slight expression of consternation, her forehead slightly wrinkled, her eyes half-opened. Now speak to her slowly and say, "We don't want your clothes." She will understand your gestures to refer to the great amount of clothes she has offered you. _________________________________________________________________________ clothes and truths in this world we don't need clothes. in this world we're invisible and our skins are invisible. in this world we don't need skins, so we need clothes so that you can see us. i say these things all the time with mouths you don't hear and voices that don't make words across the screen. for example this is coming to you live, pitched way above the human sense of touch and you can't hear it, and i can't reach you. but we're invisible and i'm breathing down your neck. i can see your skin through anything you place in the way of clothes. this is an exciting place. you have never answered to yourself, what is sight. you're content with placement and the very form of meaning. here's the truth about you, the world of commas, you hate yourself, you can't look at yourself in a mirror, secretly, you think you're brilliant, but you're a prisoner of your awkwardness, you know people despise you, you know those few who love your work find you a caricature, you've known all along you're considered blemished, if you're considered at all, you're barred from distributions, you're considered to write too much, produce too much, secretly, you desire an editor, more than that, someone to save you, your work, you know there's no salvation, sometimes you just wish for everything to end, you feel, even more secret- ly, your work will be valued, finally, when you're dead, when people no longer have to deal with you. thank you, i know you have invisible skins. i know you are saying these things to me, although i cannot hear you, and there is no way at all for you to communicate with me. a line drawn here is not even a line drawn there. here and there are not in the same realms; we are otherwise for each other. i can't see your skin at all, and you can't see mine, and we are fictions of the real. i don't hear voices, a world of sentences. __________________________________________________________________________ too much anatomy skin skin, no jump-cuts, skipping nothing, guitar tuned so low microtones are patches of skin skins are invisible. in this world we don't need skins, so we need clothes breathing down your neck. i can see your skin through anything you place thank you, i know you have invisible skins. i know you are saying these each other. i can't see your skin at all, and you can't see mine, and we tissue bone above mausoleum-mouths, skulls riding into roof-hole skies, boned bent there's a bone in my foot against your splintered bones against your splintered bones calls forth dissolutions last suck, ingest- name burned in me, my tongue ripped against your splintered bones is, dead name burned in me, my tongue ripped against your splintered bones? muscle hair shakuhachi and voice combined, azure and me on the floor, on the chair, as packets sputter and die, i'm slamming my arms into the chair, the pain Nikuko the famous Russian ballerina was near the wooden chair where Doc- his side), more or less erect and spent, _as if by virtue of a hair._ And vagina penis eye signal corrections, eye always on the waveform monitor and vectorscope I will be what I will be, or that which I will be, eheeyeh ASHER aheeyeh, tion of the continuous I / eye? It is death that detours back into the i rip your cock, your eyes, your mind, writing beneath the .concealment Nikuko, said Doctor Leopold Konninger, I cannot take my eyes off your dyes, you'd have eyes and if ocular separated from troff, you'd have off his eyes off her legs beneath her pink tutu, which rose and fell with eve- head also raised, including the eyebrows. Accompany this with a slight eyes half-opened. Now speak to her slowly and say, "We don't want your mouth for queen, mouth, wheel, superimposed over disheveled azure mouthing aah, glazed look, tripods everywhere, my mouth's long aaah in background, this above mausoleum-mouths, skulls riding into roof-hole skies, boned bent skull-heart thinking twisted moon against words mouth-lined, from steamed so that you can see us. i say these things all the time with mouths you cock pain, contusions on our skulls, cock lacerations, labial woundings churn violent cock, violent cunt, it's the burn-marks as bodies splinter, grope, i rip your cock, your eyes, your mind, writing beneath the .concealment teeth, your breasts shuddering in pain, contusions on our skulls, cock this cunt and cock shaft, torn and bleeding lent cock, violent cunt, it's the burn-marks as bodies splinter, grope, abia surrounding my cock, the cock, at the very interval of the cunt violent cock, violent cunt, it's the burn-marks as bodies splinter, grope, this cunt and cock shaft, torn and bleeding lent cock, violent cunt, it's the burn-marks as bodies splinter, grope, cunt, to the labial portal backoning my hand my hands, want that freedom of pure touch ahead of visual feedback, here i studio imagery, as well as more musical recording. i worry that my hands haven't been able to shake it, the v5000 camcorder was able to handle the rol is the slider or knob, the hand twisting about the boards, arm moving the tape in my hand, the noise on the vhs vcr, in problematic opposition the final crash. On the other hand, like Star Trek beaming, they may re- Raise both hands, palm upwards, hunching the shoulders inward, the fore- smile. Point across the space with the index finger of the right hand at body forward, holding your hands concave/convex (the left hand arched away from the body, the right hand arched towards the body), draw them across your arms away from your body, with your hands horizontal, mostly flat pile. Sweep outward with your right hand, indicating negation. Now you intently at you, but you must attract her attention to your hands. The indexfinger of your right hand should then touch her chest, approaching outward. Now move your hand slowly horizontal, and look intently at her foot footage from the tr81, the jittering just added to the dance, used noise there's a bone in my foot body pixelless image, the image-body as flux or flow, it fascinates, fastens of the body against imminent desire, imminent against immanent, clutching no wings,' one always inheres in the body, its presence-presentiment, it's i attach serrated edges to my body! my body slows into an easy descent on referent, in relation to body and pain, this bursts through desire, body and sex, writing beneath the .concealment of the name, my body bandaged, flesh of the name, my body bandaged, flesh seared to the core from your intense opposing thumbs, relatively upright posture (body swiveling) - you've got might well predate spoken language. Look at the way the body moves! What's lded and circles your body. Your your body. I open myself to you. pirouettes; I am obsessed with your body; I dream of you all the time. If If being separated from threnody, you'd have body. If sighing separated body forward, holding your hands concave/convex (the left hand arched away from the body, the right hand arched towards the body), draw them across your arms away from your body, with your hands horizontal, mostly flat __________________________________________________________________________ MEMORIA TO: TO SACRIFICE HE WHOSE HANDS ARE CLEAN V O T E P O R I G I S TO: TO STOP THESE USELESS DEATHS: J V L V I S CIRVSINIVSHICIACIT P R O T I C T O R I S CYNOWORIFILIVS Memorial to Vorteporius the Protector Guortepir the Protector Votecorigas the Protector MEMORIA TO: SOLI INVICTO MEMORIA: INVOCATION OF THE DEMON SPIRITS DEI . HERCVLIS . AVGVSTI . IN VICTI . I N . V I C T I . XIV IX . J V L I V S . MEMORIA ________________________________________________ The Nikuko Starrring Azure Carter, Foofwa d'Imobilite, Alan Sondheim 0:00 Color Bars, a good beginning! 0:27 Nikuko pirouettes with three cameras and there are sfx and a text introducing Nikuko and Doctor Leopold Konninger 5:15 Nude Nikuko sitting on nude Doctor Leopold Konninger with sfx and a made-up text in a broken voice 7:15 Quickcam segments with Nikuko's voice describing her sexual exhi- bitionism with the obsessive Doctor Leopold Konninger, central images surrounded by text 15:19 Nikuko pirouettes in a transparent skirt for Doctor Leopold Kon- ninger, in front of electronic equipment; she is visible from the waist down 16:13 Nikuko and Doctor Leopold Konninger, both fully dressed, dance majestically through Quickcam before the studio equipment, and Nikuko takes a bow, twice 18:06 Silly sfx and wipes with text beneath draining the image and speaking about the obsessive sexuality of the work so far 19:28 Nikuko in open kimono mouthing AAAAH like a shinto guardian, her voice joined by other spirits 23:12 The Male Ballet Dancer moves neurotically through the space, half dressed, while Nikuko watches in pink tutu and Doctor Leopold Konning- er speaks into a microphone, shuttling everything between three cameras 33:17 Three still dance shots bring this dance to a halt 33:35 Nikuko in tutu and the Male Ballet Dancer perform a Musical Number outdoors, superimposed on the Male Ballet Dancer performing on a wall 41:51 Very short section of Nikuko putting on kabuki makeup while a superimposed noh ghost watches and imitates; Nikuko is dressed in a Ko- rean wedding dress 42:25 A woman's Face appears superimposed on a train, her Face filled with naked limbs, cutting to Nikuko half-naked staring at the camera, cutting to Nikuko and Doctor Leopold Konninger naked and staring, cut- ting to Nikuko touching herself in open kimono, opened further by naked Doctor Leopold Konninger, cutting to an explanation of confusion and Trying 51:48 A Doodah song accompanying a half-naked Nikuko and a fully naked Doctor Leopold Konninger exchanges places while words roll by at the bottom of the screen 54:40 Nikuko dances strangely by herself on the right-hand side of the screen while the Male Ballet Dancer in an odd outfit dances before the camera, and Doctor Leopold Konninger plays equally odd and fast music on the left-hand side of the screen 1:03:44 Nikuko lies exhausted on a blanket wearing a pink tutu 1:04:00 The tape cuts to black ________________________________________________________________________ Of a Dreme "So forth they started in the bright sunlight, from Nottingham Town to Fosse Way and thence to Watling Street;" which as everyone knows was sunny in Roman Times, still retaining the sense of the old Flagstones when Robin and his Merry Men rode against the Sheriff who foretold his Niece, Marion, that doom would come to them, and so they did, and he did, as she did lis- ten, and they did, as the street. Will Stutly doth disappear, a momentary lapse, from such a narrative as having been caught by the Sheriff's Own, and thus, as such, he did sit while Robin doth occupied central stage. So during this time, Will doth manage to meander a pace to one side, askew, behind the trees where the gaol was wont to be, there beholding, however not on naked ground, a strange Manne there was a-watching a woman in a great pink dress a-whirling. What manner of Manne doth this be, thought Wille, of consternation, not for a moment his eyen keene to remove in suche a sweven from the nakkid breasts of the woman, for whom no attention was too mickle or too littel. Soon he did notyce a platform & up-pon it syche a manne as he dydde see with his owne eyen, of a different ordre, it were. A leman walketh bye to be herde no more. What of this couple, sayde Wille to him selfe, with nary a wonne to heare. Who did cometh, of what saye ye, now thenne. He ys a clerke, sayde he. Hwat sayeth tha manne, of whatte is that a fundament? The leman doth heare, the clerke looking and lyking the womanne. Such she wys. A swevening, thought Wille, theye were there stille. _________________________________________________________________________ http://www.anu.edu.au/english/internet_txt When I die I need you to create my philosophy. Please do go and read all of the Internet Text before it is taken away. It can be taken away at any moment and you must save it yourself. Then when I die you can go back and love every word for its brilliance. You can harbor words close to your body so you will finally understand me. All my words connect through underground chambers very close to the truth. The chambers form hieroglyphs of the mind and my philosophy. You will find everything you need in these hieroglyphs of my philosophy. You must take a great deal of time because thought does not come quickly. Every moment you spend on my Internet Text will be repaid in full. You will be utterly changed because you will have worked it out yourself. All truths cannot be uttered by anyone except yourself. I have opened the gate for you to understand this and other truths. In my Internet Text you will discover if there are truths at all. Perhaps you will discover if there are truths in any case. My own needs will be met if you read and reread my text and understand. To understand you must save the words and the order of the words. My own needs are those of surviving through the words I have written. No one will understand me fully for decades except through concentration. Concentration and study are the keynotes to this success. With all my heart I promise you this will all be worthwhile. You will judge for yourself and realize the truth I have given you. The philosophy is there within as the greatest gift of all. Please be successful with my philosophy and save my very words. This is a hope for tomorrow and I will never know if I am in your heart. Thank you for preserving my Internet Text and studying its philosophy. _________________________________________________________________________