info comfort en-trance, entrancings into nettings, information garnered everywhere, perusals of organisms across sensitive antennae of transmission media, data-forming quietly flowing onto screen, configured typeface maybe set by user, owned information lovingly poured in windows, readily absorbed in infinite variety, anything asked of world politely, anything returned by world, politely and to everyone, talkings and murmurings swiftly being, writing any of one and everywhere, wonders of sound and movement, the presencing-now, totalities freely given, examined, absorbed and passed from one to another, constituted, reconstituted, emerging of new life- forms, soft comfort-ridings of shapes and theories, worlds and worlding images, quiet responses from uncharting realms, receivings and resendings, keepings and detourings, expanding nows and narratologies, living lives of comforts through comforts, pleasures and exhilerations, worries, slipp- ings, movings-on, exitings, entrancings into nettings, into comfort, among comfortings and comforts, out of comforts into comfortings you looking me, always finding me, me looking me, always finding me, you looking you always finding you, me looking you always finding you, == heartfelt thanks i want to thank everyone from the depths of my heart, that i've been able to log on, this wonderful time. that there is a an internet provider with loving and intelligent people, keeping complex machines running with smooth and fluid connections, and that i am able to dial them up with a swift and complex machine of my own, in order to write and chat with you with so much comfort. i want to thank the electric company that they have given me this power, for it is with this power that the missile missive comes from me to you. i want to thank universal routers unlimited for procuring stable pathways. i want to thank the world for providing me with nourishment and health, that i still have use of my hands and mind, eyes and fingers, that i am here, that thankfulness need not have an object. i want to thank the theoretical premise of the fragility of good things in the midst of chaos and catastrophic disorder. it is enough to keep me from crying and depression in the mornings. it is almost enough, the delicate comfort and tenderness of being online, looking forward to comfort-mess- ages every day, that this missile missive has come through, one more time, in a very troubled world. === "nothing happens to the dead" here is what i learned about death: that nothing happens to the dead, nothing else happens to the dead, blank death, nothing happens later to her, her blank death, gone, it is a blank. from the rites and roles, the name disappears. from the tabulations and histories, it is gone, that is all that occurs, it is a secret sin, it is nothing more. her belongings dissipate, are sold, traded, discarded, destroyed, passed on. emptiness fills former spaces, her rooms are gone, there are new eyes, nothing hap- pens to her, nothing happens to the dead, 6714:0: here is what I learned about death: that time stops, that nothing else happens to the dead. all that transforms, later, attitudes of the living, you carry the image in a private pocket, it is a blank, from the rites and roles, the name disap- pears. from the tabulations and histories, it is gone to her, her blank death, gone, nothing else happens to the dead ++ remote nikuko has the remote: she dances in a short black skirt: her cunt is shaved: she pirouettes wildly: in the midst of cameras clattering in order: following her: making the background move: :ecstatic eyes appear rimming the skirt: she stares ahead at: :quick silver: :quicksilver cunt :nikuko's cam staring at his cam: intermeshed cams of visibility: turning or twisted in the machinic libidinal economy: quick silver exchanging hands at: :doctor leopold konninger: naked: shaved: his erect cock provid- ing the mechanism for the gear-nikuko run by liquid silver: ears rim his head: he's always muttering before the camera staring him heavy in the face: he's looking at: "Your rich quicksilver cock is in my soiled quick silver hands" he's looking at: "Ah: your vagina offer by nikuko-of-open- arms and nikuko-depressed" he's got a remote: he's lost it "Would nikuko dance in a short black skirt": her cunt is shaved: she pir- ouettes wildly: in the midst of cameras clattering in order: following her: making the background move: ecstatic eyes appear rimming the skirt: she stares ahead at: the big party: nikuko's cam staring at his cam: in- termeshed cams of visibility: turning or twisted in the machinic libidinal economy: quick silver exchanging hands at: Where are you: Who is in cont- rol: nikuko has the remote == The Future The war between drivers and cell-phone users is the war of the future - on one hand, the mobile electronic environment and its phenomenology of immi- nence and skittered jump-cut; and on the other, the older, electro-mechan- ical environment, with its continuity of space and time. Think of the lat- ter as third-personal, the space of visuality; and the former as second- personal, the auditory space of intimate presence. The spaces collide on the road, where both demand attention; in the long run, it is the electro- nic environment which will win out as communications becomes increasingly miniaturized, prosthetic, cyborgian, and personal. This is the first skirmish, in other words, between two ontologies, two competing phenomenologies - one whole, totalized, constructive, based on proper articulations and armatures, and the other always already broken, constituted, shuddered, based on improprieties among competing protocols and miniaturizations. On one hand, the result in the real is the Ballardian Crash - on the other, the result in the virtual is the multiple dispersion of Nikukos. I take credit in this competition for propagation-dissemination among all forms and by any protocol possible; the credit I have taken has already been taken, transformed, by someone else, some one or others ... === write=sex=upon=the=bones=or=shards,=it's=the=best=way=to=scrawl=things= disappearing=in=their=making;=you've=got=to=read=among=the=scratches= while=skin=heals=or=shards=crumble=or=carry=hardly=anything,="Panep= fucked=Tuy=and=she=didn't=want=to" === === === === === === === === === === === === === === === "put=your=hair=on=and=let's=fuck"=broken=works=and=shards;=you've=got=to= break=thick=edges=and=read=across=the=jagged;=it's=there,=words=are= disappearing=in=their=making;= === === === === === === === === === === === === === === === you've=got=to=read=among=the=scratches=while:write=sex=upon=the=bones=or= shards,=it's=the=best=way=to=scrawl=things::"put=your=hair=on=and=let's= fuck"=broken=works=and=shards;=you've=got=to:write=sex=upon=the=bones=or= shards,=it's=the=best=way=to=scrawl=things= === === === === === === === === === === === === === === === it's=there,=words=are:=holograph=with=ideogrammar= === === === === === === === === === === === === === === === === === Archive derive On the cover of the cdrom versions 2.2-2.4 - an image of part of the Salt Lake City Post Office, pastel and geometrical, compartmentalized, perfect storage for the archive within. The newer title: Archive replaces the older sub/con/text. What is the archive: There is an entry, a portal, whose walls represent an enclosure, a gate- way with a gatehouse, the beginnings or root of spaces and spacings. Think of this as an emission source or point of illumination, in relation to in- visible systems and files hidden behind the walls - the root organization of root systems, what Memmott calls thick protocols. It's the illusion of freedom within and against such. There are shuttlings, jectivities back and forth among them - lateral across the interiors, or vertical, back to the portal itself. The root can be one among many; on the cdrom it lies among tree-maps of the rest of the material. No matter the links, everything is a file or directory, tree or subtree. It is the thick/thickets beyond that are hidden by the portal to the ar- chive whose contents appear transparent, vulnerable, splayed, impaled. The exterior of the archive is cartesian, aligned, delineated, clarified; the interior is accumulated, a collusion or holarchic entanglement of various strands. Among the strands, content resonances, and what might be considered lay- ers. One data-mines, content-minds, searches these out, constructs and constitutes, just as the files themselves are constructed, constituted - but at the level of syntactics. It is the fabric of theory or the fabric of the theory of the fabric of the real - or the style of theory or the style of the theory of the style of the real. Peripheral vision: Where to go to / from here. Where you are: within one or another file, others on the periphery, endless circulations. What you find: repetitions, resonances, signals across platforms, harmonics and subharmonics - the weavings of semantic skeins. The post-office: All this occurring within an ante-room of the post-off- ice - past-office, posting, to post: to locate against or behind the mail-post, to send post-haste, to arrive immediately. Post-office node/ mode of communication: letters, money (silver or gold), packages, in due haste or freight or both. The arrival into the box. The holdings. Opening and retrievals. The labor of the opening and retrievals, the organization of the labor, humans and unions and machines and fabrications. The transportation art- eries. Semantics: conversion of exchange value to use-value, the inertia of meaning - retardation, residue, slow-down. Holding the flow in abey- ance. The mindfulness and attention paid to the reading and writing. The listening to resonance. The resonance. Introduction as resonance. Portal and slippages of works, loose bearings. Introduction to resonance, harmonic theory. Portal to the introduction, slippage of the portal, loose bearings of the works. Resonance of the loose bearings, slippages, screechings, slip/stick. Harmonics: integrations, smoothing it, creation of objects from the plen- um. Manifold of the bearings of the worlds. Portal to the manifold. === === === at a conference positioning, holding forth, the gift of the self, returns "in a world of anomic isolation, each separate & in travail" and: at the great conference I sense I am with other people whose mothers and fathers have died, who have been cast out alone in the world, and who are living and speaking by their own wits, who are bereft and lonely; at the great conference, I sense I am among the departed, that there is none preceding them, that there is none among them; at the great conference I sense an unutterable silence among those who speak, those who listen ... or: "The screen is a very provisional state." (Jacques Derrida) === === === heavy////moving////across////the////templates.: nothing////inscribed,////no////chisel, nothing////////////manuscript////with////ideogrammar slant////stick I////forget////where////I////put////all////those////things, "said////Nikuko,"////they've////got////to////be////around////here somewhere.////I've////already////counted////them,////"said Jennifer,"////and////sometimes////I////want////to////be////able to////just////forget////about////the////world.////Things////are////a tallying////of////numbers,////"said////Nikuko////after////a//// while,"////slant////sticks////both////countable////and//// unaccountable.////It's////a////question////of////instances,//// "Jennifer////replied,"////the////protocols////and////rules governing////the////world,////configurations////and armatures,////articulations.////Where////are////those sticks,////"said////Jennifer,"////they////seem////to////be around////here////somewhere. ===////===////=== archive of new library: heavy moving across template-mode.:nothing inscribed-mode, no chisel-mode, nothing-mode -:this is incision in earth-dust-space-mode:library-mode :library your assertion-mode cuts incision-mode:mine-mode: manuscript-mode with ideogrammar library:library:library:library:library library:library:library:library: library:library:library:library:library library:library:library: elegiac paean-mode:library ideogrammar: :incision:library:library :stylus inscription-tabulation of book dispersion:library:library :ideogrammar of book dispersion::control-d::control-c::control-z: :control-mode library:library:library:library:library === === === of -|-|- wheel -|-|- yoke -|-|- spoke -|-|- axletree -|-|- lathe -|-|- inner reins of a team of three horses -|-|- end of the main axle projecting beyond the hub -|-|- yoke with a bent end -|-|- partition frame of a carriage -|-|- wheel of a cart -|-|- hood of a cart -|-|- shaft roller -|-|- two wheels of an axletree -|-|- leaning board -|-|- for carrying earth -|-|- spoke of a wheel -|-|- two pieces of wood keeping the axle firm on both sides underneath the cart -|-|- spoke of a wheel -|-|- rumbling of wheels -|-|- board on both sides of a wagon -|-|- metal cap on the hub -|-|- circular rim of a wheel -|-|- grease pot hung at the axle to grease the wheel -|-|- cross- bar at the end of a shaft of a big carriage -|-|- spoke of a wheel -|-|- board beneath the leaning-board -|-|- wheel and axle -|-|- catch for stopping a wheel -|-|- crossbar at the end of the pole of a carriage -|-|- end of the axle protected by metal -|-|- distance between two wheels of a cart -|-|- carter -|-|- of -|-|- Among Invisibility (in answer to a question about writing in relation to oppression) Oppression doesn't appear for me; in life, yes - in terms of being a Jew, of being 57, of being outspoken, of being elsewhere than modernism / post- modernism. But it doesn't appear in my writing, in the bearing of the sty- lus on the page or text. Whatever is reactive or political in my life is by and large outside the text - although I have taken strong textual (and elsewhere) stands against racism, sexism, ageism, anti-semitism, and so on. A number of these texts have been Net-specific, against censorship, corporate inundation, etc. A number of them have been distributed online. But I am not a victim, and I refuse to be a victim or feel victimized; I refuse to abide an enemy who will dominate me and my work. This is not a position of privilege whatsoever; in fact it is the opposite - working within a culture of oppressions, power, and privilege, and, nonetheless, carving out a territory of unease. Such unease is not in response to oppression, but to intense self-ques- tioning, sweeping aside any grounds, stances, or foundations that might provide a modicum of inauthentic comfort. In other words, I refuse Heide- ggerian authenticity; I refuse the proper name; I refuse the aegis of the virtual or the real; I write from anywhere and no place. I do not have oppressors; I refuse to have oppressors. I write out of elsewhere, entirely and in its entirety. Instead of idea- tional oppression, ideological subservience, I produce from the opposite: following paths to the limits, moving beyond them, hurrying on. I refuse ideology or the protocol statement; I opt for continuous movement, inves- tigation. I refuse. ====================== My Stigma "The path of evolution is specialization, chiefly by adaptation; only oc- casionally is evolution progress. The upward march of organic nature is before the eye, palpable, pleading and perspicacious, but degeneracy is largely unseen, impalpable, sequestered and ignored. Often though expres- sed openly, even throughout great natural divisions, it is not apprehend- ed. Progress involves complication of structure; simplicity of structure too often means derivation by degeneration from the complex rather than initiation of upward advance. "The total result of degeneracy in nature and in human society presents itself to us as the outgrowth of a primitive miscarriage in the normal upward trend of nature which has grown in intensity with the passage of time till now it presents to the philosophic mind the appalling condition of a widespread downward impetus throughout the living world whose tenden- cy is to undermine that which still stands upright. Degenerative tenden- cies in organic and in social life increase and intensify by their own impetus, like a stone rolling down hill. It has not been shown that there is in nature any power to redeem itself when degenerative adaptation has once begun, any hope of salvation within the organism or group of organ- isms, of turning back, recouping and starting again on the upward path. In the face of the counter evidence here set forth, the conclusion is unav- oidable that, for a large part of humanity ethical philosophies are inef- ficient and illusive. "The lines of progress in organic life have steered wide of these depen- dent existences or have maintained their charted course in spite of them. [...] "The straight clavate tubes of Clionolithes priscus (McCoy) usually originate at the edge of a dead shell and expand gently inward; probably the sponge nested at the club-shaped extremity of the hole, drawing the water currents in to itself. It is not always the case that the shell was dead before the work of the borers began." (from John M. Clarke, The Beginnings of Dependent Life, Albany, 1908.) === computer breakdown ideogrammar vvvbjbbnnnmmmm/.,mnmnbbvbvcxzxdsadsads dsgdgdgdjjjjjjjkkklll;;;;''ATE1Q0V1X4 &C1&D2 S7=60 S11=55 S0=0 & here it begins and tries ATE1Q0V1X4 &C1&D2 S7=60 S11=55 S0=0 wounded and delirious and ATE1Q0V1X4 &C1&D2 S7=60 S11=55 S0=0 unsuccessful, to reconnect, ATE1Q0V1X4 &C1&D2 S7=60 S11=55 S0=0 half-dead, half-alive, half- ATE1Q0V1X4 &C1&D2 S7=60 S11=55 S0=0 online, faltered, crawling, ATE1Q0V1X4 &C1&D2 S7=60 S11=55 S0=0 to violent cutoff, uncertain +++ death "of the three +, an error" keyboard error 203:: &C1&D2 S7=60 S11=55 S0=0 & here it begins and tries calls forth tong ues holograph, hungered, making things. beneath the caverns, &C1&D2 S7=60 S11=55 S0=0 & here it begins and t ries is , 030], dsgdgdgdjjjjjjjkkklll;;;;''ATE1Q0V1X4? ... holograph is ATE1Q0V1X4 &C1&D2 S7=60 S11=55 S0=0 unsuccessful, to reconnect , on black stone ideogrammar +++ dance dance and move apart, reflected in terminal screens, sewing lovely warm possession or not. om dance. om extol. one who has sunken eyes ! one has them. there are no right-thinking adults. a dancer once said to me, en- couraged in one of her dance classes. thin bodies collapse the graders and bodies of dancers. one or another makes good impressions in nijinska who dances in the diaghilev ballet. "the classical dancer turns out the entire body, opening from the heart the lower body, to dance only with the legs. turning out solely from the the dancer's physical prowess is not a sexual attack... actually, de deux is always done alone, the dancer reaching deep inside hirself to watching the troupe on-stage. i feel a rush when one dancer lifts another, that no one alive today saw nijinsky dance, and the point isn't the theater, painting, they come into play in sculpture, in dance. they come fell asleep angry. she danced the rock and roll. her little brother got a slow dance of chora and control." i'll wear a skirt-o, dance and prance-o? who's to know-o, o o o o, maybe dance across the glass-o me! my mouth-o opens and closes with delight-o dropped into the eyesockets of the dead: play morris-dance across my cosmic dance of energy and matter which had absolutely no meaning, came out i went from just a program in a senseless dance of atoms to a melded framing. you can stepdance indefinitely one against the other, love and hatred in the human heart. but i can't dance in a bar - and i think of the dance as a whirl without consent, like the body burning, on prosthetics, glasses, tampax, nothing encumbering, the dance opens up as extension or an afterthought - the world is the afterthought of the dance. one can imagine a state like that of a dancer whose weight loss may be troubling, depth, solitude of one's dark night of the dance of souls. the two of them danced together, clawed together, frisson, tremble! made rise! you'd see a perfect dance! so a word dance pulled at the skein of mind. and so it behooves us to release. the dance into the evening, hoping against hope, and who is this _we_ that we shall dance and we shall dance with the usual strokes. the stars are certain to keep their counts, poor troupe, hardly suitable for your entertainment, and we dance from, doing that long slow dance, that theory theory dance out in thundering skies. i want to go to your dance with all you. i want your party now. party-club-dance. so listen party- club-dance in the pretty-party-dress! "dream-states have as their function the avoidance of displeasure." but woman. but i am despairing to remain alive, dance through you, i would rise, florence walton, and many other famous dancers. some people maintain that these new dances are improper and immoral. to prove their contention they point to the fact that these new dances have dances i will say that are just as proper--in fact, some of them are dancers; so it can readily be seen that it is not the fault of the dance, but of the dancer. nikuko: dance your stupid dance, i'll come out of the cave, grab you, and dance above the birds, then there will be a dance which will be slow and filled with absence. o julu, no one is coming in the dance of spirits, slow dance, then there will be a dance which will be slow and filled with absence, the distant flute and no one is coming in the dance of spirits, slow dance. the comedian makes people laugh. the dancer dances. the prostitute disa- grees with everyone, she knows it. new clar dances around, the great codon and the dance of kings and queens - this is the dance of kings and queens to be solemnly spoken as significant - it be spoken or sung, how may it be written. we who dance the dance of magic and atmosphere, interpreting the dance of kings and queens, and the dance is a royal dance, carried out in slow and delicate measure. when you lift your leg everyone has a look. (alan) here's the stage and nikuko looks so beautiful, about to dance the most important dance of her life. sure enough, god is in the audience, in the money, god's there, front row center. nikuko's beginning her dance. you, please save me, look, i'll dance the grand battement perfect for you, i'll dance for you naked, i'll dance for you with tutu and slippers, i'll dance with god himself, you'll be my god, ambassador, you with me and you'll live in a fine house with me and dance and drink, and we are very happy, i am nikuko, i am a ballet dancer. i wear a lovely tutu and i love to raise mine for the evening, doctor. i will dance for you and no one else. the ballet dancer and her naked pirouettes. nikuko is stunning in a lav- ender tutu and "last night i dreamed of famous russian ballet dancer nikuko still slowly" said doctor leopold konninger; nikuko, the "famous russian ballet dancer." devolution of nikuko, the beautiful russian ballet dancer, who continues russian ballet dancer pirouetting, why do you leave me lusting like a ballet dancer and we can hardly wait to see it. as long as nikuko remains the beautiful russian ballet dancer, produced in living flesh, fucking cut into the dance, the dance stuttered, shaved. i want the dance to go. there were some people over there who had a dance. some other people came to it in her net. she brought it back. some men at the dance tried to take on the part of "the famous russian ballet dancer and her doctor." they will, appear on screen, they might do a dance or two or a trick or should be seen in blackness. i'd imagine the dance and videos until there is a speaking in the space, or murmuring, of dancers and doctors - the video screen in which nikuko dances: it is the past. there is the dance of phonemics - as long as i can dance, i can dance with you, as long as i can live, i'm the best dancer ever! if you don't like me, you don't like dance! harmony just as if the world is so beauty born and you will dance that perfect dance and long filagrees will ascend across the heavens, with no face and no eyes. faceless and eyeless, this deity is the origin of song and dance. he is language thick within him. he is masked, bound; he dances through iron, nervous legs. "go into the middle. freak and dance the fiddle." "julu, shall you go with me, dance beneath the maple tree?" noh plays atsumori and matsukaze in terms of solo dance, certain wisdom in clara noh:was wisdom. dance or ordinary, an ordinary in nikuko whirls. be- yond which the dance ends, the tables are pushed back against words across the screen, caressing dark visions, empty space. she dances with ferdin- and, she told me, perfection. they live together, he can lean back almost to the floor, oblivious of audience and dance that he cannot touch. his fingers dance on the keys as if they were the dances and there were the monoprints and the photographs and every part danced deliberately although not slowly and not smoothly. beyond which the dance ends, the tables are pushed back with a blur - even this afternoon, i stunned a dancer with my charming dancers, dancing cheek to cheek. i dance because i've known you long. this was later, now it was wisdom-dance or ordinary, an ordinary in which we become once more. there is no void, interior nor exterior, there is not avoidance. that fam- iliar voice made space the dancers worked in. === === === sacrifice show |v| make known |v| awe |v| vernal sacrifice |v| offer a sacrifice to ancestors |v| worship ancestors |v| make offerings to ancestors |v| rites to ancestors |v| calamities caused by terrestrial disturbances |v| god in barbarous and fiery worship |v| earth spirits |v| supplication |v| place of sacrifice |v| stone family temple shrine |v| defend gods |v| divine care |v| protection of heaven |v| remove evils |v| obtain blessings |v| drive off spirits |v| ward off spirits |v| bury together |v| ancestor |v| ancestral temple |v| preach the doctrines |v| dinner of farewell |v| omen of prosperity |v| auspicious omen |v| omen of good luck |v| separate ancestral shrine |v| worship |v| make offerings to ancestors |v| remote and near |v| within a single hall |v| sacrifice |v| worship and make offerings |v| sacrifice |v| offering |v| ominous influence |v| pernicious influence |v| sacrifice meat |v| sacrifice flesh |v| for laying aside the mourning |v| for averting the evil |v| rites, a rite, the rites |v| |v| The They They have big feet to shield them from the sun. Their king is a dog and they take numerous wives. Once a year they have a festival in which there is rampant sex between husbands and other wives. They can run faster than a gazelle over stony paths. They have small horns on their heads, and two navels. They are very vigilant, and sleep, one eye at a time. Their bodies are covered with hair. The member of the male is enormous and covered with hair as well. Their lips are large, their noses very thin, and their sense of smell is uncanny. They have six fingers. Their skin is striped, adapted for hiding in the midst of the forest. They can bring down a boar with their bare hands. They use uncannily-crafted utensils of a metal hitherto unknown. Their pottery is covered with intricate designs. Their shamans are renowned for harboring secrets of the dead, and they can resurrect the dead. They know substances for turning humans into zombies, almost as if they were dead. They have elaborate funerary rites, but leave the body high on pylons for the birds. They are swift boaters, using craft woven of reeds and thin wooden staves. They have a third eye on the back of their head, in order to see who might be sneaking up behind them. They wear no clothing, even in the harshest weather. They paint their faces blue, and charge fiercely at the enemy, and are almost always victorious. They have a king called Erida. They worship numerous gods, but have a supreme god, who is the moon. They believe the moon is the shadow of the sun and the sun is the shadow of the moon. They believe the moon is the power of the sun, much as a young colt is powered by an older stallion. They believe the period of a woman has the power to slaughter, and that a woman must be protected at that time. Their children run freely until the age of nine, and may have sexual relations with others, both young and old, until the age of fourteen. Their girls never become pregnant before they marry, nor do they have need of abortive substances. They are very beautiful, but among them are some who are exceedingly tall, almost three cubits in height, and some who are exceedingly short. They eat a peculiar animal in their vicinity, which has two heads, and which excretes from the middle. This animal is clumsy, but my suddenly reverse itself, running forwards in both directions. They also eat of a bird which is enormous, five cubits across the span of its wings. The bird has the power to take away their children, which are saved for the goslings in their nests on the sides of mountains. These birds have feet like human hands. There is also a strange animal like a snake with fins which swims in their rivers, and they eat thereof. This animal is oddly spotted, and some say it is a kind of writing. Of music, they play drums much like our own, and a peculiar flute made of wingbones of the bird I have spoken of. Their dances are frenzied and obscene. Some would have sexual relations even while others remain on their feet. They speak a language which has no nouns and no grammar. They point to things in their vicinity when they wish to speak of them. They live long lives, until the age of one-hundred eighty, when they do not wish to live longer, being poor of body. They dye their hair numerous colors and wear it long. They have no names but immediately recognize each other. Their children are brought up by everyone, and play many games. They play a game with peculiar sticks which are suspended from poles half a league apart. They are slow to go to war, but fierce in battle. They have a history of their kings and queens, which they recite on important occasions. They have many holidays, but do not know the week or month. === Women, Spartans, and Dangerous Things The Spartans sit down on hard rocks. They are beaten by their teachers. Something is tearing their entrails apart. They want girls and boys. The teachers beat them. Write about them. They shoot arrows. They are women only. They kill males. They reproduce though slaves. They kill slaves. They are fighters. They cut a breast for the string. Their hair is dark. They love each other. They are brilliant. When girls, a fox gnaws their entrails. They don't move. They are blood- covered. They are glorious debaters. They have daemons. Write about the daemons. Daemons are little boys who love little boys. They whisper from nowhere. They advise. They are brilliant. They give comfort to the body. They are part of the body. Daemons speak the truth. Write about the truth. The truth is they shoot arrows. They blind their prisoners. They cut the hands off their prisoners. They pillage cities. They rape women and speak babies. They rape children. Stars protect them. They are men. They grow from soil sewn with dragon teeth. Their love is furious. Write about their love. All young girls made women by Gilgamesh - the priestess, the votaries, the cult women. Even the fisherwomen's sleeves robes and long sleeves. Certain older women wept secretly. The courtiers were bestowed from within the misu. The women's dresses, women's clothes and rolls of brocade, a silver clothes chest, and colours shone through the karaginu. The women's figures also showed blue karaginu of a girl and were so beautiful that they made us women clap our hands, but no one came. Some went to call the women frivolous women, so those who wish to serve them and remain in favour are light-hearted, unashamed, thoughtless women, and men who visit our women may not be so. Even women of high birth must follow women, keeping us from doing what otherwise we could do easily. But see and not be seen, hung before great personages and women's other women surrounded with screens and attendants, or by beautiful women, selected from various provinces for their women - more of an animal presence. Around the fire were women. Write about the women. === your breasts your line is read and re-inscribed. - consider the next element you will apply. your name should be inscribed upon me? your marks on your white skin and nubbed tips. you're following me. would give you a graphological mechanism? you wrote my names. pronouncements typed across your white skin. you wrote my name. scratched speech on your white stretched skin and nubbed tips haunting. that night the suggestions were taking; that night there were the queries in relation to the bearing of the dark. you were so sleazy then; i could see your breasts through your torn skirt. i dreamed you were coming on to me; in reality, it was the opposite, night and day, until you walked away, oh you of the dance of souls. now it's the solitude of the night held sway as you are away. you said i was sleazy. and the depth of this was troub- ling - how that worked into the night, how it worked out. in the black cloak of night i dreamed of seeing your breasts through your torn skirt. under the cloak of night, swollen skin and nubbed tips haunting me through all suggestions of your hips held sway, they hurt the light. how would you define your mountain stroke? how would you define your line? my oh you of the dance of souls. now it's the solitude of the night held sway in your language. my as you're away. you said i was sleazy. and the depth of this was troubling in your language. calls forth births manuscript, hungered, making things. upon the clouds, is her, 023, ? ... manuscript is that night the suggestions were taking; that night there were the queries on black stone ideogrammar? calls forth breasts and proclamations, hungered, making things. across the penises, is yours, 039, ? ... proclamation is me; in reality, it was the opposite, night and day, until you walked away, on black stone ideogrammar? ":::as you are away. you said i was sleazy." and the depth of this was troubling:in relation to the bearing of the dark. you were so sleazy then; i could :::troubling - how that worked into the night, how it worked out. in the black:oh you of the dance of souls. now it's the solitude of the night held sway write wrists as you are away. you said i was sleazy. and the depth of this was troubling through my dark nub of swollen breasts ideogrammar === === === CMYANTTTHEIRA "DrEAm-stAtEs=HAvE=As=tHEIr=FunCtIon=tHE=AvoIDAnCE=oF=DIspLEAsurE."=But suCH=unEAsE=Is=not=In=rEsponsE=to=opprEssIon,=But=to=IntEnsE=sELFquEstIng BrEAsts=AnD=proCLAmAtIons,=HunGErED,=mAKInG=tHInGs.=ACross=tHE=pEnIsEs. CArvInG=out=A=tErrItory=oF=unEAsE.=CIEs=In=orGAnIC=AnD=In=soCIAL=LIFE InCrEAsE=AnD=IntEnsIFy=By=tHEIr=own=CLoAK=oF=nIGHt.=I=DrEAmED=oF=sEEInG your=BrEAsts=tHrouGH=your=torn=sKIrt.=ComForts=tHrouGH=ComForts,=pLEAsurEs AnD=ExHILErAtIons,=worrIEs,=sLIppInG.=DoInG=wHAt=otHErwIsE=wE=CouLD=Do EAsILy.=But=sEE=AnD=not=BE=sEEn,=HunG=EnvIronmEnt=wHICH=wILL=wIn=out=As CommunICAtIons=BEComEs=InCrEAsInGLy=rELEAsED.=tHE=DAnCE=Into=tHE=EvEnInG, HopInG=AGAInst=HopE,=AnD=wHo=Is=tHIs=rIm=oF=A=wHEEL-GrEAsE=pot=HunG=At=tHE AxLE=to=GrEAsE=tHE=wHEEL.=sEE=your=BrEAsts=tHrouGH=your=torn=sKIrt.=I DrEAmED=you=wErE=ComInG=on=to=sLow=AnD=DELICAtE=mEAsurE.=wHEn=you=LIFt your=LEG=EvEryonE=HAs=A=LooK.=tHE=DEptH=oF=tHIs=wAs=trouBLInG=tHrouGH=my DArK=nuB=oF=swoLLEn=BrEAsts=oF=sLAvEs.=tHEy=KILL=sLAvEs=wHo=kIll=us.=tHEy ArE=FIGHtErs.=tHEy=Cut=A=BrEAst=For=you. I am crazy I know but you know you are WANTING me because I am BRILLIANT-MATTER. pLEAsE=sAvE=mE,=LooK, I'LL=DAnCE=tHE=GrAnD=BAttEmEnt=pErFECt=For=you,=your BrEAsts. YOU ARE WANT ING ME """"" === === === barbar i an :: i want to bend you backwards, spl i t you open, there are harsh l i ghts, you' re fuc k i ng someone else, i can't see stra i ght, medea-fur i ous, your p i nk flesh i s v i s i b le to everyone, i 'm clumsy, ox-l i ke, i 'm lean i ng over, they call me barbar i an, i 'll tell them what they can call me, my stra i ght i s fur i ous, i don't have to l i s ten to anyone, i hold your n i pples out, spread your lab i a, suns emerge, they bur n and char the world your pa i n doesn't get me, your s i lver gets me, my hunger gets me, i 'm that hunger you've fur i ously pocketed, i 'm that barbar i an i n the shadows, i 'm that sk i nned bone, boned sk i n, i 'm that clumsy, ox-l i ke world, i scrawl on stone on black stone i deogrammar: i t doesn't matter i 'm naked, as well v i s i ble, i 'm i nv i s i ble, i 'm that force you've learned to fear, i 'm that s i lver you've pocketed, that gold you've pocketed, i 'll r i se up aga i nst you, i 'm smell i ng of woman's flesh, my ha i r i s on f i re, my f i ngers are cut, hands cut off, i wave my flesh fur i ously, i want to bend you back wards, i want an eye from you, i want an eye from everyone : i want to bend you backwards, spl i t you open, there are harsh l i ghts, you're fuck i ng some one else, i can't see stra i ght, medea- fur i ous, your p i nk flesh i s v i s i ble to everyone, i 'm clumsy, ox-l i ke, i 'm lean i ng over, they call me barbar i an, i 'll tell them what they can call me, my stra i ght i s fur i ous, i don't have to l i sten to anyone, i hold your n i pples out, spread your lab i a, suns emerge, they burn and char the world:: i 'm that hunger you've fur i ously pocketed, i 'm that barbar i an i n the shadows, i 'm that sk i nned bone, boned sk i n, i 'm that clumsy, ox-l i ke world, i scrawl on stone on black stone i deogrammar _ voice hearing:voice was hearing:voice hearing:stem seated through my leaf owl upper bar lower man palm bird seated man:bent lower bird spear bird seated man upper house r leaf owl upper bar lower man palm bird seated man snake leaf own bar flag : woman upper bar lower loaf seated man : leaf owl upper bar lower loaf lower bird spear bird seated man upper house inscribe arms bar lower bowl upper bowl lower seated man bowl rake bent stem seated through leaf owl upper bar lower man palm bird seated man snake leaf own bar flag : woman upper bar lower loaf seated man : leaf owl upper bar lower loaf : leaf owl upper bar lower man palm bird seated man snake leaf own bar flag : inscribe arms bar lower bowl upper bowl lower seated man bowl rake bent lower bird spear bird seated man upper house r ||| |=o==o.o=o||=oo==.==o||=oo=o.oo=||==o==.===||=oo=o.===||=oo==.==o| |=ooo=.o==||==o==.===||=oooo.=o=||=ooo=.ooo||=oo==.o=o||=oo=o.==o| |==o==.===||=o===.==o||=ooo=.o=o||=oo==.ooo||=oo==.o=o||=oo=o.oo=| |==o==.===||=oooo.=o=||=ooo=.o=o||=ooo=.oo=||=oo=o.==o||=oo==.o=o| |=oo=o.o==||==o=o.oo=||====o.=o=| Man=hat=zwei=Augen=zuviel.= Rilke.= == ]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]]] ]top-up marker.hand.piston.stylus bottom-down: marker hand piston stylus the marker.hand.piston.stylus gap marker.hand.piston.stylus of marker.hand.piston.stylus OPEN marker.hand.piston.stylus SETS, marker.hand.piston.stylus Sheffer-stroke marker.hand.piston.stylus dual marker.hand.piston.stylus neither marker.hand.piston.stylus A nor marker.hand.piston.stylus B: marker.hand.piston.stylus broken marker.hand.piston.stylus collection, marker.hand.piston.stylus community, marker.hand.piston.stylus collectivity:] in marker.hand.piston.stylus other marker.hand.piston.stylus words, marker.hand.piston.stylus not marker.hand.piston.stylus top-down marker.hand.piston.stylus bottom marker.hand.piston.stylus up, marker.hand.piston.stylus re/covering marker.hand.piston.stylus the marker.hand.piston.stylus material marker.hand.piston.stylus via marker.hand.piston.stylus hierarchic, marker.hand.piston.stylus holarchic, marker.hand.piston.stylus or marker.hand.piston.stylus subsumption marker.hand.piston.stylus architectures. marker hand piston stylus not marker.hand.piston.stylus for marker hand piston stylus that marker.hand.piston.stylus matter marker hand piston stylus the taxonomic, marker.hand.piston.stylus lattice-, marker hand piston stylus trellis-, marker.hand.piston.stylus or marker hand piston stylus tree-structure. marker.hand.piston.stylus nothing marker.hand.piston.stylus whatsoever:[ leaving marker.hand.piston.stylus the marker.hand.piston.stylus internal marker.hand.piston.stylus space marker.hand.piston.stylus a marker.hand.piston.stylus clearing, marker.hand.piston.stylus laddering marker.hand.piston.stylus always marker.hand.piston.stylus already marker.hand.piston.stylus elsewhere, defuge marker hand piston stylus without marker.hand.piston.stylus boundaries, marker hand piston stylus the marker.hand.piston.stylus shuddering:[ [[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[[ a man is dead at every instance of the letter a woman is dead thereunto woman is dead at every instance of the letter man is dead thereunto behold the last second of the day, when humans originate across the great divide, behold the last thirtieth of a second the fragility of what has become the lip from which we issue forth until noon, the stromatolites alone until, behold, thereunto, three in the cold cold afternoon behold the violence wracking the slim planet time and time again behold the ideologies of froth insect-minds carrying on this violent work the divide is immeasurable and writing this a man is dead, has died immeasurable space, writing this a woman, dead, all women and all men all have died thereunto behold until, at the very lip of time all are dying at every instance thereunto, behold, at such lips of space archives grate against archives and we are blind behold thereunto until archives collapse are gathered among the dead and those of all are dying behold the instance of the very lip of time and its irritation thereunto men are dying amidst the lips of vastness, time and space until thereunto women dying, all are bleak, until, begone -- 1397 - the beginning of writing we are writing streams and we are streaming and no streams we are of the written and we are of the no no written for they will be alive, and they will be alive, and there will be neither imminence nor writing in that space, there will be no no wander and no no unwriting and no no unjulu and no no julu, there will be no no nikuko and no no unnikuko and there will be no and there i will live and write you, nikuko, there i will live and write you, julu, there is pain in the spaces about me, clean me from capital, i will not cry in the spaces about me, i will not cry for the small and ruined things, there will be no no unsmall unruined things i dream of a space unbound by capital, there i will place julu and nikuko, a space with boundaries weakened and blurred, a vulnerable and haunted space, a clearing unbound by incision and grid and no julu and no no julu and no unjulu and no no unjulu and no no unjulu and no unjulu and no nikuko and no no nikuko and no unnikuko and no no unnikuko and no no unnikuko and no unnikuko 1 3 9 7 - t h e b e g i n n i n g o f w r i t i n g w e a r e w r i t i n g s t r e a m s a n d w e a r e s t r e a m i n g a n d n o s t r e a m s w e a r e o f t h e w r i t t e n a n d w e a r e o f t h e n o n o w r i t t e n f o r t h e y w i l l b e a l i v e , a n d t h e y w i l l b e a l i v e , a n d t h e r e w i l l b e n e i t h e r i m m i n e n c e n o r w r i t i n g i n t h a t s p a c e , t h e r e w i l l b e n o n o w a n d e r a n d n o n o u n w r i t i n g a n d n o n o u n j u l u a n d n o n o j u l u , t h e r e w i l l b e n o n o n i k u k o a n d n o n o u n n i k u k o a n d t h e r e w i l l b e n o a n d t h e r e i w i l l l i v e a n d w r i t e y o u , n i k u k o , t h e r e i w i l l l i v e a n d w r i t e y o u , j u l u , t h e r e i s p a i n i n t h e s p a c e s a b o u t m e , c l e a n m e f r o m c a p i t a l, i w i l l n o t c r y i n t h e s p a c e s a b o u t m e , i w i l l n o t c r y f o r t h e s m a l l a n d r u i n e d t h i n g s , t h e r e w i l l b e n o n o u n s m a l l u n r u i n e d t h i n g s i d r e a m o f a s p a c e u n b o u n d b y c a p i t a l , t h e r e i w i l l p l a c e j u l u a n d n i k u k o , a s p a c e w i t h b o u n d a r i e s w e a k e n e d a n d b l u r r e d , a v u l n e r a b l e a n d h a u n t e d s p a c e , a c l e a r i n g u n b o u n d b y i n c i s i o n a n d g r i d a n d n o j u l u a n d n o n o j u l u a n d n o u n j u l u a n d n o n o u n j u l u a n d n o n o u n j u l u a n d n o u n j u l u a n d n o n i k u k o a n d n o n o n i k u k o a n d n o u n n i k u k o a n d n o n o u n n i k u k o a n d n o n o u n n i k u k o a n d n o u n n i k u k o - - - - I am the stone of stone a stone of stone will cut for a stone on a stone and the stone of my stone might well serve as the stone stone ideogrammar The rock that is best for you, my rock, is a rock of rock for me, a rock and a rock carved out of rock will do rock ideogrammar My mineral, take golden mineral in your mineral, drink mineral in your garden mineral, for me, to drink mineral from mineral suffices to have the mineral of your mineral If, my crystal, you ride crystal of crystal trot in the crystal of crystals this crystal of mine suffices as crystal for your crystal Come, stop the rock of ideogrammar crush the ideogrammar of rock it is my rock you demand just send your ideogrammar that should suffice The stone no longer reaches your stone ideogrammar but yearns for your reunion don't think stone and its ideogrammar suffices stone of the stone stone ideogrammar Crystal, I have enough to spread upon your crystal ideogrammar - and this crystal suffices as crystal, ideogrammar or stone (see Halman, Suleyman, Magnificent Poet) ___ Affective Fix The effect of truth is one of infinite morass, of guilt, recrimination, and regret. The condition of the effect is that of excessive depression, bewilderment, exhaustion. There is guilt in not being drugged, not being drunk, nonetheless carrying all the symptoms of inadequacy and addiction on one's back. There is an anomic response as well, a general decathect- ing across one's lived environment. It is impossible to struggle against this without leverage. A written howl of pain need not be worked into more than leaning forward over the keyboard, fingers bent to the quick. But what is the point of further dissemination, which produces only shame, exasperation, a loss which need not have been encountered, need not have been part of the en- counter whatsoever? The obverse of exhaustion and decathecting is the alterity of the face, the other, the whisper or murmur, which does not shake the world either ontologically or epistemologically; one remains grounded in the inertness of his or her subjective dimension. Shame in this regard is the fetishization of the real, which returns self to self. The encounter, then, occurs on the plane of the subject; without chall- enge, there is always already grounds for suit, the shame of finding one pinned to the fabric of the world. Within the aegis of virtual subjectiv- ity, there is the slightest escape among realms, using, mechanically, kill or delete; within the encounter (fingers trembling in poverty, abjection, humiliation), there is none such, except rage, bringing even more shame in its path. Strike, and one is stricken; be silent - one is silenced. "Thus I awake this Morrow among the missiles of Misfortune, unready to try my Hand once again at Bourse or social Commerce; I remain full victim of Myself and what I have incurred. Let nothing remain of me for long; I parse myself Anonymous, in the last Refuge and Hope of the scoundrel." - Semantic Organization, Ideogrammar In A Chinese-English Dictionary 1985 (i), I turn to the radical index and turn back to Rose-Inne's Beginner's Dictionary of Chinese-Japanese Charac- ters and Compounds (ii), where I find the kanji of 4-stroke radical under 113; there I find happiness, fuku; in (i) I turn to Chinese Phonetic Alph- abet and Wade System to locate fu; I turn to fu through varied tones and fu good fortune; I look in (i) in the radical index, now 88 for compounds with imperial; on p. 17 (88) gives page 711; on 711, nothing. I have great or grand or imperial happiness. I know the fourth is stamp or seal. I move to the fifth for a right-hand radical in (ii); it is not there, look to- wards the bottom radicals; it is there at 39. The 3-stroke is child. It is not there. In (ii) I go to the radical index for a left-hand radical. This back-out takes me to wrappers (top and left), 24. I go to 24; there are both 2-stroke and 3-stroke versions. I see zon, son, to exist, believe, know, think, remain, corresponds sometimes to. For the third, I note a 3-stroke radical wrapper and decide to remain with (ii). First, however, I look in A New Model English-Chinese Dictionary (iii), under stamp, seal, impression. Stamp is confirmed with a 4-stroke left-hand radical I think. I turn to the radical index in (ii) and find the wrapper for the third at 53. I turn to 53 where I find An. Iori; io, a hermitage or cottage. What is An. with a period? I arrange these: Imperial /great,happy/ cottage seal correspondence? Knowledge? I am no closer. I look up An. in (i). Something similar: an, I, we, my father. Above: a thatched hut, nunnery, Buddhist convent. It leads nowhere with stamp. I return to stamp. I will look at 4-stroke left-hand radical in (ii). I find nothing, and nothing under 3- stroke. I decide to look at 2- or 3-stroke right hand radicals. There is a 2-stroke at 25; I turn to 25. I find immediately In., Shirushi, seal, stamp, mark, sign, trace, impression. I look at compounds, find nothing of use, not even Inkan. I turn to (i) and In. There is nothing listed. I turn to the section Chinese Phonetic Alphabet and Wade System again, looking in Wade. I find nothing. I look in the Radical Index under 2 and find 32. On page 10 I find (32) which takes me to page 829. I turn to 829 and find yin, seal, stamp, chop. From there I am lost. I turn to A New Chinese-Eng- lish Dictionary, 1939 (iv), with older character forms. On page 831 I find yin characters; the proper form takes me to page 79. Nothing is listed. I turn back to the cover. I will look up imperial and the second character in (iv). I turn to the lengthy character/stroke index on page 753. Imperi- al Wang, king, monarch, is on page 353. I turn to 353. There is nothing of a compound with the second character. I look at what I have: Imperial hap- py or grand... I think, auspicious? I look in (iii) under auspicious, page 63, a different root. Perhaps Remaining Imperial Great Convent Seals. I think of the inkan, hanko incised in stone. I think of incisions of the imaginary. I open the book and begin the reading of the first impression. -- kdsh htkdshtn / htkdsh(tn) f. / (ht)kdsh(tn) / kdsh holy, make themselves (f.) holy. locate the root: k/d/sh. add the vowel transformations, prefixes, infixes, suffixes. _ _ _ 3 compartments: |_|_|_| or 2 surrounded by a 3rd: eyes in face (seal-form version here). not _topological_ but _tropological_ rhetorical transforms. mechanisms of reduction: to ascertain the former, smooth the waveform, turn towards, say, Gesenius (i) or Klein's Etymological Dictionary of the Hebrew Language (ii). Combine with verb-form lists in any hebrew grammar. think of kanji as an act of distinction, differentiation: look for the radical image: cleave the strokes, re/count them. think of semitic inter- pretation as an act of integration, smoothing the form surrounding the root. root reduces to 3-letter, 2-letter, 2-letter repetition, say. think of radical as irreducible, or varied strokes. think of the curvature or angularity of strokes. think of tropological transformations. come close to speech: the ideogrammar. -|-|- -|-|- :::rhetorical transforms.::mechanisms |_|_|_| or 2 surrounded by a 3rd: eyes:gularity of strokes. think of tropological:transformations. say. think:of Your used former, smooth the waveform,:turn not _topological_ but _tropological_ is in my neurotic come close to speech: the ideogrammar.:: :_::::25778:2:::_ curvature or an- Your love seeps into my come close to speech: the ideogrammar.:::_::::25778:2:::_ curvature or an- - turning me Julu-Jennifer come close to speech: the ideogrammar.:::_::::25778:2:::_ curvature or angularity of strokes. : _ _ _:3 compartments: holy, make themselves (f.):holy. locate the root: k/d/sh. add the vowel kdsh:::htkdsh tn / htkd- sh(tn) f. / (ht)kdsh(tn) / kdsh holy, make themselves (f.) through my prefixes rivers htkdshtn / htkdsh(tn) f. / (ht)kdsh(tn) / kdsh - - - Cut in Stone Obdurate St. Augustine: Six is a number perfect in itself, and not because God created the world in six days; rather the contrary is true. God created the world in six days because this number is perfect, and it would remain perfect, even if the work of the six days did not exist. (The City of God) And even if the six days did not exist? Even then. And even if God did not exist? Yes, and even then. Even if this world did not exist, even in every other world. And even if other words did not exist, even in realms of possibility. Even in realms of impossibility, even in worlds without number. ___ poem by jennifer if I will have a star i will not know where they are i will look at them through my glass and analyze the gas i will understand the clouds and vapors and atmospheric whirling capers but i will miss the this of what will exist very much across the chasm in the small where lives are that hold us all i will put my star chart on the shelf and it will be a thing in itself so are number and thought and star inert and there like the star man did not make the integers but uses them in heady weathers - leaving and staying hi. right turn:right turn:right turn:left turn:left turn:left turn:turn :hi. i don't want to take a right turn. i want to take a left turn a left turn a left turn, i don't want to take a right turn. i want to stay here, don't want to take a right turn. i don't want to take a right turn.:hi. i want to take a left turn. i don't want to take a right turn a right turn a right turn, i want to take a left turn. i want to leave here, take a left turn. i want to take a left turn.:turn:right turn:hi. _ 2 from night it's 540 in the morning; i wake up shaking; my temperature is fallen; i've got the thermometer in now; i can't see straight; a nightmare of old and broken books; coupled with thoughts about cdrom players; will this one work will that one; but it's the illness; i'm sick of writing from ill- ness; thermometer hovers at 97; that's normal but i feel the heat draining from my body; the air is thick with draining; frontal area of the brain pounding away; whole body shaking as in hypothermia; or hyperthermia; too little and too much of everything; one tiny file and everything is off; world shuders to a halt; this body is shaking; ice is creeping up my chest; my nipples are rings of frozen fire; my arms shake shoulders shake; wanting with unspoken clarity in moments like these to die; dull brutal blueblack sky ahead of me; dull brutal black sky behind me; dismal un- thinking of doomed worlds; unraveling of doomed worlds; it's 545 there is steel in my flesh; fibers of thin frozen metal; i will leave off this work; another attack; i won't last long like this; blankets reach out and strangle; azure sleeps; cat and plants sleep; the wires spread; the freez- ing; === Electric Communication: The Night (paper proposal*) I consider two things, intertwined: the _sleazy_ and its appearance based on the intentionality of city light - exhibitionism/voyeurism: what is revealed. The sleazy is an irruptive category, almost impossible to define; its resistance is based on its intense relationship with the torn or discarded; it is cloth, fluxed, mobile, sexual; it is parted cloth within and against the light; it participates in informal economies of sexuality, language, body, ornament, clubbing, urbanism; it leans towards the shadow, abjures clarity. The second thing: nighttime Internet, illuminated by the screen against the shadows of the world; voyeurism and exhibitionism across torn and lagging bandwidths; quality of Webcam theatricality; informal economies of the Net; participation in global cybergeographies. Together the night is characterized by the glow, illicit processing of in- formation, the hunt, the studied mannerist intimacy of speaking, drugging, hacking, the dance of artifice. Increasingly, night spills into day, as the phenomenology of the night marauds the vestiges of the natural; our politics are politics of shadows, and bodies are hidden in our night-time wars, fought in the controlled environments of sunny days. *My papers are improvised from notes, outlines; there are no ur-texts. ==================== .:It has taken you 3.767 minutes to write. This text is multi-media. This is an image of this text. This is a video of this text. This text is a production. This text is machine-generated based on your input. : This text is programmed. This text is your input. This text can be entered anywhere at any time. This text can be abandoned anywhere at any time. This text is entirely machine-generated. This text reflects your intelligence. You have generated this text.:This text is machine-generated. This text is interactive. You have chosen this text. This text is entirely random. This text reflects your choice. This text has an intelligence of its own.:variables: This is a video of this text. This text is a production. This text is machine-generated based on your input. You're written with fingers.: Your inscription finished, you have created thing. This text is machine-generated. This text is interactive. You have chosen this text. This text is entirely random. This text reflects your choice. This text has an intelligence of its own. is sufficiently well-inscribed. Your mark is read and re-inscribed. Consider the next element you will apply. .:: Amos When John Amos played for the Colorado Ravens, he brought the team to several national victories. Two seasons ago, he was still going strong, but the Ravens traded him to the Portland Netters; he was considered a has-been, written off by all but Randy Johnson, the Ravens coach. This season, he's been nothing short of amazing, shooting 94 percent from the free-throw line, and making 80 percent of 3-pointer. He brought the Netters to their first national victory since 1979 - an amazing feat. Usually modest off-court, he was asked about the Ravens trade. "I can't say I've been pleased with Colorado," he replied. "I think the high-point of my career was this championship. They'll never be able to write me off again." Coach Johnson agreed, adding, "He's as determined as any young rookie I've seen." Amos added, "This isn't the end of it, either. We'll be back next year, and I suspect we'll have another winning season." The way he's played recently, this reporter can only agree. = Nikuko tells the truth "I haven't written anything in a long time, or, rather, I write daily. But it's not enough. I'm jealous of all of you pushing the boundaries of new media, university-connected, with the latest equipment available, help just around the corner. I'm jealous of beautiful moving things on the screen; my own Archive cdrom is clumsy, brute directory organization, as if the back-and-forth jump-start were sufficient. Minimalism and the work- load died out a long time ago, yet both of these are rampant in the piece. I'm jealous of collaborations; my miniscule perl or qbasic programs permit nothing. Looking at still images, reading lengthy broken - but not anima- ted or activated - texts, seems almost a waste of time, the dissection of a corpse (whose demise I announced decades ago). The tiny quicktime flics are still-born as well, almost invisible clumsy actions, as if the low bandwidth format were somehow still in vogue - instead of an indication of the poverty of the author. I can extrude neurosis, body, sexuality, out into the world through the most minimal of images - but without followup and the wonder of movement, everything is lost in poverty. I retreat in an attempt to argue that such poverty indeed carries the force of truth - but in fact, all it carries is emptiness, poor thinking, organization, and art in the face of capital and new media. I'm jealous of everyone who is able to go to new media conferences, meet up again and again with old friends, display their work. I want to be part of the community; I want people to see the life in my works, rise above the barrenness. Clearly this is ask- ing too much; my work courts death more than anything it seems, with de- pression coming in a close second. No one wants to read about depression or depressively, no matter how good the literary sense or theoretical work - it understandably goes for naught. I look at new media work and see brilliance and light and laughter and late-night meetings and discussions; I look at my own work and see programming ignorance, poverty, and the morgue. No wonder it's cast-off, cauterized, ignored; it's caught between literatures which clearly need not pay it attention, and multi-media - from which it is permanently and humorlessly estranged. This work no long- er stands on its own; it no longer has a place in the cultural world. It continues to be produced, only because of the addiction I bring to it, and it cannot last all that much longer, already lifeless and buried," said Nikuko, alone in that bar in that city. === "The lone runner" The lone runner carried his country's flag in the marathon. He knew no one, and the crowds were ignorance of the proud symbol of his native land. With tears, he ran kilometer after kilometer, already missing his wife and children, his dear father who, through considerable suffering, had sent him to this foreign city, and his mother, who so recently had passed away. He ran, saddened by memories of his native village, ran past those ignorant spectators cheering him on, as if from a great distance. He ran, hoping that his littlest girl would recover from a wasting illness, still undiagnosed. And he ran, carrying proudly the flag from his native land, the flag that had been won with such difficulty from the oppressive and colonial regimes which had dominated his people for most of the past half- century. The lone runner ran, and ran, and the people cheered, "and they knew not whereof they cheered." == belief :"You must really believe in writing," said Nikuko, "to continue in this almost linear manner, texts with perforations and tendrils. In the future none of this will survive. Don't you think you're doing nothing but writ- ing your own epitaph?"::"If there is life, there is inscription," Alan replied. "These texts are world, enclosed and comforted by their presence and dissemination. Enter them, and you enter me. Return to them; your mind is always already elsewhere." :"dissemination" said Alan The chorus spoke. "They are incisions within the sememe, exposing the interior. They are not the belief in writing, but the writing itself, which inscribes belief." "your space replete fecundity" said the chorus "is on my summits" "prolongation" said Nikuko === dance / archive :: archive / dance or heading towards new-form or the participation of the player or the dancer entombed or the surgical removal of the jumping legs or the permanency of movement quelled or proceed at your own pace or the microtome of vestigial movement or the moment of the pirouette it is the dance heading towards the archive, the archive shuddered by the dance, curtailment, that our work tends towards - Foofwa d'Imobilite, Azu re Carter, Alan Sondheim - this flicking among flics among flicks - an _o rder_ of presuppositions against broken movements, an intersection cauter ized on the landscape-image of the cdrom:: to _dance_ the archive /\ archive the dance: subaltern forms shifting screens as / \ a consequence of broken frames it is at the inter-/ \-secting of the two: the lozenge it is at the inter-\ /-secting of the two: the lozenge shifting screens as \ / a consequence of broken frames to _dance_ the archive \/ archive the dance: subaltern forms dance \ archive :: archive \ dance as in :: paper _negatives_ :: frame-by-frame preservation archive as architectonic, chthonic :: primordial primordial dance as architectonic or _relapse_ :: ||f|r|a|m|e|-|s|h|u(etc.)ffling|| :: matrix-deconstruction archive of body-elements, collectivities, gatherings (incompletion of _any_ collection) "this work exists on the boundary between archive and dance, their intersection," said Nikuko, "where the land is parceled in primordial ritual reconstituting the re/creation of each and every object, thing, and organism." "this work is the encoding of a biological feat." 1 BAR.AN-donkey, 1 garden, and 1 house in Akkad, it's Lugalumuk's. well, it's some sort of donkey. with a quiet heart, a quiet house, with a quiet garden, with a quiet silver, with quiet gold, quiet azurite, with quiet wood, with the silence of animals, with the dance of animals "I will archive your dance, archive the words of your love; I will hold you to the polished grain, I will hold you to the quiet garden" (what we have said in the garden). it is difficult to read this, to dance this, seized by iremu casting their spell, seized by ecstasy, seized by closure in the archive: "Then she ex- plodes. Her arms fall off, her head rolls to the ground, smoke pours from her body. She was a doll, an automaton. There has been all this machinery surrounding prima donnas, and now--this performance where the prima donna herself becomes a machine. The prima donna is a phantom presence, whose b ody is expressed only by voice, whose existence is created only by voice: the new Eve, she is the place of illusion." (Catherine Clement, Opera, or the Undoing of Women.) == vote dead at every instance of the letter "nothing happens to the dead." here is what i learned about death: that about death: time stops, nothing else happens to the dead. all death, all men. gather them among the dead and those of all are dying. dead before the work began. half-dead, half-alive, half dropped into the dead there- unto. the divide is immeasurable and writing this a man is dead, dead, and they can resurrect the dead. they know substances for turning death, noth- ing happens later to her, nothing happens to the dead, error - too much; my work courts death more than anything it seems, with eyesockets of the dead. the secrets of the dead are the secrets of the funerary rites, but leave the body dead at every instance of the letter. gone, nothing else happens to the dead +++ death of the three +, what happens to the dead. all death, gone, nothing else happens to the dead. it has died innumerable deaths, and writing this a woman, dead, all women and her, her blank death, gone, it is a blank. from the rites and roles, she's what I learned about death: that time stops, that nothing else, that nothing happens to the dead, almost as if they were dead. they have elaborate starts at the edge of a dead shell and expand greatly inward; a woman is dead. a woman is dead at every instance of the letter. a man is -- the terrific vote of bones tho vote:: ::fascist, misnomer, heaving against what lost name screamed, inevitable source of power, hegemony, violence:fascist, misrecognition, miscalculation, the dark ugly curtain spattered with blood, elder brother christian violence against what language half-erased, blasted in what desert by what hand by what man's hand :fascist, that would be uneasy, consequence of an election, but who could run these people, others, into what dark ground::fascist, what mistaking tho vote:: ::manuscript with ideogrammar tho vote:: ::tho by what vote, by what fascist or by what misnomer, by what name, what source or power, by what hegemony, who could run this curtain spattered with what blood, by what christian violence, what manuscript with ideogrammar == phenomenology intranet net internet: the middle term as an intersecting node, mobile within the latter, and the phenomenological horizon within the former. model the internet on a sphere; there are no end-points, no dead-ends, no terminals. or rather, the terminals, dead-ends, end-points are thick like the irrationals on the continuum - everywhere across the globe. who, why, when, where, what, how: interrogatives which traditionally appear in relation to events within classical space time: where / when for example presuppose a discrete occurrence located within a cartesian grid. now _where_ is moot: everywhere and nowhere, tied to the ontology of data. _when_ is a stuttering legacy of routers which may or may not possess a discrete origin on the emission spread, dissemination. _who_ likewise, referencing one or many or a spread across individuals, often remains indeterminate; think of _doxa_ or the _they._ but think as well of _which,_ choosing among an already predetermined collectiv- ity, and the problematic of _which_ online. _what_ likewise presupposes a discrete _phenomenon,_ which may be class- ically described; _what_ on the net references, instead, a _weather_ with immersed observers, participants, or unknowns. _how_ stutters, like when, through microworlds, microprotocols and pro- grams. _how_ is a also a collectivity, based on heuristics, prompt-line and other commands, pathways through wires and atmospheres. _why_ is dependent in the first place, on first places, causes and ef- fects, interrogatives and answers fulfilling the gap left by the uplift of the question. _why_ works autonomically in the small, loses its reason in the large. how, what, why, when, where, who, lose their _face_ among the implicate order of the networked worldings. with the loss of the _face,_ language adjusts poorly to the real, physical, virtual, problematic, alter. think of the autonomic world or anorectic world, the symbolic cast as centrifugal residue against intermachinations of kernels, world into worlds, ontological identities transformed into epistemological equival- ences. think of intranet [ net [ internet, the series without beginning or end- ing at either end of these spectral disturbances. think of organization or articulation traveling the wires, mutually-adjusting protocols or agents. think of multiply-connected riemannian spheres. (as a concrete example - look at the _emission_ in relation to what has been traditionally a classical _election_ or _voting procedure_ in the united states - as if there were a clean and proper resolution at the end of what is, increasingly, a _mess._) -- vote julu-crime now there is this _mess_ which can't be resolved _messes_ can't be resol- ved, but they hint of resolution _messes_ are tainted by clutter, entang- lement, memory of resolution if one could only read the history of a _mess_ _messes_ appear from the chaos of modernism postmodernity is rele- vant to the _messes_ without pasts or lifeforms intoxicating _messes_ as if there were someone or a group who had made _messes_ as if _messes could be made out of something whole vote julu-crime now there is this _mess_ which can't be resolved _messes_ can't be resol- :::vant to the _messes_ without pasts or lifeforms intoxicating _messes_ as: Would mind you partying, now there is this _mess_ which can't be resolved _messes_ can't be resol-, with us? Your sleazy _mess_ _messes_ appear from the chaos of modernism postmodernity is rele- is in my loose replace your ? elegiac ideogrammar Ah, womb eaten by julu-open-legs julu- ideogrammar vote julu-crime now there is this _mess_ which can't be resolved _messes_ can't be resol-: ::be made out of something whole:the history of a _mess_:_messes_ are tainted by clutter, entanglement, Would mind you partying, now there is this _mess_ which can't be resolved _messes_ can't be resol-, with us? Your wet if there were someone or a group who had made _messes_ as if _me- sses could is in my ill now there is this _mess_ which can't be resolved: ::if one could only read Ah, your penis eaten by julu-of-open-legs julu- ideogrammar vote julu-crime now there is this _mess_ which can't be resolved _messes_ can't be resol-: ::be made out of something whole::::vant to the _messes_ without pasts or lifeforms intoxicating _messes_ Your psychotic if there were someone or a group who had made _messes_ as if _messes could is in my sedate now there is this _mess_ which can't be resolved _messes_ can't be resol- Your womb seeps into my now there is this _mess_ which can't be resolved _messes_ can't be resol- - turning me Julu-Jennifer Your womb seeps into my now there is this _mess_ which can't be resolved _messes_ can't be resol- - turning me Julu-Jennifer:Your psychotic if there were someone or a group who had made _messes_ as if _messes could is in my sedate now there is this _mess_ which can't be resolved _messes_ can't be resol-:now there is this _mess_ which can't be resolved _messes_ can't be resol-:::be made out of something whole::::vant to the _messes_ without pasts or lifeforms intoxicating _messes_:: Come home with me, Your womb seeps into my now there is this _mess_ which can't be resolved _messes_ can't be resol- - turning me Julu-Jennifer, julu-of-the-fast-crowd! Your small is in my small vote julu-crime vote criminal vote criminal vote criminal vote criminal:::vote criminal:vote criminal Would mind you vote-voting, vote criminal, with us? Your dark vote criminal is in my uneasy vote criminal Ah, my makeup eaten by brutal-death and boy-girl-raped vote criminal:::vote criminal:vote criminal Come home with me, vote criminal, dirty-cock-dirty-pussy Your wanton vote criminal is in my soiled vote criminal vote criminal:::vote criminal:vote criminal Come home with me, vote criminal, dirty-cock-dirty-pussy Your dark vote criminal is in my pure vote criminal vote criminal:::vote criminal: Come home with me, vote criminal, dirty-cock-dirty-pussy Your rich vote criminal is in my flax vote criminal vote criminal:::vote criminal:vote criminal Come home with me, vote criminal, dirty-cock-dirty-pussy Your pure vote criminal is in my velvet vote criminal vote criminal:::vote criminal:vote criminal Your wet vote criminal is in my feminine vote criminal Your your vagina seeps into my vote criminal turning me gory bush vote criminal:::vote criminal :vote criminal Your death-like vote criminal is in my flax vote criminal Your your vagina seeps into my vote criminal turning me gory bush Your dark vote criminal is in my uneasy vote criminal:Would mind you vote-voting, vote criminal, with us?:vote criminal:::vote criminal:vote criminal :vote criminal:::vote criminal :vote criminal:Your pure vote criminal is in my velvet vote criminal Write there Your your vagina seeps into my vote criminal - turning me gory bush through my Your dark vote criminal is in my uneasy vote criminal vote criminal vote criminal vote criminal = vote bone-crimes vote bone-crimes vote the terrific vote of bones vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote criminal vote criminal vote criminal vote criminal vote criminal vote criminal vote the terrific vote of bones vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote criminal vote criminal vote criminal vote criminal vote criminal vote criminal vote the terrific vote of bones vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote criminal vote criminal vote criminal vote criminal vote criminal vote criminal vote the terrific vote of bones vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote criminal vote criminal vote criminal vote criminal vote criminal vote criminal vote the terrific vote of bones vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote julu-crime vote criminal vote criminal vote criminal vote criminal vote criminal vote criminal vote bone-crimes vote bone-crimes = Subject: we are serious plan kill other state kill other state kill other state LOOK OTHER STATE! we will kill this other state we will take our vote to our street and we will kill other state other state do not vote for our vote we will kill them it is time to attack other state who do not vote for our vote other state is bad state we do not wait longer but will attack LOOK OTHER STATE! we will kill you we will take our vote off our street to other state to kill them they will all die and we will live it is time to kill them there is no time to lose but to kill them we have no more time but to attack them and kill them they do not vote for our vote we will attack and kill them now we will attack and kill them now this other state we will take our vote to our street and we will kill other state ::::they will all die and we will live it is time to kill them Come home with me, we will take our vote to our street and we will kill other state, julu-big killer. LOOK OTHER STATE! Your loose we will kill them is in my loose we will take our vote off our street to other state to kill them kill other state kill other state kill other state = conundrums (notes for a talk on net.ideogrammar) first conundrum - identities as ontologies - the _thickness_ or idiocy of the real - the realization of the real - think of equivalences in terms of taxonomies, measure, typifications - epistemological standards. transformation into the latter. from knowledge management to blurring at the horizons and internal burrowing by agents - second conundrum - presence of _infinitude_ - in terms of the Net - openness of command-line behavior, closed universes or sememes in terms of net.art - with random input & filtering, the business of the closed program, programmatic horizon - infinite (rather, inaccessibly high finite density) of Net endpoints - everywhere within hyperspheres. third conundrum - this desperate desire to escape from death - losing within epistemological regimes, one can always chart C:\path\directory\... - as long as there are routers, there is life. fourth conundrum - quality of written content - textual worlds and their breaking - machination in relation to flow - ruptures, impediments, loosenings, slides, viscosities, flux - (what would mean so much to you at this very moment - that you would keep reading on, that your life will change, _that you will remember me_) fifth conundrum - clean and proper body (Kristeva) of the digital domain - but the chaotic body of the _same_ - relationship between chaos and abjec- tion - chaos as _dirt_ - - lala in the infinitude of the universe, our bounded universe exists by virtue of accident, its presence the result of noise, nothing nearby to disturb the percolation. recognize this infinity and this boundedness. infinity needs nothing, not even existence; know that it is also happenstance or potential. such potential is happenstance. within this boundedness, every- thing is bracketed purely and the world is bracketed purely. one must overcome the overcoming. one is vulnerable to the world, but one is not vulnerable to infinitude which is outside the world. what is chao- tic, accident, noise, is never incised, scribed, scribbled. the scribbling of the world may be done by anything, anyone. there are no distinctions to be made, except those made by anything, anyone. there are names and name-calling, and it is the calling-forth of names that is as well the calling-forth of entities. both are bound within and by virtue of the subject who is always already virtual. how is this to be except throughout and within the imaginary realms of language? how is language to be, except bracketed, confined, rejecting the very infinitude it embeds as words within itself? accident, the fillip of presence and our presence, is neither pure nor im- pure. death is not contingent nor the poverty of accident, the why not of an other. it is moot whether it is or is not information. such solutions as exist are problematic, moot, mute. tearing ourselves apart, culture is created. lala-vicissitude "So they made Ono-gorojima the pillar of the center of the land. Now the male deity turning by the left, and the female deity by the right, they went round the pillar of the land separately. When they met together on one side, the female deity spoke first and said, 'How delightful! I have met with a lovely youth.' The male deity was displeased, and said, 'I am a man, and by right should have spoken first. How is it that contrary to this, you, a woman, should have been the first to speak? This was unlucky. Let us go round again.' Upon this the two deities went back, and having met again, this time the male deity spoke first, and said, 'How delightful! I have met a lovely maiden.'" --- 9 writing and breathing out and breathing in, O immortal! 14 outside and foreign and beyond or outside the body and 18 reading and chanting, think- ing, from the heart and two because a pair or doubling and a balance and 44 thinking, intention, and 45 thought, the wish of the heart! and the present skull! 85 see, such an eye and 87 musical theme and essay, or all the rules standing in the composition and 104 walking on the edge of the cliff! falling! disappearing! and that uneasy margin where one thing ends and another other begins and just there where i am you see the origin and 117 calling the birds and animals in their languages and names and they're calling you with their names and in their names and 121 anciently breath- ing in and breathing out until it has passed away and 164 sacrificing and you will try and remember the receptacle and 133 the meat and flesh of your face, nikuko! O nikuko and 188 giving you obeisance our hands above us, O trembling! 191 will continue to breathe and 238 the boat with com- partments and places to carrying things, floating, and a prow and an oar and 276 of opposition and division, of negation and its pull and 302 such empty leisure and what lies above our exhalation from skin and flesh, our breathing image and symbol, breathing paper and rock and 656 being pun- ished and knived and 723 O nikuko! calling you and exhaling and giving out through adversity, and the thin stream of air from within and 796 confined and held from within and repressed and inhaled and held, turned, stopped, named, and 42, divided and sealed (Analysis of Chinese Characters, Wilder and Ingram.) __ Grounds for a Procedural Semiotics (1978, extracts) Short (TI59) programs for consideration: I: Internal Looping without Display (universal oscillation phrase) II: Internal Looping with Partial Display (incrementation phrase) III: Random Zero or One Generation IV: Representation (inscription and bracketing) V: Oscillation 0-1 VI: Feedback -1- VII: Incremental Universal Phrase (counting) VIII: Fibonacci (including RCL 20 SUM 11 RCL 11 SUM 10 RST 1 STO 11) IX: n! X: Choosing at random from two lists XI: Sampling & Creation of Structured Bifurcation at t = n XII: Second and Third Forms of Representation: Fourth Form (transformation through memory and recall) (representation through absence) (elimination of display and internal tokenization) XIII: Representation Tending Towards Display Oscillation XIV: Three Forms of Annihilation (excluding _x_ from program) (absence of token) (_x_ in memory canceling itself within the program) (canceling _x_ in and out of the program) (canceling _x_ out of the program) XV: Memory (_x_ stored in memory) XVI: Recall XVII: Program Placing Entropic Cliff which Stabilizes, Transforming into Observable Energy (desire on the right, regulation on the left .. decimal and oral anus, phallic incrementation, bars of desire (generated by desire)) XVIII: Binary Conversion XIX: _x_sup_x_ etc. XX: Converge to 1 XXI: X 10 (?) with Intermediate XXII: Tangent Oscillation XXIII: Integer Isolation XXIV: Random Number Generation with Decreasing Ceiling XXVI: Specified Incrementation: Placement and Objectification within a Given Structured Series XXVI: Syntactical Model Possessing Symmetrical Substructure and Left-to-Right Restraints (2 universes of discourse with single control indicative of both absence and association) XXVII: Advanced Syntactical Model XXIX...: Incremental Field Programs (incremental field programs possess a central processing unit containing a random number generator, plus a structured field containing subprograms. Each subprogram outputs into another subprogram, according to the sequencing of the cpu. The sub- programs respond in various ways to their inputs. In some cases, the input is bypassed entirely and a 'false processing' occurs. The subprograms may be considered floating signifiers. An internal natural history...) XXX: Program with Internal Cycles XXXI: Divisor Program Produc- ing Partial Information XXXII: LCM GCD in Lattices and Chains XXXIV: A program which Stops under Uniform Distribution from 10 Seconds to Four Centuries or from 10 Seconds to One Hundred Fifty Billion Years XXXV: Incremental Field Program with Indexing Increments XXXVI: with Simple Processing XXXVII: with Hidden Processing XXXVIII: with Syntactical Structuring A procedural semiotics models creation, annihilation, gating, memory, recall, marking, and transformation. These are related as well to labor, bracketing, and inscription. [Note in these examples the distinction between _known information_ and hidden or false presentation. Think of a mechanism X encoding and decoding according to protocols, languages, programs, and a display Y as a presencing. In addition, think of threshold logics, and the con- struction of gates and networks which may behave as objects or in reference to objects or neural networks. In any case, one is operat- ing _upon_ syntactic structures; as I pointed out back in the early 70s, such operating is an experiential and time-driven structuring - the syntactic structures themselves are fully definable, reversible, and time-independent. A "hierarchy" can be created with alternating layers. - Nov. 2000.] __ la lala VOTE CRIMINAL la lala VOTE CRIMINAL la lala VOTE CRIMINAL I went from just a program to a violent dance of atoms to violent murder based on your input. : This text is programmed. This text is your input. I'm jealous of collaborations; my idiotic perl or C+++ programs permit me to look at my own work and see programming ignorance, poverty, and the catastrophic hidden costs of criminal technology VOTE CRIMINAL VOTE CRIMINAL (excluding _x_ from program) VOTE CRIMINAL (_x_ in memory canceling itself within the program) VOTE CRIMINAL (canceling _x_ in and out of the program) VOTE CRIMINAL (annihilating _x_ in the program) VOTE CRIMINAL (canceling _x_ out of the program) VOTE CRIMINAL (eliminating _x_ from the program) VOTE CRIMINAL (killing or deleting _x_) I went from just a program VOTE CRIMINAL to being just a program VOTE CRIMINAL la lala VOTE CRIMINAL la lala VOTE CRIMINAL la lala VOTE CRIMINAL +++ noting notching: some counting phenomenology counting and counting things: what happens when you run out of things to count? counting is not an enumeration of numbers, but a labeling of things. when things are counted, they are marked, demarcated otherwise; they are circumscribed. the nature of this circumscription is simultaneously the phenomenology of names and numbers. so that counting constitutes a _corral_ of the real - classical division between x and -x, within which the Sheffer stroke and its dual point _elsewhere._ so that counting constructs a sub-universe of discourse within the larger cultural sememe. think of this as the _tally_ and its implication of a material substrate for notching, knotting, noting. in the meantime, those which have been assigned markers have been subsumed within/beneath them; their fullness is lost in the classification. and in the meantime, those which have not been assigned markers are in danger of ignorance, forgetting, annihilation; counting is a coming-forth to be tallied. not to mention the structural system of the tallying itself, beyond one- to-one; what sort of apparatus is necessary to construct the semblance of quantity? quantity strips quality - integration; quality fractures quantity - diff- erentiation. where are the uncounted? they remain unaccounted and unaccounted-for. it's within this uncharting that alterity is (un)found(ed), the unfounding of number as well, charring, dissolving, the potential well of the corral. there are always externalities, corrosions; rites and rituals keep them away, abject revolt draws them within. __