language in irc (internet relay chat) there are three types of languaging: >>hello hello - just where you speak and it appears, and this serves in addition as a declaration of presence; it's speech, nothing more - it may be reply or affirmation or expostulation, interjection or query - there's always the expectancy of the other, always something in return >>/me says hello Alan says hello - thus a performative, Alan performing in conjunction with the assignation of the /me - the inclusion of action - >>/me turns around Alan turns around - the performative connected with a material action - thus _in the virtual realm_ all actions are necessarily performatives - this holding as well with programming - so that semantics are intended as well - /me turns around always already ikonic - attend to this distinction - just as the speaking above is also ikonic - >>/echo it is raining out it is raining out - here the language is itself the material substrate of the world - the world constituted by language - if the /me indicates process, the /echo indicates state - however >>/echo the world burns the world burns - and the state may well be a state-description of an action whose performance is subtexted by the neutrality of the (re)quoted expression here in virtuality all expressions are doubly or triply quoted - in ytalk doubly quoted - i type, transmit, you read elsewhere triply - i type, i read, transmit, you read - three different instantiations - resonances - sheaves >>/echo it is raining out it is raining out - the description of the world is already the state of the world - however the /me in >>/me is taking a walk - there is a separation - as in me < is taking a walk - the expression is piped; in >>/echo it is raining out - here the /echo is a modification on it is raining out - as in e(it is raining out) - or as in e(x) x whereas with /me thinks it is raining out - m(thinks it is raining out) > $n + thinks it is raining out - or as in m(x) $n + x as if there were the construction or constitution of a number series - in any case the presence of the other - that is the name $n as an adjunct or supplement to the string x. where does this lead - to three states - that of enunciation, that of action, that of world-constituting language. if enunciation is declarative - and one might consider an interpolated enunciation here as a shifter - then action is performative - and it is echo, world-constituting language, that becomes deeply problematic, in the sense that it is _separated from intention, from speaker, from source_ - it is an emission above and within the _face of the world, its alterity,_ within which it resides. >>one might think of these languagings as modal; in which case echo references the foucauldian _divinatio,_ but only as index; in fact, echo is _in fact,_ the construal of the world as-if (vaihinger, bentham) there is no presencing, no intentional, no actor, no agency. in another similar sense, echo is the call of a shell command from a perl script; it is ulterior, an existential alterity, legible, readable, or not.<< >>thus i call my book .echo, which acts subtly towards the material completion of a constituted world, however fragile, however thinned (down to the width of a pixel), .echo which reflects, not narcissus, but the very grain of the separated and dismembered voice.<< _ .echo .echo it's a nice sunny day. it's a nice sunny day. .echo this is a truly wonderful world. this is a truly wonderful world. .echo the voice is everything in this world. the voice is everything in this world. .echo i don't belong here, i haven't said a thing. i don't belong here, i haven't said a thing. .echo rain begins to fall... rain begins to fall... .echo rain falls in torrents. rain falls in torrents. .echo help help. help help. .echo a great inundation sweeps through the wonderful world. a great inundation sweeps through the wonderful world. .echo i don't belong here, i haven't seen a thing. i don't belong here, i haven't seen a thing. .echo everyone is swept away ... everyone is swept away ... .echo the voice is everything in this world. the voice is everything in this world. .echo the voice is everything. the voice is everything. .echo ===== ===== if "if you want to make a world, fun for boys and girls, things and spaces whirled, salute the flag unfurled, so fun for boys and girls!" if you want to make a world .echo if you want to make a world make some things just lying around .echo make some things just lying around look at them, check them out .echo look at them, check them out try a flyover and in-between .echo try a flyover and in,between try a flyover and in-between .echo try a flyover and in-between make sure there's plenty of light .echo make sure there's plenty of light change the colours all around .echo change the colors all around change the colours all around .echo change the colors all around change the colors all around .echo change the colors all around make place to put things in .echo make place to put things in make a great big sphere .echo make a great big sphere put it around all the lamps and things .echo put it around all the lamps and things there you have it! .echo there you have it there you have it! .echo there you have it! a nice place to visit .echo a nice place to visit a nice place to fly about! .echo a nice place to fly about - anatomy of world-semantics and messiness of desire this time it was beginning with the interior of the sphere. the camera wandered around the swollen form. a closeup image of a breast with a swollen nipple was texture-mapped. the mapping was set to .15 to spread the image across the interior. contrast was set slightly high and brightness slightly low. six lamps skewed to color filters were placed inside. two circular sections were marked on the surface of the sphere. these sections were scaled up and slightly outward from the surface. two other sections were marked at right angles to the first two. these sections were rotated and skewed and slightly indented. everything was slightly awkward while the vertices were subdivided. after several subdivisions the noise control was applied. the noise was a variable dependent on the contrast of the texture-map. over and over again noise was added to the sphere. the nipple distended outward and the sphere was transformed. duplicated nipples distended inward and the sphere became rougher. over and over again noise pummeled the sphere. over and over again protrusions and indentations followed the mapping. smoothing was applied as much as possible and everything was joined. the camera began its tilted motion around the internal surfaces. it was as if a membrane stretched across the universe. it was as if the universe were one of organs and skins. organs and skins led to bodies elsewhere on the horizon. nothing was visible beyond distentions and inundations. there was just another time when a sphere and liquid sphere intersected. the camera was outside in absolute darkness and vacuum. six lamps skewed to colored filters were placed around the object. the vertices on the sphere were subdivided and an image applied. the image was of an open vagina and anus mapped onto a plane. the mapping was set to .15 and cubic global with high contrast. the image was darkened slightly and mapped across both surfaces. the surfaces were independent but constituted the object. the sphere was blown out and distorted with twisted circular patches. the sphere was extended by selected vertices which were rebundled. the rebundled vertices returned to the interior of the sphere. the noise control was repeatedly applied to the sphere. the anus and vagina began their uneasy work of indentation. the surface became increasingly antagonized and difficult to perceive. the camera was widened to 12 millimeters and a course was established. the course of the camera grazed the surface of the object. the object was constituted by the sphere, liquid sphere, and image. the camera moved smoothly in a calculated flyover. the flyover grazed the interior of the object. the interior of the object refracted light and exterior texture. the camera pulled back after scanning the asteroid almost in full. you could tell the object was situated in uncanny space. you could tell the object had more to offer. the object was permanently flattened in the image. this is what is called a "souvenir." there was a time when ice and snow covered the surface of the sphere. the sphere dripped in black-space as world-form. it grew mountains and valleys with repeated granular noise. the noise formed from the white ice on the blue ice. six suns orbited the world. the camera flew between the mountains and valleys and inside. inside was a world of refracted ice and brilliant crystals. the camera grazed the crystals and moved out into the black and cold. o sphere huddled obsessively within the black and cold. the camera withdrew leaving the sphere an object among none other. from whence comes alterity in the midst of the fixity of worlds. o we are all brothers and sisters but none here in emptied residue. you are given license to remember the death and birth of worlds. world, come forth. brilliant stars reflected across surfaces huddling in pitch-black sky. everything in nothing, we live in the "sheaf" of the world. "The conception of the form lies in the desire to distinguish. " Granted this desire, we cannot escape the form, although we "may use it any way we please." (G. Spencer Brown, Laws of Form.) __ in (internet are types - where a of affirmation expostulation, expectancy the says says - the of turns turns - _in virtual holding well - turns just the it raining is out world the the indicates the burns world - whose is in all ytalk quoted triply i - - it raining is out world however is a < taking it raining is out with thinks it raining + if were any the name an or does lead that world-constituting and might action performative becomes problematic, from from _face the might of the _divinatio,_ _in the no no echo the an alterity, i my of constituted the of grain the it's nice a sunny is this a the is voice everything don't i belong rain to begins fall... rain in falls torrents. help. help a inundation great sweeps don't i belong everyone swept is away the is voice everything the is voice everything. you to for and and whirled, the unfurled, fun boys you to if want some just make things at check look them, a and try flyover a and try flyover sure plenty make there's the all change colors the all change colors the all change colors place put make to a big make great it all put around you it! there have you it! there have nice to a place nice to a place of and of and time was camera around closeup of mapping set was slightly lamps to circular were sections scaled other were sections rotated was awkward several the noise a and again nipple outward nipples inward and again and again was as camera its was if was if and led was beyond was another camera outside lamps to vertices the image of mapping set image darkened surfaces independent sphere blown sphere extended rebundled returned noise was anus vagina surface increasingly camera widened course the object constituted camera smoothly flyover the interior the camera back could the could the object permanently is is was time sphere in grew and noise from suns the camera between was world camera the sphere obsessively camera leaving whence alterity we all are license come stars across in we conception the Granted desire, use any conception the Granted desire, use any irc relay three of just you declaration presence; or interjection of other, hello hello thus assignation the around around the the realm_ as with /me around as speaking is out raining - - world /echo state world burns and performance subtexted virtuality expressions doubly - - type, resonances sheaves is out raining - - the taking walk is a is out raining - /me it is out) x there the case presence $n adjunct supplement this - of language. one consider is - deeply in speaker, source_ of world, think these foucauldian but fact,_ construal presencing, intentional, is call existential legible, call book a world, width a of separated a sunny nice day. this a is truly voice everything is in i belong don't here, begins fall... to falls torrents. in help help. great sweeps inundation through i belong don't here, is away swept ... voice everything is in voice everything. is want make boys girls, spaces flag for and want make you to things lying some just them, them at check flyover in-between a and flyover in-between a and there's of sure plenty colours around the all colours around the all colors around the all to things place put great sphere a big around the it all have you it have you it! place visit nice to place fly nice to world-semantics messiness world-semantics messiness it beginning wandered the image a was to set high skewed color sections marked were up sections marked were and slightly while subdivisions noise was variable over noise distended and distended and over noise over protrusions applied much began tilted as a as the skins to visible distentions just time was in skewed colored on sphere was an was to was slightly were but was out was by vertices to control repeatedly and began became antagonized was to of camera was by moved in grazed interior of object pulled after tell object tell object was flattened what called a when dripped black-space mountains valleys formed the orbited world. flew the a of grazed crystals huddled within withdrew the comes in are brothers given to forth. reflected surfaces nothing, live of form this we it way of form this we it way - leaning back in languor, formal azure portrait, sullen, open. as if against horizon of dark clouds, around carpet ornament and pillow. the lighting odd, incandescent glimmer of flame playing upon the skin. slightly blurred image, eyes to one side, the beginning of reverie. image turned 90 degrees. sphere created. reverie continued, the upwelling and fragmenting of all things and names. image texture-mapped onto sphere with .15 and no shift. six lamps signaling. noise applied 36 times. continuation of reverie and inward emergence of thinking and thought. still image of extruded image smoothed after severity upon severity. torn jagged skin around legs, muted breasts, fury around carpet. first thinking and then thought. images of the fury of the polar regions of the distorted sphere. images of the relative calm of the equatorial regions. reverie of the heat of the destruction of names and languor. leaning back in languor, formal azure portrait, sullen, open. /[0-9]+/ { print "here there are integers" } /[A-Z]+/ { print "here there be important letters" } /[a-z]+/ { print "here there be letters of no importance" } /[A-z]+/ { print "here there be announcements of some consequence" } /^$/ { print "here there be nothing" } here there be nothing here there be nothing here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there are integers here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there are integers here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there are integers here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence ___ found in kanji satori: there be 0 00 there be j be kanji satori there be 0 00 there be j be kanji satori there be x-unknown girl girl girl girl girl there be void there be void there be j be kanji satori there be void there be void there be void there be void there be void there be void there be x-unknown there be fascinate-k there be fascinate-k there be x-unknown there be j there be fascinate-k be kanji satori there be fascinate-k there be x-unknown there be fascinate-k fuck fuck fuck fuck fuck fuck there be fascinate-k there be fascinate-k there be fascinate-k there be fascinate-k there be void there be void there be j there be fascinate-k be kanji satori there be x-unknown there be fascinate-k boy boy boy boy boy boy boy boy boy boy boy boy there be fascinate-k there be j be kanji satori there be fascinate-k there be x-unknown there be j be kanji satori there be q + u there be 0 00 be kanji satori there be q + u there be x-unknown there be x-unknown there be q + u there be fascinate-k there be x-unknown there be fascinate-k there be j be kanji satori there be fascinate-k there be 0 00 there be x-unknown there be j be kanji satori there be void fuck fuck fuck fuck fuck fuck there be void there be fascinate-k there be fascinate-k there be fascinate-k there be x-unknown there be q + u there be x-unknown there be 0 00 there be j there be fascinate-k be kanji satori there be fascinate-k there be j be kanji satori there be x-unknown there be fascinate-k there be fascinate-k girl girl girl girl girl there be fascinate-k there be fascinate-k there be j be kanji satori there be fascinate-k there be fascinate-k there be void there be void there be void there be void there be void there be void /[x]+/ { print "here there be x-unknown" } /[0]+/ { print "here there be 0 00" } /[Z]+/ { print "here there be Z" } /[j]+/ { print "here there be j" } /[k]+/ { print "here there be fascinate-k" } /^$/ { print "here there be void" } /[q]+/ { print "here there be q + u" } /[j]+/ { print "here be kanji satori" } 12 awk -f filter kenji_siratori.txt > zz 20 sed 's/^/ /g' zz > |/zz 33 awk '/girl+/ { print "girl" }' kenji_siratori.txt >> zz 36 awk '/boy+/ { print "boy" }' kenji_siratori.txt >> zz 43 awk '/fuck+/ { print "fuck" }' kenji_siratori.txt >> zz 60 sed 's/ here / /g' zz > yy _ db .echo day. sunny nice a it's .echo day. sunny nice a it's world. wonderful truly a is this .echo world. wonderful truly a is this world. this in everything is voice the .echo world. this in everything is voice the thing. a said haven't i here, belong don't i .echo thing. a said haven't i here, belong don't i fall... to begins rain .echo fall... to begins rain torrents. in falls rain .echo torrents. in falls rain help. help .echo help. help world. wonderful the through sweeps inundation great a .echo world. wonderful the through sweeps inundation great a thing. a seen haven't i here, belong don't i .echo thing. a seen haven't i here, belong don't i ... away swept is everyone .echo ... away swept is everyone world. this in everything is voice the .echo world. this in everything is voice the everything. is voice the .echo everything. is voice the world, a make to want you "if girls, and boys for fun whirled, spaces and things unfurled, flag the salute girls!" and boys for fun so world a make to want you if world a make to want you if .echo around lying just things some make around lying just things some make .echo out them check them, at look out them check them, at look .echo in-between and flyover a try in,between and flyover a try .echo in-between and flyover a try in-between and flyover a try .echo light of plenty there's sure make light of plenty there's sure make .echo around all colours the change around all colors the change .echo around all colours the change around all colors the change .echo around all colors the change around all colors the change .echo in things put to place make in things put to place make .echo sphere big great a make sphere big great a make .echo things and lamps the all around it put things and lamps the all around it put .echo it! have you there it have you there .echo it! have you there it! have you there .echo visit to place nice a visit to place nice a .echo about! fly to place nice a about fly to place nice a .echo - I told Nikuko: "I I'm bad I've a bad know a been person. very I want be I when misbehave. don't to know bad. I I want misbehave I I sometimes don't to do. but feel I I control I I have feel can't misbehave. when don't I want say don't to a just to want I be I want be at I to don't to all. bad want I to happy myself good kind want be and for and I to good kind others not want be to and and I help because very can't myself interior-introspected. I'm I know I'm a of time don't what lot doing the I to what doing. know not have know I I'm I'm I other opinions. ride over ignore people's roughshod I every- one. I want do I want ride don't to don't this. to I to and a sense pa- tience want listen real develop of I this hard do I try know is but to will I it help I but succeed. know doesn't try that don't I've a bad be- cause hurt feelings. been very I've person people's I want hurt feelings. don't well don't to I people's think I hurt but don't to other can myself want I hurt I to a person. want be want be I good to." Nikuko told me: "You know You're a bad person. You've been a very bad person. You don't want to be bad. You know when You misbehave. You don't want to. You don't want to misbehave but You do. You feel sometimes out of control. You feel You can't control when You misbehave. You don't have a story to tell. You just want to say You don't want to be a bad person. You don't want to be bad at all. You want to be good and kind and happy. You want to be happy for myself and good and kind for others. You want to be good and kind to others and not to be very bad. You can't help myself because You're very interior-introspected. You don't know what You're doing a lot of the time and that makes me bad. You have to know what You're doing. You know You're not bad all the way down. You ignore other people's opinions. You ride roughshod over everyone. You don't want to do this. You don't want to ride roughshod at all. You want to listen and develop a real sense of patience and consideration. You know this is hard to do but You will try better and You always try. You know it doesn't help that You try but don't succeed. You'll try to succeed. You've been a very bad person because You've hurt people's feelings. You don't want to hurt people's feelings. You don't think well of myself. You can hurt myself but You don't want to hurt other people. You really don't. You want to be a good person. You want to be a very good person." _ s/talk/s what talk does to the listener t/alk/a/line what talk did to the speaker o/listener o/speaker bury the poem in concrete because it is a poem because poets stalk because nothing's concrete because everything's s/end/s missive with a bullet missile with bidet _ ex/istence main() { be 0 be w be r be y be t be i be n be g be 0 be i be s be 0 be c be r be o be s be s be - be p be l be a be t be f be o be r be m be , be 0 be c be r be o be s be s be - be g be e be n be d be e be r be , be 0 be c be r be o be s be s be - be r be e be a be s be o be n be ; be 0 be i be t be 0 be m be a be y be 0 be i be n be v be o be l be v be e be e be m be b be o be d be i be m be e be n be t be s be 0 be o be f be 0 be r be e be a be d be e be r be 0 be a be n be d be 0 w be be r be i be t be e be r be , be 0 be a be b be s be t be r be a be c be t be 0 be l be a be n be g be u be a be g be e be , be 0 be a be n be d be 0 be t be h be e be 0 be c be o be l be l be a be p be s be e be 0 be o be f be g be e be n be r be e be . } void() the struggle for ex/istence: 89 awk -f filter < filter > zz 90 wc zz 91 wc filter 92 pico zz 93 pico filter 94 h 95 awk -f filter < filter > zz 96 wc zz 97 pico zz 98 pico zz 99 pico zz 100 h 101 sed 's/./be & /g' gg > yy 102 pico yy 103 sed 's/be be/be/g' yy > pp 104 pico pp 105 tr A-Z a-z < pp > zz 106 rm pp 107 pico zz 108 wc yy 109 pico yy 110 sed 's/be be/be @/g' yy > tt 111 pico tt 112 ps 113 k 9557 114 ls 115 h 116 tr A-Z a-z < tt > zz 117 rm tt gg yy 118 pico zz 119 h 120 sed 's/be @/be @ be/' zz > yy 121 pico yy 122 h 123 sed 's/be @/be @ be/g' zz > yy 124 pico yy 125 sed 's/@/ /g' yy > zz; rm yy; pico zz 126 h 127 ls 128 awk -f filter < filter >> zz 129 pico zz 130 b 131 h 132 mv zz ~/ 133 ls 134 rm gg 135 cd 136 m 137 m 138 ls 139 less zz 140 cd a 141 less gg 142 less wryting 143 ls 144 cd 145 pico zz 146 cd a 147 less wryting 148 cd 149 pico zz 150 pico zz 151 cd a 152 less gg 153 less wryting 154 cd 155 ls 156 pico zz 157 sed 's/ / void /g' zz > yy 158 pico yy 159 pico zz 160 sed 's/ / 0 /g' zz > yy 161 mv yy zz 162 pico zz 163 tail lu 164 h 165 ls 166 h 1 167 h1 >> zz _ Pragmatics awk -f filter world_symbolic.txt > world_ikonic.txt void void a b c e f g i k l m n o p r s t u z void a c d e f g h i k l m n o p r s t u w z void a c d e f g h i k l m n o p r s t u y void a b d e f g h i l m n o r s t u v y void 0 a d e g i m n r s t u void a c d e h p r s t void a c d e f g h i l m n o p r s t u v w void a d e f g h i m n o p r s t u w x void a g i l m n p s x void a d e i l m n o p s t void a c d e f g h i k m n o r t u v w void a d e f g h i l m n o p r s t u v x y void a b c d e f g i j k l m n o p r s t u y void a d e f g h i k n o r s t u void a d e f g h i l m n o p r s t u y void a c e f g h i l m n o q r s t u v void a c d e f g h i l m n o r s t u v void a b c e f g i k l m n o p r s t u z /[0]+/ { print "0" } /[a]+/ { print "a" } /[b]+/ { print "b" } /[c]+/ { print "c" } /[d]+/ { print "d" } /[e]+/ { print "e" } /[f]+/ { print "f" } /[g]+/ { print "g" } /[h]+/ { print "h" } /[i]+/ { print "i" } /[j]+/ { print "j" } /[k]+/ { print "k" } /[l]+/ { print "l" } /[m]+/ { print "m" } /[n]+/ { print "n" } /[o]+/ { print "o" } /[p]+/ { print "p" } /[q]+/ { print "q" } /[r]+/ { print "r" } /[s]+/ { print "s" } /[t]+/ { print "t" } /[u]+/ { print "u" } /[v]+/ { print "v" } /[w]+/ { print "w" } /[x]+/ { print "x" } /[y]+/ { print "y" } /[z]+/ { print "z" } /^$/ { print "void" } _ making boys very grain of the boy! .echo the boy! the boy! .echo a great inundation sweeps through the boy! a great inundation sweeps through the boy! .echo the boy! the boy! .echo the boy! the boy! fun for girls and boys, salute the boy! so fun for girls and boys!" look at the boy! .echo look at the boy! make sure the boy! .echo make sure the boy! change the boy! .echo change the boy! change the boy! .echo change the boy! change the boy! .echo change the boy! put it around all the boy! .echo put it around all the boy! the boy! .echo the boy! the boy! .echo the boy! this time it was beginning with the boy! the boy! the boy! two circular sections were marked on the boy! the boy! to the boy! the boy! everything was slightly awkward and the boy! after several subdivisions the boy! the boy! over and over again noise was added to the boy! the boy! duplicated nipples turned inward on the boy! over and over again noise pummeled the boy! over and over again protrusions and indentations followed the boy! the boy! it was as if a membrane stretched across the boy! it was as if the boy! organs and skins led to bodies elsewhere on the boy! the boy! the boy! six lamps skewed to colored filters were placed around the boy! you could tell the boy! you could tell the boy! the boy! the boy! the boy! the boy! six suns orbited the boy! the boy! the boy! you to for and and whirled, the boy! I I'm I'm I the boy! for myself and good and kind for the boy! you don't know what, you're doing a lot of the boy! not bad all the boy! you can hurt yourself but you don't want to hurt the boy! what talk does to the boy! what talk did to the boy! bury the boy! the boy! very grain of the boy! 1 sed 's/the*/the girl\!/' lu > ding 5 sed /the*/the girl\!/ lu > ding 6 sed '/the*/the girl\!/' lu > ding 7 sed 's/the*/the girl/g' lu > ding 9 sed 's/the */the girl/g' lu > ding 19 sed 's/the.*/the girl\!/' lu > zz 25 sed 's/^/ /g' yy > zz 34 sed 's/girl/boy/g' zz > yy; mv yy zz; pico zz 35 sed 's/boy/girls and boys/g' zz > yy; mv yy zz; pico zz 37 sed 's/girls and boys/boys/g' zz > yy; mv yy zz; pico zz 38 sed 's/boys/boy/g' zz > yy; mv yy zz; pico zz 39 sed 's/^ the boy/the girl/' zz > yy 42 sed 's/^ the boy/ the girl/' zz > yy 44 rm yy _ From talk outline for York University, Toronto - March 8 2001 Four types of languaging on the Net in chat - a. declarative sentences - I'm here - which constitute the subject in terms of enunciation - which tend towards the cultivation of commun- ity - leadings-on, trailers - the "me too" response - b. performative sentences /me runs wild - which carry out constituted actions in narrative - this is dependent on interpretation c. performatives in relation to programming - states create an event - rollovers are also examples of this - independent of interpretation - d. .echo commands which are a dismemberment of enunciation and the chain of language - they create abstracted conditions dependent on interpretation - there is no speaker (may be software or human gen- erated) I employ each of these modes: b and c in live performance; a in text-based work; d in thinking through world-making processes (such processes includ- ing ontological creation and theory). The name: What is the origin, consequence, performativity, "stickiness," of the proper name? Are names variables? Rigid designators? Residues of the problematic of the real (grain of the voice, 'idiotic' real)? The _infinite abacus_ and the relation of number to heaps and piles - number as (extreme) convention and as (rigid) designation - the flux of number. (distinction between analog and digital orders here - chaotic orderings, etc. - show the measure geometry work?) - __ The storm will come to you. You don't come to the storm. You don't come to the storm. The storm will never come to you. You don't leave the storm. The storm will never leave you. The storm will leave you. You don't ever leave the storm. _ Th This stupid stupid writing This stupid writing i can't do any better You don't You don't com You don't com You don't l kill me my stupid writing salut so fun for girls and boys!" >>on r is _in fact,_ th is no pr s ult just you d assignation th sp subt fl broth of form this w it way of form this w it way here's my stupid writing i will eliminate my writing. here's my stupid writing my writing. there is nothing left of it. i will punish myself. in voic is want mak in-b around th plac plac it b mark was variabl instantiations - r >>/ it is raining out - th th >>/m m >>/ it is raining languag like a disease it attacks and corrodes: i can't write any more. now i will destroy my writing. now my stupid writing my writing shall not survive; its misery is my own. out - as in x wh m(thinks it is raining out) > $n + thinks it is raining out - or as in m(x) $n + x as if th in any cas th as an adjunct or suppl protrusions appli dist just tim but was out was by v antagoniz pull a wh raining - /m is out) x th consid but fact,_ construal pr call book a raining out - h th proc >>/ th action whos h in ytalk doubly quot stupid thing. stupid stupid stupid. th >>h h as a d or affirmation or th >>/m Alan says h with th >>/m Alan the terror of my writing is its lack of depth. there is nothing left of it. this my stupid writing i will mutilate myself. this my stupid writing my writing has been terrible again. to falls torr in h h gr inundation through i b don't h is away sw voic is turns around - th thus _in th this holding as w w - just as th >>/ it is virtuality doubly - - typ r is out raining - - th taking walk is a is out wh action, that of world-constituting languag - and on th that b int th world, width a of s a sunny nic this a is truly voic is in i b don't h b stupid thing. stupid stupid stupid. _ ^ what's writing this i want to know, is it something on the surface or something far below, is it something hallowed by tradition and violent halls, is it something burning up the wires and endless protocols replace your what's this writing doing here, they want to know, then something again reaches up from the submergence far below, it's timed to take accountancy to something else's limit just to see what's in it and what words will follow? what's this writing doing here, they want to know, then something again reaches up from the submergence far below, it's timed to take accountancy to something else's limit just to see what's in it and what words will follow:where's this writing coming from, she asks no one, then a reply comes from the echo finished before it's begun, then another question carries onward the hideous task, need she dare to ask, need he dare to ask:what's writing this i want to know, is it something on the surface or something far below, is it something hallowed by tradition and violent halls, is it something burning up the wires and endless protocols:her: __ choppy interruptions lag constitutes the worse of these; the phenomenology of lag is based on continuous breakdown of coherency, random hypertexting, constant text- saving; one can't remember a thing! physical interruptions of the to-do or the thing at hand: forgetting the train one has set for oneself; whatever one remembers is replaced by new communications/communal content. interruptions occasioned by travel and its vicissitudes: the scenic dominates the word, the visual over the subtle aurality of the text. transformed patterns of sleep and diet: the body refuses to behave, is constantly involved in setting and resetting times and nourishment. hard to focus! new interfaces and typing patterns, new keyboards and equipment: faced with an unknown destination and fingers faltering at the outset, the need to learn new commands, keystroke combinations, finger positions: ah, it is all too much! how can one be expected, how can one expect oneself, to write under such difficult circumstances? can one even see the text one has, for a moment, for just a moment, imagined? the word or phrase is more evanescent - if such a thing be possible - than usual; one is always typing anew, as if thought has just discovered the world. (traveling, london, ontario to toronto) _ from hours before - later and later - we knew it at the time, this backwards processing - backwards for the space of two hours - a continuous deferment - arriving following the signs, certain lanes closed off - doubling forwards and series of tractor-trailers, compacts, pickups - no ideas but in signs - explanations - on down the other roads, roads of the other - in a long pronouncement - catching names (proper or otherwise), descriptions or for which we had no grounds, no means of catching up, catching detail or event by police-cars, lights flashing: an event of the future anterior, lost on the side-roads or rural caprices of ontario, rerouted around an the traffic hungering for the main artery - scattering or rerouting across side-roads, byways, under- or over-passes: the transformation of event into prolongation, disruption of velocity: the missing impediment; what has already left the vicinity upon one's arrival, greatness of the traffic, arriving at the destination of the absent or fabric of everyday life: the drive down the highway in great traffic, the the accident or event which never occurred by virtue of speed and the on coming to the accidental on driving down the road __ jennifer's question kissing the tips of your partner's hair. .riah s'rentrap ruo kissing the tips of your partner's hair. .riah s'rentrap ruo caressing her breasts with your fingertips. .spitregnif ruoy caressing her breasts with your fingertips. .spitregnif ruoy sucking her nipples with your tongue. .eugnot ruoy htiw selp sucking her nipples with your tongue. .eugnot ruoy htiw selp your teeth biting softly into her flesh. .hself reh otni ylt your teeth biting softly into her flesh. .hself reh otni ylt both of you bruising, colored skin, blue, black, yellowed. . both of you bruising, colored skin, blue, black, yellowed. . taste of her saliva and your secretions. .snoiterces ruoy dn taste of her saliva and your secretions. .snoiterces ruoy dn tonguing around the asshole, haven't you and. .dna uoy t'nev tonguing around the asshole, haven't you and. .dna uoy t'nev just once swallowed the urine of your beloved. .devoleb ruoy just once swallowed the urine of your beloved. .devoleb ruoy splashed across his face and yours. .sruoy dna ecaf sih ssor splashed across his face and yours. .sruoy dna ecaf sih ssor regurgitated meal of love and compassion, swallowed. .dewoll regurgitated meal of love and compassion, swallowed. .dewoll swallowed just once the musk and substance of her shit. .tih swallowed just once the musk and substance of her shit. .tih his shit on your face. .ecaf ruoy no tihs sih his shit on your face. .ecaf ruoy no tihs sih one time her blood everywhere you breathe. .ehtaerb uoy ereh one time her blood everywhere you breathe. .ehtaerb uoy ereh his blood cut with tiny bites. .setib ynit htiw tuc doo his blood cut with tiny bites. .setib ynit htiw tuc doo some skin, flesh, meat. .taem ,hself ,niks emos some skin, flesh, meat. .taem ,hself ,niks emos bone, gristle, some flesh. .hself emos ,eltsirg ,enob bone, gristle, some flesh. .hself emos ,eltsirg ,enob drawing the line/bone/boundary/ making inscription /into his flesh devouring /her flesh: where do you draw the line? where do you cross it? __ .old some.old bone.old gristle.old some.old blood.old some.old worn.old out.old words.old some.old whistles.old whispers.old some.old singing.old laughing.old some.old bruising.old wounding.old bleeding.old some.old mewling.old some.old exhaustion.old some.old real.old tired.old some.old worn.old out.old some.old more.old worn.old out.old some.old complaints.old some.old touches.old tickles.old some.old kisses.old hugs.old some.old lovely.old times.old some.old eating.old drinking.old some.old piss.old saliva.old some.old shit.old hair.old debris.old some.old loving.old passes.old some.old worn.old out.old words.old 30 ls 31 b 32 m 33 ls 34 tail lu 35 vi zz 36 sed 's/\.old//g' zz > yy 37 pico yy 38 sed 's/ /\.old /g' yy > zz 39 pico zz 40 sed 's/&/\.old/g' zz > yy 41 pico yy 42 ispell yy 43 b 44 ls 45 h _ of origins' culture always there's churning something us, inside that something us worries but and mosses flowers trees, small and turn amphibia jagged our thoughts i elsewhere: follow can't in you pink your down dress path this my with hat: black are there non-events always by characterized i absence: think unspeaking, of it's unspoken: negation the real-life-and-times in that together comes intensifications in as characterized we culture. to prefer the think prefer opposite, positive, the of as entities constituted linked chains by attributes of all are exist, that primary, all situated. all if were i in you, pink your walking dress, ahead just me of this down go would and on, and on, your on, feet bare stones, on smile your always ahead, the facing way other around. __ #poetics : *** You have specified an illegal nickname *** Please enter your nickname *** nikuko ([uPhvu9XkS@panix3.panix.com) has joined channel #poetics *** Users on #poetics: nikuko @DrFloyd *** #poetics 984337197 * nikuko of which the case can be made * nikuko of or within the case * nikuko perfecting the finger perfectly inserted * nikuko twisting throughout the internal debris * nikuko 12:05AM turning out debris, fingering the mouth * nikuko of which the case can be made The case can be made! * nikuko illegally-named, waiting for such debris As fingers the mouth! * nikuko as turning out such debris 12:06AM #poetics (+nt) * nikuko of rising like phoenix-warez thru ashis * nikuko lagging 14, 4, 1 I lag! Lag! & gone- nikuko dragged down w/sch debris * nikuko n gon down by *** Signoff: nikuko (Badd link?) [0-0:GScNxAlFMPhR] 12:08AM nikuko (+is) #poetics (+nt) Lag 5 - E/X : __ fragment hello i am doctor discord. hello i am mister montgomery. hello i will show you many things. this is wonderful zoom. you look with wonder zoom you will see much towns. you will splice cannon together. hello i am mister montgomery and very glad. these are these towns. you will look with nervous zoom. hello you will see auschwitz on a shelf. will you slip away doctor discord. hello mister montgomery i will see a shelf. i do remember a shelf. you will hear wonder things with wonder zoom. i do remember zoom. i do remember i will save the rest. i do remember i will put away in my pocket. hello of tiny wood and painted face. you will see many men and many things. i do remember less and less. i do remember less. _ 'oh yes to write so childlike,' said jennifer oh yes to write so childlike, said jennifer, it is to do something with sound and language, is it not. oh yes it is. it is to make simple what would be abstract, to make material what would be sound, to make sound what would be talking of talking of unknown things. all to have one word like a language point or protolanguage, one thing shuffled against one thing, sound like golden voice. how to make skin show through very thin cloth and how to make sun double and there are ten suns. how to make ten lights. how to make ten sounds and there are ten sounds. how to make pipes of proper length and pitch of pipe. how to make scent. how to make touch and odor. how to make smell. how to make heat and how to call heat away from thin cloth and skin. how to know the metals. how to know wood. how to know boys and girls and how to look at all men and women. i do love to write like this so. it is a way and a means. it is a process and it is never a goal. it is never a present and it is never a thing. it is never a constitution. it is never an apparatus or an institution. it is never a style. it is so just like this, word follows word, space just like i would leave, said jennifer, between this telling and another. i will write this, said jennifer, and i will write another. it is so very important, said lovely jennifer, that you do understand this like a dream when you are thinking so very much about important things for you, and you are making these important things. that you see soft slippers of shadows everywhere from ten suns. we are not a child, we are jennifer and nikuko, we are nikuko and alan, we are very careful with our child ways and lovely talking. we talk about the most important things, said jennifer. we are students in lovely school, she said. _ brief note in alphaville, it is the inertness of contemporary space. in blade runner, the inertness ties to the interiority of the biological: replicants, like humans, die. it is this parallel trajectory which defines the issues of identity; if alphaville's paris is a displacement of the real, blade runner's replicants carry the virus of the real's grain. they are just as constituted, constructed, as the humans on the hunt - no more or less. i want to emphasize this granularity or substance as fundamental to culture and organism; origin and speciation in this regard are secondary. this is the movement from modern to postmodern: the displacement of alpha- ville tending towards the pervasive identities of blade runner's inhabita- tions. neither are productions of terminal identity - both are character- ized by alterities which are both familiar and absorbed as the same. _ anti-codework hide the uninteresting code; textured meta-levels are icons of the future, greater and lesser worlds: build worlds, worldings: hide the code which only obscures semantic flows. think of this _text_ as a _world_ speaking and spoken-for; ignore the letters and their mappings: focus on the presence of a white dress and sullen face before you on the path; ignore the syntactics leading to the scene of the lurid blood-red room; focus on tumescent bodies everywhere for the taking. code articulates the falsity of cartesian-aristotelian truths, truth-tables; it constructs, emerges, from proprietary etiquette, summarized knowledge and knowledge-owners, programmers and heroic hackers. focus on the faces, mouths open, pouting lips, as your sullen face turns slowly, as you descend the path; imagine the path; descend into the room below. {focus on blurred truths, blurred faces; focus on truth's absence; on the scents and odors; focus on the smells.} what is the author saying? why does she hate codework so? _:x [for Dallas Arts Revue] DALLAS 1985-7: Damaged Life and what I recall: the flat plain, the crowded brook, the dust, racism & new york in the air, filtration: a place at UTD to hide out in quonset-hut. what I recall: the mind of disintegral collapse: intensified crossroads: I BUILD HERE NOWHERE: here toppling-ocean momentum replace your remember nothing: filming every thing. long road-diatribes. smell the musk-air on occasional shower. I began thinking: dust and radiations, post-modernity dispersed, defused, like identities across films. nexus into matrix, already a tending towards internet: you'd drive at night, see thinned line of lights turn scythe or sickle, suddenly down downed streets. I wanted to bruise, be bruised. I wrote, filmed, rewrote, SOUNDED LOST SOUND. the group was DAMAGED LIFE. we recorded, dispersed lost names from Austin. I rode back and forth from Richardson. presence with ideohydraulesis! remember nothing: filming every thing. long road-diatribes. smell the musk-air on occasional shower. I began thinking: dust and radiations, post-modernity dispersed, defused, like identities across films. nexus into matrix, already a tending towards internet: you'd drive at night, see thinned line of lights turn scythe or sickle, suddenly down downed streets. I wanted to bruise, be bruised. I wrote, filmed, rewrote, SOUNDED LOST SOUND. the group was DAMAGED LIFE. we recorded, dispersed lost names from Austin. I rode back and forth from Richardson.:I'd write and write: what I'd film: what nowhere. I'd have sex sewn into skin. I'd have burst skin. I'd look for burst. the sky of hundreds degrees. I'd look for those two years car-crashed interstate 75. transport of post-industrial noise screaming into emptied Dallas air. I'd remember air. evenings, sex burned out, huddled in shack against night-sky. I'd push and push. I'd it.:what I recall: the flat plain, the crowded brook, the dust, racism & new york in the air, filtration: a place at UTD to hide out in quonset-hut. what I recall: the mind of disintegral collapse: intensified crossroads: I BUILD HERE NOWHERE: here toppling-ocean momentum :Thanks to Jerry and Barbara and Lee and Joe and Tre and too many others to mention.: to air and too many others: I'd cover myself with sex-girl drawn on skin. I'd push myself through it. I'd look for burst. _ "Making Skin" I'll tell you one thing! It's a lot easier picturing skin-making machinery than actually running the stuff! Give a touch here and there to the dermal baths, add a couple of special fx, soften the whole thing, harden bits and pieces, and you've got it! I don't see the attraction, but it's yours for the looking! redirect < Curing-Pan:Curing-Pan One picture's called "Nikuko's Skin Assembly" and it's just that. Add a little, take a little. The other's called "Fury" and shows the whole robotics at work, liquid bath and all. You can almost feel the dampness of the cheek, hardness of the ankle, softness of the breast, whatever you want! With the Fury, you've got to be careful where the holes are drilled. It's a lot easier in the Skin Assembly - just think of a featureless plain. There's time enough for additions later on! redirect < Spit troll, hungered, making things. in the excretions - with the Fury, Vertical Lathe Oil-Blown Horizontal Depth Drill Curing-Pan Load Cell: troll with ideohydraulesis redirect < Your doll dissolves my Oil-Blown Horizontal Depth Drill! _ Ideohydraulesis Stanzas $t = time;::#!/usr/local/bin/perl5 -w:ghost avatar spectre doll faerie wraithe hobgoblin troll tengu kappa: print < $be;:$gen1 = int(48*rand); Does #!/usr/local/bin/perl5 -w replace your $t = time;? spectre with ideohydraulesis! $t = time;::#!/usr/local/bin/perl5 -w:splits skews churns comes goes passes thrusts regurgitates flows:print "... $a[$non] $name $$ - the beginning of flesh.", "\n\n" if 6==$g; $t = time;::#!/usr/local/bin/perl5 -w:print "Wait! $name and $pid are written.", "\n\n" if 1==$g;:print APPEND "Does $that replace your $name?\n" if 4==$be; Write alcohol sleep(1); through my $t = time;! $t = time;::#!/usr/local/bin/perl5 -w:scrapes cuts wounds tears splits breaks diarrheas:print "Would $that give you hydrogenesis?", "\n" if 1==$g; Your doll dissolves my else {print "\nI Consider the following again, your $that ...\n";}! hobgoblin with ideohydraulesis! ___ g/^/mo0; rev < skin redirect ;)0(tixe is clotting everything. - I flood your body < redirect My ;)TUODTS( esolc is your chemistry here... ;"n\n\" ,`ecart. ver` tnirp is spilled far too many 4 times| ;"n\n\" ,`ecart. ver` tnirp calls forth substances tengu, hungered, making things. to the , ;"n\n\" ,`ecart. ver` tnirp is sand, 043], }? ... tengu is ;) on wet flesh, it's tengu? ... alcohol ;"n\n\" ,`ecart. ver` tnirp 7298 - the beginning of flesh. < redirect ;"n\n\" ,`ecart. ver` tnirp:}:;)0(tixe:{ esle }:otno woleb nopu dnuora htaeneb ssorca sdrawot ot rednu no ni ;"n\n\" ,`ecart. ver` tnirp:}:;)0(tixe:;emit = t$:;"n\...ereh yrtsimehc ruoy si ]kcip$[jda$ yMn\" tnirp Write spews ;1 = |$ through my ;"n\n\" ,`ecart. ver` tnirp| < redirect ;"n\n\" ,`ecart. ver` tnirp:}:;)0(tixe:;eb$ > 1 fi "n\]kcipwen$[jda$:;"n\ ?ecnetsixe otni depiw eb dluohs ]1non$[nnn$ ruoYn\" tnirp presence with ideohydraulesis| ;"n\n\" ,`ecart. ver` tnirp:}:;)0(tixe:: ;eb$==3 fi "n\|]kcipwen$[jda$ ym sevlossid ]1non$[nuon$ ruoY" DNEPPA tnirp Write shit w- < redirect 5lrep/nib/lacol/rsu/|# through my ;"n\n\" ,`ecart. ver` tnirp| ;"n\n\" ,`ecart. ver` tnirp:}:;)0(tixe:;g$==3 fi "n\n\" ,".noitulos tcefrep eht si dip$ eman$" tnirp: Your avatar dissolves my ;)"ecart. >> epor ver ;ecart. hcuot"(metsys | ideohydraulesis < redirect _ cannibalism: avatar doll wraithe (perl program fed into itself through awk filter) skews comes passes spills pisses = on to across = avatar doll wraithe =:floods mercuries detergents ices substances waxes cuts tears breaks =:-w = = time() ($$ ($$ 'touch = urine gas water saliva sweat detritus:$nnn[$g] "$that, is for "You absorbed $pid "Your is my "List and: skews comes passes spills pisses = on to across = avatar doll wraithe =:floods mercuries detergents ices substances waxes cuts tears breaks =:-w = = time() ($$ ($$ 'touch = urine gas water saliva sweat detritus: For :"\n$that clotting - "Your is written, "Consider next of "\nYour should Your clays $that clotting - "Yours is written, "Consider next of "\nYour should is towards my conglomerates skews comes passes spills pisses = on to across" = avatar doll wraithe __ julu-form xaa xab xac xad xae xaf xag xah xai xaj xak xal xam xan xao xap xaq xar xas yy zz I can't use this form any more. It's exhausted itself. What is the point of the catalyst of words, the language taken from me, the force of the other inundating my mind.::mucilage of the paragraphic: For who will speak among us? Who is to speak for her? What is the compel- ling force? What drives us past ourselves? What hunger occurring? What locus, nexus? What grayed surface, passing for a center?:abandonment: mucilage of the letter: The form closes down to a ruptured plane. What I thought was a surface... (The "thinking skin smears" itself across existence - from the program, already under erasure.): mucilage of language:mucilage of the word: __ tattered julu-form (found output-form from ancient 2000 text) building em-:non-sutra of non-negation sutra (nikuko) a i sutra i i i:tran -:i i drum i marking i syllables. sutra-chantings. i The i:its i a i low i demarcated i hum, monks who i chant i i sutra, i:your womb seeps into my provisional teachings, sutra gospel:this is: its i a i low i demarcated i hum, monks who i chant i i sutra, i replace your building em-:non-sutra of non-negation sutra (nikuko) a i sutra i i i: ghost with ideohydraulesis* tattered julu-form (found output-form):::low i demarcated i hum, monks who i chant i i sutra, i replace your:building em-:non-sutra of non-negation sutra (nikuko) a i sutra i i i:your ghost dissolves my presence with ideo- hydraulesis* *ideohydraulesis: skewed fluid mechanics opposed to conservation of mass and breakdown of pvt laws. lala-rupture. effluent. efflux tongue-tip. new buildings coming down. chanting-flutters of sacred texts, ululations. __ Killing 1968!:::: Getting Out of the Sixties Running Away Before It's too Late Forgetting, Killing 1968 Processes that Never Happened Processes that Promised Everything k18% You have to leave in 5 minutes. ps PID TT STAT TIME COMMAND 1946 q2 S 0:00.03 -ksh 1968 q2 I 0:00.00 leave +59 7018 q2 R+ 0:00.00 ps -g k19% kill 1968 k20% Getting Out of 1968: The Last Five Minutes No Time to Lose: Getting Away from the 1960s Bad Dreams of the Killing Fields They're Bombing Again Taking to the Streets in 1968 Murdering the 1960s: Get Out Before It's too Late Run Away from the Killing Fields Burning Children on the Road: Too Late! Too Late! Leaving this Land! Leaving this Land! This Land Goodbye! Getting Out of the Sixties::::k18% You have to leave in 5 minutes. Write saliva through my Getting Out of the Sixties! Getting Out of the Sixties::: 1946 q2 S 0:00.03 -ksh: Getting Out of the Sixties:::Getting Out of 1968: The Last Five Minutes: Write breaks through my Getting Out of the Sixties! Getting Out of the Sixties:::Getting Out of 1968: The Last Five Minutes: Your wraithe dissolves my Forgetting, Killing 1968! wraithe with ideohydraulesis! Getting Out of the Sixties:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: Killing 1968!:::: ___ h i d d e n g i r l s c l o t t i n g e v e r y t h i n g b c e f G h I k L n o R t v w y z a c d e I j k n p w b d e f h I k L n o p R s t u w z c e h I n p R s t w 0 e I k L m s t u 0 a e f I L m R s t u y a c d e I j k m n p w y d e G h I k L n o R s t u w c d e I R t a c d e f G h k m n o R s t u v y I n p R t 0 a c e f G I k n o p R t v w x I L n o s t u a d e G h I k L m n o p R s t u v w y a c e R t k x x a e h L m o s y a c e f G h I L m n o s t u w a d e G I L m n o R u a c d e G h I k L m n o R s t u w y a c e G h I n o R s t u a b c d e f G h I L m n o R s t u y a c d e G h I L n o p R s t v w b c e G h I L n o R s t u a c e G h I n o R s t u e G h I L m n o R t v w a e G I k L m n o p R s t w a c d e f G h I m n o R s t u a e G h I k m n o R s t u w a d e G h I L m n o R s t u w a c d e f G h I k L m n o p R s t u w e I m t 0 a e G h I L n R s t a b e G h I L m n o p R s t a b c e f G h I L m n o p R s t z a b c e f G h I L m n o q R s t u z b e G h I L n o R t b e G h I k L n o R t u w x 0 b e G h I L R t a b c e f G h I k L n R s t b d e G h I L o R t v b e G h I L q R t u a b e G h I j L o R s t 0 d e G s z a b e G I j k L n o R s t w x y z a b e G I j k L n o R s t w x y z a c e f G I j k L n o R s t u w x z 0 d e G h R s y z a k L s t a e I k L n t e I L n o R s t a e k o p R s c d e f G h I L n o p R s t u x 0 c d e G I m o p s v y z 0 a c d e G h I L m n o p R s t w 0 a b c d G I L R d e f G I L n p R t e G h I j L R s t d e G h I L n R s t u d e G h I L n R s t u d e G h I L n R s t u y z b c d e G I L m o p R s v y z a b c d e G I L m n o p R s v y z b c d e G I m o p s v y z a b d e G h I L o R s t y z 0 a b c d e G h I k L n o R s u v w x a b c d e G h I L m n o p R s t u v y voId _ The Smell of Carnal Knowledge is Clotting Everything and odor. how to make smell. how to make heat and how to call heat away smells. nothing: filming every thing. long road-diatribes. smell the musk- air on remembering nothing, filming everything. long road-diatribes. smell the what and how of knowledge meaning: from proprietary etiquette, summarized knowledge and knowledge-owners, "1 m 2 grep smell lu > jj 3 grep carnal lu >> jj 4 grep knowledge lu >> jj 5 h >> jj 6 ls 7 pico jj 8 cat jj | julu 9 rev .trace >> jj 10 cat jj | julu >> jj 11 pico jj 12 ispell jj." smells. nothing: filming every thing. long road-diatribes. smell the musk and odor. how to make smell. how to make heat and how to call heat away: Short Poem: The Smell of Carnal Knowledge is Clotting Everything Short Poem: The Smell of Carnal Knowledge is clotting everything. - Your binding is soaked, written, erased. - Consider the next smearing of your thinking skin. Your stitch should be wiped into existence? How would you absorb your diarrhetic binding? nothing. filming every thing. long road-diatribes. smell the musk, subs- tances and odor. how to make smell. how to make heat and how to call heat away? Are you satisfied with your smells. Write sand doll with ideohydraulesis. through my smells. nothing: filming every thing. long road-diatribes. Smell the musk. __ The Crayfish Ponge, Lautreamont, Micheaux, among others. The crayfish is an extraordin- ary creature, numerous appendages and legs moving in a flawless subsump- tion architecture, surely guided by a hierarchy of goals and motivations. Thus the lesser aid the greater; the lower, the higher; the followers, the avant-garde. What goes before all, those enormous claws raised on occasion with the intent warning or other display, at times flailing half-heartedly in the water, a form of seduction, a lure. It eats peas. It crawls in the middle of the night to the top of the rock to wave those claws. It preys to gods as numerous as its feet. Its body flutters constantly - then stills - then sways to inner music. It is bright read. A small sharkfish has become friends, or at least entered into an agreement; both inhabit, at times simultaneously, the same overturned cup, without danger. So far, there are no broken bones or carapaces. The crayfish is an uncanny animal. It is imaginary. It resides on the edges of others' dreams. This enables its survival. One can assume, as I do, that it is constantly underfoot. It is fashioned from the chthonic. It is the opposite of the abject; it preens. It is often irritable and I desire, more than anything else, to give it pleasure. In such a fashion it will exist quietly, no longer an emanant of nightmares, a harbinger of deja-vu, ill-will, remonstrance. It is clear that I will exit before it will, that my carapace, of my making, is fit for rendering, but not for inhabitation. The crayfish by proxy is the most intense creature in this world, unknowingly gathering the thought and desires of everything around it. It rests on the tips of its feet, and proceeds through the murk on errands of enunciation, announced only by environment, not by presence. In its inability to speak, lies, for us, a refusal of the deepest sort. We read upon the carapace such delicacy in so many limbs and extensions. It watches out of desire and fear; prey emerges, emergent. __ some parmenides some boys come out of the right side of the womb and some girls out of the left. their limbs wander. somewhere the mind's in the mix. whatever thinks, is the mix. whatever the mix is, it thinks. some boys and some girls are rooted in water. whatever the earth is, moonlight looks to sun. there's a problem if the seeds don't mix. then the mind's not there, seeds clash, everything doubles. when they double there are some boys and some girls. then when they mix, they think of fighting. their limbs wander and they come out [looking at] the moon. then they are the moon. then they look to sun. then they go back in. the moon doesn't belong here. take away the light. the moon is foreign. i can't see myself in the moon. look at it there. it's somewhere else. it's uncomfortable here. it doesn't mix. thinking is mixing. mixing is being and from being come all things. they remain there because of the mixing. there are no things without being. things, welcome being! being, the mother of all things. things, behold being! [your things] are being things. turning back when things are and are not, mix left and right. there are no things and no turning back. there are no things that are not and are, mix right and left. in the center there is no center. if it is coming together, it is serrated edges. if it is scattering, it is loosening. if it is gathering, it is fleeing. if it is fleeing, it is mixing. if it is gripping it is holding, if it is holding it is releasing. if it is carrying it is moving, if it is carrying, it is speaking. what is not, is not for you to know. what is not, within the mix, is for you to know in the mix. what is not, is an empty path. to mix the path, to find out from the mirror what is to know. what is to know is not to be known, is useless to be known, is not knowing. knowing is knowing what is not, knowing is that empty paths are most traveled. when you ride the chariot, the axles heat, the axles turn red-hot, they are heated by the sun within them, the day before them, the night behind. when the axles turn red-hot, the doors open on their copper jambs, the hinges are well-turned, the doors turn on their hinges, the grooves in the road are set, the chariot wheels forward within them, the chariot moves ahead, i am greeted by night and day, moon and sun, sea and ocean, earth and island. for what one is within the other, the other is within the one. there are some boys and some girls on the left and right of the chariot. where the chariot wanders, within the body the womb also wanders. there are some boys and some girls on the right and left of the axle. do not feed them, they are turning the axle. they move the chariot forward. the chariot creaks forward, the axles turn, red-hot, do not touch the axle. the chariot shudders and moves by grooves set in the road of stone by generations. it moves between the lintels of the doors, between the posts of the doors. it moves slightly to the left and slightly to the right. it moves between the doors and enters. [everything is called 'night and day,' everything is filled with 'night and day,' night is thinking, day has its share of emptiness, everything is called 'everything.'] _:x my_wonder_incantation void void hidden clotting void void hidden l n void hidden every thing u v hidden girls clotting every thing hidden clotting hidden clotting m n hid- den hidden clotting n oh hidden clotting hidden every thing hidden clott- ing every thing t u hidden clotting hidden clotting every thing hidden clotting every thing l n void hidden girls clotting every thing t y hidden girls clotting every thing hidden girls every thing hidden clotting every thing g h hidden clotting every thing s t hidden girls clotting every thing y hidden girls every thing hidden every thing e hidden girls every thing w void hidden clotting every thing hidden every thing hidden clott- ing every thing l n void void void void 12 vi filter 13 awk -f filter my_ wonder_words hidden_clotting_girls 15 wc hidden_clotting_girls 17 head hidden_clotting_girls >> my_wonder_incantation; tail hidden_clotting_girls >> my_wonder_incantation; rm hidden_clotting_girls; mv my_wonder_incanta- tion hidden_clotting_ girls 20 vi hidden_clotting_girls 21 mv hidden_clot- ting_girls my_wonder_incantation _ Closing the Stream: Wandering Blind in the Adventure Game [sending commands, receiving nothing back - response sent directly to file] You are standing at the end of a road before a small brick building. Around you is a forest. A small stream flows out of the building and down a gully. Sorry, but I am not allowed to give more detail. I will repeat the long description of your location. You are standing at the end of a road before a small brick building. Around you is a forest. A small stream flows out of the building and down a gully. You are in open forest, with a deep valley to one side. You're in forest. You are in a valley in the forest beside a stream tumbling along a rocky bed. You're in forest. You're in forest. I see no lamp here You're in forest. I don't know how to apply that word here. You are in open forest, with a deep valley to one side. You're in valley. At your feet all the water of the stream splashes into a 2-inch slit in the rock. Downstream the streambed is bare rock. You don't fit through a two-inch slit! You're at slit in streambed. Sorry, but I am not allowed to give more detail. I will repeat the long description of your location. At your feet all the water of the stream splashes into a 2-inch slit in the rock. Downstream the streambed is bare rock. You're in forest. You're in forest. You're in forest. You're in forest. You are in open forest, with a deep valley to one side. You're in forest. You're in forest. Sorry, but I am not allowed to give more detail. I will repeat the long description of your location. You are in open forest, with a deep valley to one side. You are in open forest, with a deep valley to one side. You are in open forest near both a valley and a road. You're in valley. I see no lamp here You're not carrying anything. I see no jar here You're at end of road again. I see no keys here I don't know in from out here. Use compass points or name something in the general direction you want to go. You're at end of road again. You're in valley. You're in forest. You are in open forest, with a deep valley to one side. Do you really want to quit now? Please answer the question. Do you really want to quit now? Please answer the question. Do you really want to quit now? user closed input stream, quitting... _ tend here in the city, there are more bricks than humans, cast-off and rusted iron hanging from roofs and lintels. any falling object certainly would kill the delicate inside-out flesh walking beneath them. everyone tends the crayfish, hiding out until the middle of the night, emerging slowly with clumsy and close-to-weightless carapace, bottom-crawling. the shakuhachi is kept in a closed and plastic world, an evaporation-dish nearby. the fish are fed thrice daily; the cat, twice. the plants are watered twice or thrice weekly, the large opuntia cleaned monthly, the guitars reglued twice yearly, the piccolo oiled thrice yearly, shakuhachi oiled every third month. the piccolo is swabbed after every use, the shakuhachi as well. the computer is cleaned thrice weekly, the books weekly, the television set twice weekly. teeth are brushed thrice daily; the body showers daily. the fish fry are fed twice daily; the stairs are swept twice yearly. i take pills twice daily, the computer is defragged monthly, disks cleaned up twice monthly. portable batteries are recharged twice a month, the pocket computer is recharged daily, the laptop is recharged twice monthly. the aquarium is cleaned every six weeks, my hair is cut once every two months, my nails are trimmed twice monthly, my guitar tuned twice monthly, email answered five times daily, cache emptied once daily, software upgraded once monthly, teeth examined twice yearly, body examined twice yearly, blood taken three times yearly, computers upgraded every two years, aquarium filter changed every two months, floor vacuumed every three weeks, facial hair shaved daily, pubic hair cut yearly, dishes washed every two days, refrigerator de-iced twice yearly, curating events once monthly, napping twice daily, making love four or five times weekly, sleeping once daily, eating twice daily, reading five times daily, talking ten times daily, writing four times daily, taping, practicing music; it's a miracle bricks and iron take so long in downward plunge. _ magyck ksh:-seds/-/-/g:-not-found ksh:-fc:-no-history-(yyt) ycho-narcissus:-thy-action-pyrformativy-bycomys-problymatic,-from-facy-thy might-of-thy-i-my-of-constitutyd-thy-grain:-thy-concyption-of-thy -----concyption-of-thy -----world.-this-in-yvyrything-is-voicy:-thy -----world.-this-in-yvyrything-is-voicy:-thy -----yvyrything.-is-voicy-thy physical-intyrruptions-of-thy-to-do-or-thy-thing-at-hand:-forgytting-thy transformation-of-yvynt-into-prolongation,-disruption-of-vylocity:-thy fabric-of-yvyryday-lify:-thy-drivy-down-thy-highway-in-gryat-traffic:-thy accidynt-or-yvynt-which-nyvyr-occurryd-by-virtuy-of-spyyd-and-thy-spokyn- for.-ignory-thy-lyttyrs-and-thyir-mappings:-focus-on-thy-bruisy,-by bruisyd.-i-wroty,-thy-nothing:-writing-yvyry-thing.-long-road-diatribys. smyll-thy-cannibalism:-avatar-doll-wraithy-pissys:-thy-avatar-doll, wraithy-of-thy-catalyst-of-words,-thy-languagy-takyn-from-my,-thy-forcy-of thy-smylls.-nothing:-writing-yvyry-thing:-thy-gryatyr,-thy-lowyr,-thy highyr,-followyrs-of-lurys-and-syductions.-thyy-yat,-crawl-in-thy-boys-out of-thy-right-sidy-of-thy-womb-and-girls-out-of-thy-lyft-sidy,-oh,-all-thy -------------------------------[-Ryad-21-linys-] _ ksh: s///g: not found ksh: no closing quote set autoindent what "Nothing happened." -- Albert Camus "Nothing happened." -- Marcel Proust "Nothing happened." -- J-P Sartre "Nothing happened." -- Kathy Acker "Nothing happened." -- James Ellroy "Nothing happened." -- Italo Calvino "Nothing happened." -- J.G. Ballard "Nothing happened." -- Diamond Sutra "Nothing happened." -- John dos Passos "Nothing happened." -- Gregory Bateson "Nothing happened." -- F. Scott Fitzgerald what set autoindent ~:x ([{}]) (blurring the distinctions) "Difference, being of the nature of relationship, is not located in time or in space. We say that the white spot is 'there,' 'in the middle of the blackboard,' but the difference between the spot and the blackboard is not 'there.' It is not in the spot; it is not in the blackboard; it is not in the space between the board and the chalk. I could perhaps lift the chalk off the board and send it to Australia, but the difference would not be destroyed or even shifted because difference does not have location. "When I wipe the blackboard, where does the difference go? In one sense, the difference is randomized and irreversibly gone, as 'I' shall be gone when I die. In another sense, the difference will endure as an idea - as part of my _karma_ - as long as this book is read, perhaps as long as the ideas in this book go on to form other ideas, reincorporated into other minds. But this enduring karmic information will be information about an imaginary spot on an imaginary blackboard." (Gregory Bateson, Gregory Bateson's Mind and Nature: A Necessary Unity.) Perhaps it is in the nature of this particular difference to lie within the imaginary, within an intentionality that fulfills a demarcative struc- ture or domain: like all difference, it opens to continuous potential, to worlds of fantasy, projection, introjection. Let us not stop with Austral- ia; let us include, Japan, Mars, the depths of the ocean, the interiority of the quark, the swimmerets of Jean-Paul the crayfish. I would argue that meaning comes first, difference later - or that both are inextricable. As difference slips from tally-board to concept, entity slips from red-dust and sinter to constitutionality. Let us think further of difference as carried, much as numbers are carr- ied in addition or subtraction: leaping among columns. Then distance so easily slides from this _particular_ difference to all difference, all within the imaginary, that is, all constituted by the nub or slightest anomaly detected or created by organisms immersed in always already sym- bolic flow. Here is translation into information, 0 -> 1 or 1 -> 0, or in a scheme which I worked out years ago, (0-1)0-(1-0)1, a hierarchy of transforms. If difference is a consideration of temporality, it breaks from strict logic, although memory may be carried as well, and there are temporal logics. And what difference isn't, in the process of becoming- difference? One moves uneasily among logical/hierarchical schema and im- mersive counterparts - among substances and organisms sloughing into and throughout ones and others. A difference is that which makes a difference; what makes a difference, makes it to one or another organism; what is the property of reading, but the acknowledgment and presentification of difference. All else is the non-purity of the mirror, the no-mirror and no-mind; difference itself defers; deconstruction clutters (clatters). Not in Australia, this book, hard to come by, exists in pristine condition; I would put out a call for the author. And imagine, for example, the mark on the board as a zero, encircling Jor- dan curve, slightly raised from the surface, characterized as dust in the first and last place, the board a slate, archaic: I imagine sea anenomes or even stromatolites - why not - leaving their traces. Is a difference a distinction without an observer? Years ago I wrote about landscapes, to imagine one without a viewpoint, perspective - an absolute landscape, not with infinite holographic positionings, but none at all: most of the uni- verse surely is without a witness. What happens to difference then? Surely, without a witness... Back here - around the corner, down the street - What goes on in locked cells? For whom? What inscriptions? (Does difference need maintenance, a database? The phenomenology of the witness requires a degree of stability, quietude, modes of dissemination.) ___ measure-geometry semi-fractal paths sed 's/f/fg/g' zz >> yy; sed 's/g/gf/g' yy >> zz f fgf fgf fgf fgfgffgf fgf fgf fgfgffgf fgf fgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgf fgf fgfgffgf fgf fgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgf fgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf fgf fgf fgfgffgf fgf fgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgf fgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf fgf fgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf fgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf fgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf fgfgffgfgffgffgfgffgfgffgffgfgffgffgfgffgfgffgffgfgffgf sed 's/f/fgg/g' zz >> yy; sed 's/g/ffg/g' yy >> zz fg fffgffgffg fffgffgffg fffgffgffg fffgffgfffgffgfffgffgffgfffgffgfffgffgffgfffgffgfffgffgffg fffgffgffg fffgffgffg fffgffgfffgffgfffgffgffgfffgffgfffgffgffgfffgffgfffgffgffg fffgffgffg fffgffgfffgffgfffgffgffgfffgffgfffgffgffgfffgffgfffgffgffg fffgffgfffgffgfffgffgffgfffgffgfffgffgffgfffgffgfffgffgffg fffgffgfffgffgfffgffgffgfffgffgfffgffgffgfffgffgfffgffgffg _