scream solix% exit eeeeeeyyyyy^M^M^My^My^My^My^My^My^My^Myes^Myes^Myes^Myes^Myes^Mlksflkj: Command not found solix% exit image: fierce cunt: i watch my beautiful wife fucked by a terrorist; she's looking at me; she's getting aroused, she makes sure i'm watching azure opens her cunt wide, he's gone in, she's moaning hard, she makes sure i hear her moaning i'm watching, i'm about to die, my cock's stiff, dripping, they're laughing at me, she makes sure i see her laughing her cunt is soaking, her small labia distended, her body arched, her hair is shaved, she makes sure i can see everything he's sucking her round breasts, they're tense, she makes sure i can see how tense they are, he's bruising them, she's holding them out to him, i've never seen her nipples so hard, she makes sure i see how hard they are he moves aside, i can look up into her his cum's in her, she makes sure i see his cum filling her, he puts his hand in her, he spreads it on my face she makes sure i'm watching she makes sure i can see how good he is she makes he's she makes sure i'm watching, he's thinking 'this is the future, i can't believe this is happening' 'i've never fucked anyone so beautiful' 'it's never been so good' he's solix% logout Connection closed by foreign host. solix% exit eeeeeeyyyyy^M^M^My^My^My^My^My^My^My^Myes^Myes^Myes^Myes^Myes^Mlksflkj: Command not found solix% exit solix% logout Connection closed by foreign host. solix% exit eeeeeeyyyyy^M^M^My^My^My^My^My^My^My^Myes^Myes^Myes^Myes^Myes^Mlksflkj: Command not found solix% exit solix% logout Connection closed by foreign host. _ Take of the Continuity Girl The continuity girl wears a big baggy sweater and carries a clipboard and Polaroid camera. She walks among the naked actors and actress and takes notes, whose hand is where, which face is turned towards - and which away from - the camera. This is amazing. whose finger has a torn nail - whose breasts already damp - the degree of nipple erection (easy here) - all of this is carefully noted by the continuity girl. There is sweat running from a shoulder. The terrorist has his knife to a neck from the left - no, from the right - side; "R" appears almost by command on the continuity chart. Is this the numbered scene, the only scene - the continuity girl knows, takes everything into account. She writes "Alan is gagged tightly, he is having trouble breathing. If he suffocates, this will be the only take." She writes "n/g" as the gag is loosened. Azure has been shaved, head to toe; Azure is constantly shuddering. The continuity girl writes "Azure moves - lock structure in edit - there is no room for error - there is nothing but error." The continuity girl notes the bruises and bites on four, on five, breasts. She notes, "Day 3." She notes, "This is the second day." It is the goal of the continuity girl to make sure the world is whole, to make sure it remains contained, coherent, logical beneath the chaos the rest of us take for granted. _ The Continuity Girl The continuity girl asserts the fundamental forces of the world. She writes 5; then 5/under erasure; she writes 4; she exhausts the series. She adds the cosmological constant, planck's constant; she erases them; she includes them; she erases them. The slate is a mess. The slate is unreadable. The slate mimics the world. The slate becomes the world. She continues to write. She is wearing a baggy sweater and carrying a Polaroid camera. She carries a great number of accessories: tripod, telephoto, wide-angle, scanning-transmission electron microscope, interferometer, neutron telescope. There are a continuous number of scenes; she numbers them according to the continuum. It is not so difficult to describe the actors; they are also continuous, and the transformation of props and objects occurs according to aristotelian logic and fluid morphology. Only certain quantum leaps give her trouble, but these radical discontinuities also permit discontinuities within or across scenes, and need not be annotated. For the rest, everything appears relatively differentiable. The slate is a mess. The slate is a continuous mess. _ Unit Mo The continuity girl is nervous. She has dreamed of blood. The set has many actors. She is sure about her dream. She says "You are deranged." She says "This is a film not to be made." She says to the director "There are no actors." She says to the director "I will be your actress." She says to the director "Do with me what you will." She annotates all continuity. She says "There is no director." She says "I am the director." She says "I am sure of it.":The continuity girl wears her baggy sweater. She removes her sweater. She removes her shirt. She removes her bra. She removes her pants. She removes her panties. She removes her tampon. She removes her stopwatch. She puts down her continuity pad. She puts down the script. She picks up the script. "I will be the star of this and every other film." The day is night. Her shaved hair is long. Her brown eyes are blue. Her perfect teeth are crooked. Her heavy legs are thin. Her small breasts are large. America harbors terrorists in many suburban tracts. They are set to move against Afghanistan their mortal enemy. Afghanistan is crossroads of empire. Fundamentalists stream across oceans. Afghanistan is mortally wounded. The script is soaked in blood. The continuity girl climbs a tree. The continuity girl wraps up. She has observed the continuity girl. Against her will she has participated in the film. There are broken costume changes. The sky is another weather. Her mood is broken. She did give herself to herself. She did wound herself from the convenient tree. She did pick up the script from the ground. She did put it inside of herself. She did read of it through her period the blood. She did note the crevice of blood across the page. She did note the word "supple""ment" cut between one stroke and another. :odin-theme:script boy The continuity girl wraps up. She has observed the continuity girl. Against her will she has participated in the film. There are broken costume changes. The sky is another weather. Her mood is broken. She did give herself to herself. She did wound herself from the convenient tree. She did pick up the script from the ground. She did put it inside of herself. She did read of it through her period the blood. She did note the crevice of blood across the page. She did note the word "supple""ment" cut between one stroke and another. Replace the continuity girl is nervous. She has dreamed of blood. The set has many actors. She is sure about her dream. She says "You are deranged." She says "This is a film not to be made." She says to the director "There are no actors." She says to the director "I will be your actress." She says to the director "Do with me what you will." She annotates all continuity. She says "There is no director." She says "I am the director." She says "I am sure of it." She is naked-woman. The film is War-Time Fuck. The film is The Truth About Angels. The film is Apocalypse Now. The film is Biograph Continuity Girl. The film is Mistake of the Century. The film is Miss Take. _ I.II. I. + 2. 1. 2 is of base three. 2 is outside base 1. [ this film skims on image and sound. ] according to which base? but 2 is an abbreviation. but of which this 1? how so. if to the base 1 then + 2 already is nonsense. of the calculation or accumulation. of the integer 1? the natural number 1? of the operation or procedure. she uses her polaroid to photograph: 1 + 2. the continuity girl notes + 2 to what? the continuity girl notes 1. the continuity girl wears a baggy sweater. the continuity girl writes "+ of the accumulation." the continuity girl writes "1 + 2 = the grave." the continuity girl writes "photograph number 3." the continuity girl writes down "> base 3." the continuity girl writes down "in addition nothing needs to happen." the continuity girl writes down "in addition." the continuity girl writes down "trinity." the director says "there is no equal." the director says "there is no equality." the director says "there is no sign of equals." the image is blank. then of the plus? asks the continuity girl. this is already of the depth or debris, of the grave. to 1. II. + 2. 1. 2 is of base three. 2 is outside base 1. [ this film skims on image and sound. ] abdomen according to which base? anus arch arch arm arm ball ball ball ball breast breast but 2 is an abbreviation. but of which this 1? cheek cheek chin ear ear elbow elbow eye eye eyebrow eyebrow eyelid eyelid finger finger finger finger finger finger finger finger finger finger foot foot hair hand hand head how so. if to the base 1 then + 2 already is nonsense. knee knee knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle knuckle leg leg lip lip mouth nail nail nail nail nail nail nail nail nail nail nail nail nail nail nail nail nail nail nail nail nape neck nipple nipple nose nostril nostril of the calculation or accumulation. of the integer 1? the natural number 1? of the operation or procedure. palm palm penis she uses her polaroid to photograph: 1 + 2. shoulder shoulder stomach the continuity girl notes + 2 to what? the continuity girl notes 1. the continuity girl wears a baggy sweater. the continuity girl writes "+ of the accumulation." the continuity girl writes "1 + 2 = the grave." the continuity girl writes "photograph number 3." the continuity girl writes down "> base 3." the continuity girl writes down "in addition nothing needs to happen." the continuity girl writes down "in addition." the continuity girl writes down "trinity." the director says "there is no equal." the director says "there is no equality." the director says "there is no sign of equals." the image is blank. then of the plus? asks the continuity girl. this is already of the depth or debris, of the grave. thumb thumb to 1. toe toe toe toe toe toe toe toe toe toe tongue underarm underarm vagina waist wrist wrist _ from An,ode: totality of consumption possibilities reading them writing them doing other with them combining any words according to structured chance operations according to any predetermined serial order which may regulate any elements only limited by your imagination according to any fold in cut out or obscuring distortion process eliminating elements by fire water earth air chemical laser or other means eliminating elements by natural weather conditions claiming any elements as your own performing any elements according to predetermined or chance laws of your own choosing only limited by your imagination directing others in the performance of any of the elements according to your own laws improvising the materials at will bang them hang them utilizing them for any everyday activity which attracts you at the moment only limited by your imagination ignoring them ignoring these possibilities applying them only to the elements found within the "possibilities" applying them one by one to the sentence which projects them, one by one applying them to something altogether different only limited by your imagination seeing them sighting them dissecting any elements according to any of the above or below creating new and critical elements creating new and critical elements only limited by your imagination (An,ode, Sondheim, Burning Deck, 1968) _ biograph continuity girl who is the continuity girl. she writes and underlines these words; she checks spelling and stylistic consistency. in the world, she writes, she makes certain that day is day, night is night; that if day for night, then not night for day; if night for day, then not day for night. she wears careful glasses, is twenty-three years old, and a graduate of ucla's motion picture / television department. she has been an extra in several post-blair-witch-project student films, shot in will rogers state park. she is originally from portland, maine. she studied with leslie thornton in brown university's modern culture and media department for her undergraduate work. it was only later that she decided to remain on the periphery of cinema, closely observing everything around her. the film was secondary, she writes, to the continuous reiteration of the real. she thinks she is a machine. she thinks she is the perfect eye. she thinks she is the inconceivable eye. i am the continuity girl, she writes, who am i. who is the continuity girl. she writes and underlines these words; she is killing everything. everything is destroyed and mutilated. what damage have you done; she... a soldier rapes me. i rape a soldier. i am terror. i am terror of the real. i make certain that day is day, night is night; that if day for night, then what is mine, who is the continuity girl. she writes and underlines these words: SHE IS YOURS. SHE IS YOUR BIOTERRORISM HERE. i dream of the naked dead-man, she writes. i am hungry. i make things. she is in the armor. she writes, i owe everything to leslie thornton and john malkovich. she writes, i will be naked all the time. she takes off her baggy sweater. she writes, i am of the real. n/g. i am the real. i am film. armies film me. i will write their names. the glass is on the right- hand side. it is cloudy out and 9 o'clock in the early night. she writes, people are dying. she writes, people are staring at me. i am happy. she makes certain that day is day, night is night; that if day for night, then:checks spelling and stylistic consistency. in the world, she writes, she:who is the continuity girl. she writes and underlines these words; she:thinks she is a machine. she thinks she is the perfect eye. she thinks she :careful glasses, is twenty-three years old, and a graduate of ucla. ======== from / for kenji siratori hidden girls clotting everything e molton boys furiously streaming l continuity n o r you_know sex_girls sex_boys v y hidden clotting everything e molton furiously l n o r you_know sex_girls sex_boys w hidden clotting everything e molton boys furiously streaming l n o r you_know sex_girls sex_boys v w hidden girls everything e streaming l continuity n o writing r you_know sex_girls sex_boys y hidden girls clotting everything e molton boys furiously l continuity n o writing r you_know sex_girls w y hidden girls clotting everything e molton furiously n o r you_know sex_girls sex_boys w y hidden clotting everything e molton furiously streaming l continuity n o r you_know sex_girls sex_boys w hidden girls clotting everything e molton boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys x hidden girls clotting everything e molton boys furiously streaming continuity n o q r you_know sex_girls sex_boys y hidden girls clotting everything e boys furiously streaming n o writing r you_know sex_girls sex_boys y hidden girls clotting everything e molton boys furiously streaming l continuity o writing r you_know sex_girls sex_boys v y hidden everything e molton furiously streaming continuity n o writing r sex_girls sex_boys y hidden girls clotting everything e molton boys furiously streaming continuity n o writing r you_know sex_girls sex_boys v w y hidden girls clotting e molton boys furiously streaming j k l n o writing r you_know sex_girls w hidden clotting everything e molton boys furiously streaming continuity n o r you_know sex_girls sex_boys y hidden girls clotting everything e molton furiously streaming l continuity n o writing r you_know sex_girls sex_boys w x y hidden everything e molton furiously streaming l continuity n o r you_know sex_girls sex_boys hidden girls clotting everything e molton boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys y hidden clotting everything e molton boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys v w hidden clotting everything e molton boys furiously streaming l n o writing r you_know sex_girls v y everything e writing you_know hidden girls clotting everything e molton furiously l continuity n o writing r you_know sex_girls sex_boys w y hidden girls clotting everything e molton boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys v y z hidden clotting everything e molton boys furiously streaming j l n o r you_know sex_girls sex_boys v w y hidden girls clotting everything e boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys v w y hidden clotting everything e molton boys streaming continuity n o writing r you_know sex_girls sex_boys hidden girls clotting everything e furiously streaming l continuity n o writing r you_know sex_girls sex_boys w x y hidden clotting everything e molton boys furiously streaming continuity n o writing r you_know sex_girls sex_boys w y hidden clotting e molton furiously streaming continuity n o writing 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you_know sex_girls sex_boys w y hidden girls clotting everything e boys furiously streaming l continuity n o r you_know sex_girls sex_boys w hidden girls clotting everything e molton boys furiously streaming l n o writing r you_know sex_girls sex_boys x y clotting everything e furiously streaming continuity writing r you_know sex_girls sex_boys hidden clotting everything e molton furiously streaming l continuity n o r you_know sex_girls sex_boys hidden girls clotting everything e molton boys furiously streaming continuity n o writing r you_know sex_girls sex_boys y hidden girls clotting e molton furiously streaming k l n o r you_know sex_girls sex_boys w y hidden girls clotting everything e molton boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys v w y hidden clotting everything e molton boys streaming continuity n o writing r you_know sex_girls sex_boys hidden clotting everything e molton boys furiously streaming l n o writing q r you_know sex_girls sex_boys x y z hidden girls clotting everything e molton boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys y hidden girls clotting e molton furiously streaming l continuity o writing r you_know sex_girls y hidden clotting everything e molton furiously streaming l continuity o writing r you_know sex_girls sex_boys w hidden clotting everything e molton boys furiously streaming j l continuity n o r you_know sex_girls v w hidden girls clotting everything e boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys w void hidden girls clotting everything e molton furiously streaming n o writing r you_know sex_girls x y hidden girls clotting everything e molton boys furiously l continuity n o r you_know sex_girls sex_boys w y hidden clotting everything e molton furiously streaming k l continuity n o writing q r you_know sex_girls sex_boys y z hidden girls clotting everything e furiously l continuity n o r sex_girls sex_boys y hidden clotting e molton boys furiously streaming l continuity n o writing r you_know sex_girls w hidden girls clotting everything e molton boys furiously streaming l continuity n o writing r you_know sex_girls v y hidden clotting everything e molton boys furiously streaming continuity n o writing r you_know sex_girls sex_boys w y hidden girls clotting everything e molton furiously streaming l n o writing q r you_know sex_girls sex_boys w y hidden girls clotting everything e molton furiously streaming l continuity n o writing r you_know sex_girls sex_boys y void hidden girls everything e molton furiously streaming k l continuity n o writing r you_know sex_girls sex_boys y hidden clotting everything e molton furiously streaming l continuity n o writing r you_know sex_girls sex_boys w x hidden everything e furiously continuity n sex_girls sex_boys hidden girls clotting everything e molton furiously l continuity n o writing r you_know sex_girls w y hidden clotting everything e molton boys furiously streaming l continuity n o r you_know sex_girls sex_boys y z hidden girls clotting everything e molton boys furiously streaming l n o writing r you_know sex_girls sex_boys x hidden clotting e molton furiously r you_know sex_girls sex_boys hidden clotting everything e molton boys furiously streaming l continuity n o writing r you_know sex_girls sex_boys hidden girls clotting everything e molton furiously streaming l continuity n o writing r you_know sex_girls sex_boys w y void void void _ double-coded everglade i undressed nature with my camera lens and eyes hidden clotting apple snails green anoles anhinga streamed towards me brown anoles moving fast iguana fled quickly into the water continuity saw grass cut through perception r you_know sex_girls sex_boys w y apple snails brown anoles moving fast o adolescent alligators gathered apple snails brown anoles moving fast o adolescent alligators gathered hidden distant herons green anoles molten turkey vultures circled overheard brown anoles moving fast iguana fled quickly into the water continuity saw grass cut through perception o r you_know sex_girls adolescent alligators gathered w hidden green anoles brown anoles moving fast iguana fled quickly into the water saw grass cut through perception anhinga spearing beneath the surface you_know hidden green anoles turkey vultures circled overheard iguana fled quickly into the water saw grass cut through perception o r you_know hidden clotting green anoles turkey vultures circled overheard anhinga streamed towards me brown anoles moving fast saw grass cut through perception o anhinga spearing beneath the surface r you_know sex_girls sex_boys w r k saw grass cut through perception o sex_boys w y distant herons green anoles o you_know the white ibis, the white ibis y apple snails green anoles anhinga streamed towards me brown anoles moving fast saw grass cut through perception hidden green anoles turkey vultures circled overheard iguana fled quickly into the water saw grass cut through perception o r you_know hidden clotting green anoles turkey vultures circled overheard anhinga streamed towards me brown anoles moving fast saw grass cut through perception o anhinga spearing beneath the surface r you_know sex_girls sex_boys w r green anoles turkey vultures circled overheard brown anoles moving fast iguana fled quickly into the water r you_know the white ibis, the white ibis distant herons green anoles o you_know the white ibis, the white ibis y hidden apple snails green anoles turkey vultures circled overheard anhinga streamed towards me brown anoles moving fast continuity saw grass cut through perception o r you_know sex_girls w hidden distant herons green anoles molten turkey vultures circled overheard brown anoles moving fast iguana fled quickly into the water continuity saw grass cut through perception o r you_know sex_girls adolescent alligators gathered w green anoles turkey vultures circled overheard brown anoles moving fast iguana fled quickly into the water r you_know the white ibis, the white ibis w clotting brown anoles moving fast saw grass cut through perception o sex_girls sex_boys y y apple snails green anoles anhinga streamed towards me brown anoles moving fast saw grass cut through perception clotting turkey vultures circled overheard brown anoles moving fast iguana fled quickly into the water saw grass cut through perception o sex_girls hidden green anoles turkey vultures circled overheard iguana fled quickly into the water saw grass cut through perception o r you_know clotting brown anoles moving fast saw grass cut through perception o sex_girls sex_boys y r hidden green anoles turkey vultures circled overheard iguana fled quickly into the water saw grass cut through perception o r you_know hidden clotting apple snails green anoles molten turkey vultures circled overheard anhinga streamed towards me brown anoles moving fast k iguana fled quickly into the water saw grass cut through perception o q r sex_girls sex_boys w y hidden clotting green anoles turkey vultures circled overheard anhinga streamed towards me brown anoles moving fast saw grass cut through perception o anhinga spearing beneath the surface r you_know sex_girls sex_boys w k saw grass cut through perception o sex_boys w y apple snails green anoles anhinga streamed towards me brown anoles moving fast saw grass cut through perception hidden green anoles brown anoles moving fast iguana fled quickly into the water saw grass cut through perception anhinga spearing beneath the surface you_know hidden clotting green anoles turkey vultures circled overheard anhinga streamed towards me brown anoles moving fast saw grass cut through perception o anhinga spearing beneath the surface r you_know sex_girls sex_boys w hidden green anoles turkey vultures circled overheard iguana fled quickly into the water saw grass cut through perception o r you_know k saw grass cut through perception o sex_boys w y y apple snails brown anoles moving fast o adolescent alligators gathered apple snails brown anoles moving fast o adolescent alligators gathered apple snails brown anoles moving fast o adolescent alligators gathered apple snails brown anoles moving fast o adolescent alligators gathered apple snails brown anoles moving fast o adolescent alligators gathered _ water-churned double everglade green anole iguana fled quickly into water r w green anole iguana fled quickly into water r w green anole iguana fled quickly into water r w turkey vultures circled overheard iguana fled quickly into water continuity saw grass cut through perception o distant herons green anole molten turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water o anhinga spearing beneath surface r black adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails green anole turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity saw grass cut through perception o r manatee orchid adolescent alligators gathered y churned blue racers distant herons molten turkey vultures circled overheard iguana fled quickly into water continuity r white ibis, white ibis turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity o r black manatee adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails apple snails turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity saw grass cut through perception r black manatee adolescent alligators gathered w churned blue racers brown anole moving fast distant herons turkey vultures circled overheard iguana fled quickly into water continuity saw grass cut through perception o turkey vultures circled overheard brown anole moving fast k iguana fled quickly into water o r black manatee adolescent alligators gathered w white ibis, white ibis churned blue racers molten turkey vultures circled overheard anhinga streamed towards me brown anole moving fast k continuity r black manatee orchid adolescent alligators gathered white ibis, white ibis y churned blue racers brown anole moving fast apple snails turkey vultures circled overheard anhinga streamed towards me r black adolescent alligators gathered y turkey vultures circled overheard iguana fled quickly into water continuity o r manatee white ibis, white ibis distant herons apple snails molten turkey vultures circled overheard brown anole moving fast i approached alligator iguana fled quickly into water continuity o anhinga spearing beneath surface r black manatee orchid adolescent alligators gathered w white ibis, white ibis churned blue racers distant herons clotting anhinga streamed towards me iguana fled quickly into water adolescent alligators gathered y turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity o r black manatee adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails turkey vultures circled overheard iguana fled quickly into water continuity saw grass cut through perception o apple snails turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity saw grass cut through perception r black manatee adolescent alligators gathered w churned blue racers apple snails green anole turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity saw grass cut through perception o r manatee orchid adolescent alligators gathered y churned blue racers distant herons apple snails molten iguana fled quickly into water continuity anhinga spearing beneath surface distant herons distant herons molten turkey vultures circled overheard iguana fled quickly into water continuity r white ibis, white ibis iguana fled quickly into water molten turkey vultures circled overheard anhinga streamed towards me brown anole moving fast k continuity r black manatee orchid adolescent alligators gathered white ibis, white ibis y churned blue racers turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity o r black manatee adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails apple snails turkey vultures circled overheard anhinga streamed towards me r black adolescent alligators gathered y distant herons molten anhinga streamed towards me brown anole moving fast continuity o black adolescent alligators gathered w white ibis, white ibis y churned blue racers distant herons green anole molten turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water o anhinga spearing beneath surface r black adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails green anole turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity saw grass cut through perception o r manatee orchid adolescent alligators gathered y churned blue racers anhinga spearing beneath surface distant herons apple snails molten turkey vultures circled overheard brown anole moving fast i approached alligator iguana fled quickly into water continuity o anhinga spearing beneath surface r black manatee orchid adolescent alligators gathered w white ibis, white ibis churned blue racers distant herons molten turkey vultures circled overheard iguana fled quickly into water continuity r white ibis, white ibis brown anole moving fast turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity o r black manatee adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails turkey vultures circled overheard anhinga streamed towards me r black adolescent alligators gathered y distant herons green anole molten turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water o anhinga spearing beneath surface r black adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity saw grass cut through perception r black manatee adolescent alligators gathered w churned blue racers distant herons apple snails molten turkey vultures circled overheard brown anole moving fast i approached alligator iguana fled quickly into water continuity o anhinga spearing beneath surface r black manatee orchid adolescent alligators gathered w white ibis, white ibis churned blue racers iguana fled quickly into water i approached alligator turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity o r black manatee adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity r black adolescent alligators gathered w churned blue racers apple snails green anole turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity saw grass cut through perception o r manatee orchid adolescent alligators gathered y churned blue racers clotting anhinga streamed towards me brown anole moving fast o r manatee adolescent alligators gathered molten anhinga streamed towards me brown anole moving fast continuity o black adolescent alligators gathered w white ibis, white ibis y churned blue racers anhinga streamed towards me k continuity o r adolescent alligators gathered churned blue racers distant herons green anole molten turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water o anhinga spearing beneath surface r black adolescent alligators gathered w white ibis, white ibis churned blue racers apple snails green anole turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity saw grass cut through perception o r manatee orchid adolescent alligators gathered y churned blue racers turkey vultures circled overheard anhinga streamed towards me brown anole moving fast iguana fled quickly into water continuity o r black manatee adolescent alligators gathered w white ibis, white ibis churned blue racers molten anhinga streamed towards me brown anole moving fast continuity o black adolescent alligators gathered w white ibis, white ibis y churned blue racers green anole iguana fled quickly into water r w green anole iguana fled quickly into water r w green anole iguana fled quickly into water r w _ Florid Florid0: Water, ripples: i can't remember anything any more. one person's disaster is another person's pleasure. everyone has had us, azure writes, writes alan. there is too much water in the world, it flattens everything. Florida: Azure, pool-side, jeans, red blouse pulled up, mad (crazed) look in her eyes, seated: i'll drown myself and then i'll drown you Floridb: Same as above, looking at camera: then i'll drown everybody else Floridc: Pool interior, distorted, from within: you're out here i can feel you Floridd: Pool edge, ripples in blue-green water, like skin: then i'll drown everyone else Floride: Azure at pool edge, same as above, leaning back into the water, camera head-on: late at night i lie here and i think of you, john, and i think of you, susan, and i think of you, david, i think of you fucking me, and i fall backwards and i drown myself and i will take you, i will take you with me Floridf: Same as above, camera from side, Azure's face ecstatic, ripples in blue-green water, like skin: i am thinking of you, may, and i am thinking of you, george, and i am thinking, your mouths are on me, your dead eyes are looking at me, you are fucking me hard, you are dying there Floridg: Alan, leaning back into water, t-shirt and black jeans, exposed, shot from side, water black: i'm thinking about everything, i'm writing you into this, the way the world is, is awful, i'm out of control, i'm aroused and writing this, this is from my state to your own Floridh: Azure, exposed, shot from beneath by pool-side, black background: cynthia, i want your tongue against me alan, please don't be upset, jack, alan write me down, peter, azure inscribes me, i am everything you want, i am everything you could possibly want Floridi: Azure, still naked from waist down, astride pool-side left-hand beach chair, blue shirt (right-hand chair empty, partially visible): i am mad. i am completely out of my mind. Floridj: Alan naked, lying back, right-hand beach chair (left-hand beach chair empty, partially visible), camera head-on: i'm writing this, azure in the drowning pool, she takes her lovers with her, she says, they're not as good as you are, they couldn't be, they're down there, she's pointing, i'm aroused, this is the beginning of the game, this is the ending: how the world works and everyone dies Floridk: Two empty beach chairs, adjustable actually, the right-hand one partially supine, the left-hand one partially erect, no text. Analysis: Azure and I live alone together. We have no friends. I think: We are horrors. Again and again our story turns on us. Our story repeats like a bad record. Our story decays. We go for a drive. We drive long and hard and nowhere. There is nowhere to go. We return home. Sometimes I go and teach. I face students. We leave. We get in the car and drive long and hard and nowhere. We go and return and look at each other. We stare at each other. We wrestle each other to the ground. We take our clothes off. We put them on. We strangle ourselves. We turn ourselves inside out. We are walking advertisements for art and poetry. I swim in the black pool, the blue-green pool like skin. I swim two lengths beneath the surface. I have heard you can pass out and keep swimming. You can be swimming and drowning underwater. The surface looks: You are alive, you are perfect person. The depth looks up: You are still swimming and you are drowning. How can you drown in so much beauty. We go to the pool and photograph. We return for image and text, for art and poetry, for gimp and photoshop, for perl and protocol, for process and program. Online we teeter on the brink of culture. It is at the edge of the pool. The edge is an outline of water. The apartment complex is Everglades reclaimed. At night I dream alligators. I am ungainly; I can move fast, strike. No one is here. I am thick-scaled, reptilian. My brain slips to edges. My brain swims. My brain swims beneath. Analysis: Too much work on exposure. Too much exhibitionism, too much exhibition. As if the body could be fixed, pierced, held in position. As if the world were pure exchange. What other information we might provide. Too many circuits of sexual tension, terror, power, language withdrawn in the other face of the body, the other body of the face. Work a caricature of itself. Stale work. Work which should have remained stillborn. Dead work. Repetitive work. Work of the reflex arc, work of the twitch. Analysis: Tearing apart, artist and model. The apartment is silent. Azure reads upstairs; I type this on a laptop borrowed from the university. The university has closed down new media. New media is tainted, condemned. Images leak out: Our exposure is that of the naughty politics of the world. I keep quiet about my work at the school. I show no one. I am close to slaughter. I continue to swim submerged. At the edge, I will push and push off. I will make the other side. _ - - - and carry food to wash, we'd squash that rumor - - but we saw it for ourselves these afternoons in summer - - from palms, we're linking liquor, key and other lime - - hey dante, meet me in the dark wood some other time - - holding onto things, seeing what they're bringing - - leave when they're roaring, soar when they're soaring - - look for our enemies and afternoons, the raccoons - - of showers, we're on pilgrimage, we're drinking moons - - searching for alligator; hey it's that time - - then we'll cross the channel and get more boring lime - - they approach with raccoon feet for spoons - - we'll crawl up and down this enormous body's moons - - we'll have some fun and climb around some rings - - woods and alligator wine, raccoon winking, sings - - - alphabet of death-paste foreclosure @go jump-cut problematic reflex arc with runaway feedback mechanism growing at a rate x > than any primitive recursion no end to circuitry op amp negative feedback towards coherent signature dull repetition in continuation no end to circuitry trajectories of reification recursive coding no end to circuitry trajectories of reification algebraic ring or modulus phenomenology recursive function not primitive recursive no end to circuitry trajectories of reification growing at a rate x > than any primitive recursion no end to circuitry trajectories of reification fn(2,2)=4 as matrix origin no end to circuitry op amp negative feedback towards coherent signature trajectories of reification stereotypical circuitry growing at a rate x > than any primitive recursion no end to circuitry trajectories of reification tending towards escape route kehre which tends nowhere no end to circuitry tending towards escape route growing at a rate x > than any primitive recursion recursive coding algebraic ring or modulus phenomenology highway cloveleaf with no offramps recursive coding no end to circuitry reflex arc with runaway feedback mechanism algebraic ring or modulus phenomenology tending towards escape route ground plane reflex arc with runaway feedback mechanism replacement of traditional goto continuous if then else formalism triplet substance-paste anomic implicate ordering continuous if then else formalism triplet tending towards escape route growing at a rate x > than any primitive recursion runaway positive feedback resonant environment turbulent stases of strange attractors trajectories of reification @go jump-cut problematic replacement of traditional goto growing at a rate x > than any primitive recursion @go jump-cut problematic replacement of traditional goto ground plane anomie, ennui, exhaustion algebraic ring or modulus phenomenology tending towards escape route recursive coding op amp negative feedback towards coherent signature trajectories of reification no end to circuitry op amp negative feedback towards coherent signature turbulent stases of strange attractors tending towards escape route op amp negative feedback towards coherent signature @go jump-cut problematic growing at a rate x > than any primitive recursion no end to circuitry ground plane @go jump-cut problematic runaway positive feedback resonant environment topology body narrative towards n-1 embedded surface trajectories of reification growing at a rate x > than any primitive recursion ouroboros artificial life evolutionary paradigm trajectories of reification kehre which tends nowhere growing at a rate x > than any primitive recursion runaway positive feedback resonant environment circulatory transport system @go jump-cut problematic replacement of traditional goto continuous if then else formalism triplet reflex arc with runaway feedback mechanism kehre which tends nowhere growing at a rate x > than any primitive recursion runaway positive feedback resonant environment ground plane replacement of traditional goto defuge or decathected disinvestment, exhaustion trajectories of reification growing at a rate x > than any primitive recursion dull repetition in continuation no end to circuitry _ dress You have received this email because you signed up to receive valuable email offers from Florida International University or one of our marketing partners. You have received this email by either requesting more information on one of our sites or someone may have used your email address. If you received this email in error, please accept our apologies. Your contract is terminated. There is a contract on your life. So help me god I can't tell you more. I know this sounds like a "rant." If this is a "rant" so be it. You're too good for us, Alan Sondheim, you're a piece of dirt. I am sending you a warning: don't investigate any further. You don't want to know and you don't want to know. Parts of this text are true. woman, young woman, girl, there are three men. one of them is speaking to another. the girl is silent. the girl just sits there. she is so fragile. o fragile woman, young girl, girl. one of the men screams. the girl just sits there. the man is very wise. the man is second-most wise. he says to the other man, the most wise. she just sits there. oh what do i do. who says the most wise, the woman, young woman, girl. oh oh, the third will do, he is not so wise, call the third. they jump about many places. the third comes, he is not so wise. with his fingers the woman, young girl, girl, stands up. with his fingers, the woman, young woman, girl, sits down. with his fingers, the woman, young girl, girl, is naked. the girl just sits there. not-so-wise leaves. second-most wise stays. woman, young woman, girl. josei. josei come in and put some clothes on. I am married to a lawyer. Don't ask why you've been terminated. I know how to answer. I know when to keep quiet. You will die if you ask questions. You always ask too many questions. You are never content. Alan Sondheim, you are never content. Alan Sondheim, you are about to cross the "plane." The "plane" is very broad and wide. With his fingers, Alan Sondheim, is naked. josei. josei come in and put some clothes on. _ taking it off k17% awk -f bb < bb > gg awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { print "continuous if then else formalism awk: bb:1: ^ syntax error awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { print "continuous if then else formalism awk: bb:1: ^ syntax error awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { print "continuous if then else formalism awk: bb:1: ^ unterminated string awk: zz:1: k17% awk -f bb < bb > gg awk: zz:1: ^ syntax error awk: zz:2: awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { print "continuous if then else awk: zz:2: ^ syntax error awk: zz:2: awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { print "continuous if then else awk: zz:2: ^ syntax error awk: zz:2: awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { print "continuous if then else awk: zz:2: ^ syntax error awk: zz:2: awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { print "continuous if then else awk: zz:2: ^ unterminated string k23% awk -f aa < zz >> zz awk: aa:1: k17% awk -f bb < bb > gg awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { p rint awk: aa:1: ^ syntax error awk: aa:1: k17% awk -f bb < bb > gg awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { p rint awk: aa:1: ^ syntax error awk: aa:1: k17% awk -f bb < bb > gg awk: bb:1: /[0]+/ { print "0" }:::/[n]+/ { print awk: aa:1: ^ syntax error awk: aa:2: "continuous if then else formalism awk: bb:1: ^ syntax error awk: bb :1: awk: aa:2: ^ unterminated string _ filter of exhaustion near death /[0]+/ { print "0" } /[z]+/ { print "defuge or decathected disinvestment, exhaustion" } /[y]+/ { print "runaway positive feedback resonant environment" } /[x]+/ { print "circulatory transport system" } /[w]+/ { print "ouroboros artificial life evolutionary paradigm" } /[v]+/ { print "topology body narrative towards n-1 embedded surface" } /[u]+/ { print "ground plane" } /[t]+/ { print "op amp negative feedback towards coherent signature" } /[s]+/ { print "turbulent stases of strange attractors" } /[r]+/ { print "trajectories of reification" } /[q]+/ { print "anomie, ennui, exhaustion" } /[p]+/ { print "@go jump-cut problematic" } /[o]+/ { print "replacement of traditional goto" } /[n]+/ { print "continuous if then else formalism triplet" } /[m]+/ { print "substance-paste anomic implicate ordering" } /[l]+/ { print "reflex arc with runaway feedback mechanism" } /[k]+/ { print "algebraic ring or modulus phenomenology" } /[j]+/ { print "highway cloveleaf with no offramps" } /[i]+/ { print "tending towards escape route" } /[h]+/ { print "kehre which tends nowhere" } /[g]+/ { print "stereotypical circuitry" } /[f]+/ { print "fn(2,2)=4 as matrix origin" } /[e]+/ { print "growing at a rate x > than any primitive recursion" } /[d]+/ { print "recursive function not primitive recursive" } /[c]+/ { print "recursive coding" } /[b]+/ { print "dull repetition in continuation" } /[a]+/ { print "no end to circuitry" } /^$/ { print "closure" } _ subsex fucked good bad head yelled screamed clawed junk azure and alan turned extra quick his hole was open to anyone who wanted to fuck he watched her fucked by everyone or she pissed all over his eyes and mouth he pissed all over her eyes and mouth and then and then he held her breasts out for everyone to touch he pissed all over her eyes and mouth he pissed all over her eyes and mouth she came all over him he came all over her or she pissed all over his eyes and mouth he pissed all over her eyes and mouth he came all over her they went at it they went at it her tight shaved cunt and labia engorged with him she bit his nipples until they bled she pissed all over his eyes and mouth he pissed all over her eyes and mouth she pulled and bit his cock with her teeth or or she pissed all over his eyes and mouth he pissed all over her eyes and mouth and then he came all over her her hand was up into him making him scream she bit his nipples until they bled she pissed all over his eyes and mouth he pissed all over her eyes and mouth and then he came all over her his hole was open to anyone who wanted to fuck he bit her nipples until they bled he watched her fucked by everyone and then they went at it his enormous cock spurting cum everywhere his hole was open to anyone who wanted to fuck or she pissed all over his eyes and mouth he came all over her he bit her nipples until they bled he pissed all over her eyes and mouth he came all over her he bit her nipples until they bled she bit his nipples until they bled he came all over her his hole was open to anyone who wanted to fuck or or he bit her nipples until they bled she pissed all over his eyes and mouth he pissed all over her eyes and mouth her nipples were painfully hard and very visible or or she pissed all over his eyes and mouth he came all over her his hole was open to anyone who wanted to fuck she watched him tied up and fucked by anonymous men he watched her fucked by everyone she pulled the ropes so tight they cut his skin and then they went at it they went at it they went at it they went at it _ The Find of the Chest from Late Edo I own a small Japanese chest from the late Edo or early Meiji period. I found it at a yard sale in Miami. It was in 28 pieces, fairly broken up. The seller, who was an interior decorator, suggested I take the drawers out and use some as knick-knacks. I thought of mono no aware. She sold it to me for 5 dollars. I took it home and carefully repaired it. It is missing one cover and one small drawer rail. It is about 18" x 14" x 9". It is not very large. It has six drawers and two small shelves. The pictures are delicate and beautifully rendered. The drawers are decorated with gold on black lacquer background. The largest drawer stretches the width of the chest and portrays two samurai and an armored horse against a landscape. The other drawers have floral, landscape, or miscellaneous motifs. There is a beautiful crab, several flowers, a boat formed with two golden lines.The decorations on the top and sides are stylized fans. The lower side of the bottom of the three smallest drawers have a sign _ro_ on them. I think this stands for satisfactory - the decorations were okayed. The piece was probably made in a small workshop. There are engraved metal reinforcements on many of the corners. These are held in place with small hand-made nails. This is a terrific piece. There are two hinges in the middle of the chest and a metal receptacle for a lock on a strip of wood reinforcing the bottom. At one time, a small cover must have been present, partially covering the drawers and/or shelves. The background lacquer is black, almost dark brown in places. The back of the chest was painted with another black lacquer that has mostly peeled off. I used Elmer's glue for repairing the chest, and cleaned it softly, first with water, and then with Pledge. The lacquer is flaked in many places. The chest is what a find. The drawers have small turned ivory pulls on them, except for one, which has a small engraved metal handle. One of the other drawers shows signs of being converted from a similar metal handle to an ivory pull. I have many small Buddhist relics in the chest, but almost all of them are modern. _ Of the Latter Days and what you might hear And of unto your inner worlds, where you must die. It makes no difference, whether you make peace. And of course one always hopes that embracing the worst, overcomes. And of course that is a myth. We have not escaped the fire, to speak. Do not make peace. For whom shall you make peace. Do not seek your hearts. For whom shall you seek your hearts. ... This is temporary. You may not receive this. You may receive this only on a temporary basis. With the proliferation of small-scale nuclear devices, the Internet is in imminent danger of collapse. There may be days, weeks, months, a few years, left. This is the end-game of culture. Your knowledge is useless. Don't fret our media. But it is a privilege to read this. It is a privilege to witness the curtain coming down on the future. It is a privilege to recognize that little will remain on the other side - that later, much later, something else might inscribe similar words to these. Later, much later, something else might read them, but not these, but others. There are too many bombs; there is the untoward simplicity of the bomb. It is human to hate, human to take out one's enemy at the risk of one's life. Sacrifice is the core and kernel of being human; hate is the shell that derives destruction. These lines are written between one destruction and another, between one and another finality. They are produced on the road to another's paradise and the dissembling of our own. ... The world frantically holds peace concerts. The world frantically produces beautiful music reaching throughout heavens and earths. The world produces books, fashion, songs, operas, magazines, articles, psalms, poems, epics, sculptures, paintings, puppet-shows, cinema, theater, whole literatures, all in the name of peace. The world produces screams, terrors, whimpers, moans, cries and whispers, all begging for peace, caterwauling for peace, yelling for peace. Human beings scurry in all directions. Plants burn. Rivers burn. Animals are blinded. Lesions develop. There are rumors of bombs. There is no electric. Servers and routers are silenced. I will stand up and sit down. I will be the prophet of the last and latter days. I will type on dying keyboards, dead laptops. My words are the words of truth. My words die from crippled fingers. My words die in ten throats. My words die in one. My words are lesions. ... Countdown. This is written from the future to the past. This has already been written. This will already have been written. This will already have not been read. Not by us. Not by something else. Listen: We are all dead. Listen: It is too late now. The poison is here. Listen: It is time to make our peace. Listen: It is time to listen to ourselves. This is the end of the sentence to which we are sentenced. No one will make peace. No one will listen to another. It is the nature of being human. It is human to hate. It is human to act on that hate. We will dance until we are burned alive. We will dance with our lesions. We will dance and destroy. We will go to heaven. We will take you with us. It takes only one. Technology: It takes less than one. One minus one is zero. It will take nothing. It will take nothing at all. Hello Pakistan will you not listen to us. Give us your weapons. Hello USA please listen to us. Give us your weapons. Hello India, Israel, China, France, Germany, Belgium, England, Russia, Sumer, Latvia, Babylonia, Chad, Japan, Italy, Egypt, Saudi Arabia, Canada, give us your weapons. We will take your weapons and we will beat them into weapons. We will take your weapons and we will make a column of ash and smoke, fire and debris, radiation and cloud, from pole to pole, an axis of fury, an axis of death and destruction. We will cleanse the earth. We will boil the oceans. We will flood the lands. We will freeze the oceans. We will burn flesh. We will fuck our enemies. We will arrive in paradise. We will arrive in heaven. We have removed our enemies. We have removed your enemies. We do this out of our own goodwill, out of the hearts of men. We do this out of kindness and charity. We have removed their hearts. ... But we write between one destruction and another. At the risk of boring you: We write between one destruction and another. We write into the air we breathe. We write through the slaughter, onslaught of lesions always already among us. We write through our sickness. We write for the decades of routers and servers. We write for the years of wireless, months of optical, weeks and days of pdas, minutes of broadband, seconds of remaining life. We write for audience of one, for audience of one-half, for audience already tending towards zero. We write for the terror among us and the success of that terror, and its end. We write for an improbable length. It takes nothing. It takes nothing at all. We write for our lesions, our implacable hatreds. It takes nothing. It takes nothing at all. We write in order to kill. We write against one another. There is no other writing. We write the enunciation of slaughter. We write its emancipation. We write in order to be silenced. We write in order to be successful. We are successful. We write for an irrational number. It is a matter of time; it is a matter of nothing else. And we write for the silence to follow. We are at the end of days. We are of the end. We are the meat of the end, the flesh of the end. We are of the flesh and its lesions. We are not improbable. We are not improbable at all. We are most probable. Of this I am sure: We are most probable. It takes nothing. It takes nothing at all. ... - from a midrash _ phenomenology of speech and prophecy it doesn't matter what you say.:it happens anyway.:problem with being a prophet: no one listens. :: your death is a proof they won't allow you to see.:the best they do is spit at you. the worse they do is ignore.:you're not writing for them. you're writing for collateral.::you speak to the murderers of your speech. she speaks a language of no consequence whatsoever. to an audience of no consequence whatsoever.:the prophet more than anyone else knows it doesn't matter.:you speak to your murderers. your speak to the murderers of your speech.:: it is always already in another tongue.:it is always after the fact and therefore both eternal and ephemeral, langue and parole.:it is the nature of pure speech or the purity of natural speech.:: _ croc spaads andlassly thrphgh my bpdy. thara ls npthlng pht-yph-ln-ma yphr-ma mlnd. pna sacpnd: balng axqhlslta npthlngnass. :with lizarden mind i open my mouth. my mouth is open open. there is this open mouth. this raptlll$n mlnd ls bl$nk. speeds.:l w$lt fpr yph wlth raptlll$n mlnd. thara ls npthlng pn thls raptlll$n mlnd. thls raptlll$n mlnd ls bl$nk. :: l w$lt fpr yph wlth raptlll$n mlnd. thara ls npthlng pn thls raptlll$n mlnd. thls raptlll$n mlnd ls bl$nk. transforms Your spaads andlassly thrphgh my bpdy. thara ls npthlng pht-yph-ln-ma yphr-ma mlnd. pna sacpnd: balng axqhlslta npthlngnass. on me... there is this open mouth. this raptlll$n mlnd ls bl$nk. _ Enlightenment this is completely abstract. :this is entirely based on theoretical structure.:this is the phenomenological horizon of the occidental subject and accidental tourist.:x''':x'' demon in absentia. this horizon is non-existent.:this refuses meaning.:x x' x'' x''' x''''::y''' prostitute in absentia. this inherency possesses its own contradictions unrelieved in meta-analytics.:this tends towards the magazine of structural anomalies.:y y' y'' y''' y''''::black powder prostitute in absentia. _ image double-coding: parallel down through limestone hole seeing blind slug system-murk deranged everglade sex-structure recursive function not primitive recursive - he pissed all over her eyes and mouth growing at a rate x > than any primitive recursion. she pissed all over his eyes and mouth, stereotypical circuitry; he held her breasts out for everyone to touch kehre which tends nowhere... or tending towards escape route, she pulled the ropes so tight they cut his skin - reflex arc with runaway feedback mechanism. she bit his nipples until they bled substance-paste, anomic implicate ordering... or continuous if then else formalism triplet: he bit her nipples until they bled replacement of traditional goto and then trajectories of reification... or turbulent stases of strange attractors - she pulled and bit his cock with her teeth, op amp negative feedback towards coherent signature... or ground plane: his hole was open to anyone who wanted to fuck ouroboros artificial life evolutionary paradigm; her hand was up into him making him scream dull repetition in continuation. she came all over him - recursive function not primitive recursive - he pissed all over her eyes and mouth, growing at a rate x > than any primitive recursion. she pissed all over his eyes and mouth (stereotypical circuitry); he held her breasts out for everyone to touch, tending towards escape route. she pulled the ropes so tight they cut his skin - algebraic ring or modulus phenomenology. he watched her fucked by everyone - reflex arc with runaway feedback mechanism. she bit his nipples until they bled substance-paste anomic implicate ordering or continuous if then else formalism triplet. he bit her nipples until they bled trajectories of reification or turbulent stases of strange attrac- tors. she pulled and bit his cock with her teeth, op amp negative feedback towards coherent signature or ground plane. his hole was open to anyone who wanted to fuck runaway positive feedback resonant environment. her tight shaved cunt and labia engorged with him - no end to circuitry! he came all over her, recursive coding, and then recursive function not primitive recursive - he pissed all over her eyes and mouth growing at a rate x > than any primitive recursion. she pissed all over his eyes and mouth - stereotypical circuitry... he held her breasts out for everyone to touch reflex arc with runaway feedback mechanism. she bit his nipples until they bled continuous if then else formalism triplet; he bit her nipples until they bled trajectories of reification or turbulent stases of strange attractors. she pulled and bit his cock with her teeth - op amp negative feedback towards coherent signature or ground plane. his hole was open to anyone who wanted to fuck topology body narrative towards n-1 embedded surface. her legs were spread so wide everyone could see her hole, circulatory transport system - her nipples were painfully hard and very visible... _ Birth and Tomb Searched the web for "Alan Sondheim". Results 1 - 10 of about 4,160. Search took 0.10 seconds. See www.google.com. I take my measurement. I exclude "Alan Myouka Sondheim". I exclude "Alan Jennifer Sondheim". I exclude "Alan Jenn Sondheim". I take my temperature. I take the temperature of my obsession. I, I, I. For several days I have ranged above 4,000: 4,140 - 4,200. I enter the portal trembling. I enter the gateway. I enter the hated name. I enter it all within quotations: Let there be no doubt. "Alan Sondheim". This grabs site and citation. This grabs text and image. This is an archaeology of the real, the true, the fabricated. This is an archaeology of taint, of plagiarism, of the problematic. It spreads like a skein or membrane, like a stain. It spreads like a spider, an uncomfortable residue. I take my temperature. It holds at 4,160. I indulge my addiction. I indulge my obsessive-compulsive behavior. Trembling, I enter the portal: Searched the web for "Alan Sondheim". Results 1 - 10 of about 4,170. Search took 0.10 seconds. A gain of 10. Trembling, I leave it... _ "The Gaga Films," by Jennifer I went to the cinema on the tram down the hill. I often went this way for other reasons but wasn't sure where I was. I was in company of a couple of experimental filmmakers. They told me about the place. It was in a clap- board house remodeled as an underground film venue. It was $15 to get in. I only had $8 Canadian. I left and came back; I found $14 US. I hoped I could make up the difference. They were talking about "The Gaga" - the two films about "The Gaga" - and had I seen them? The films were the most politically astute of the century. "The Gaga" was also "La Gaga" and I hadn't seen them. I was missing so much. "The Gaga" wasn't playing that night. Interpretation "The Gaga" is the violent absurdity that drives late-capitalism. "The Gaga" has always existed, but was quiescent in traditional capitalism - it could never appear under hierarchy, but only interstitially in the Network. As the Network grew, through late-capitalism and postmodernity into terror, The Gaga appeared - first as a peripheral symptom, then increasingly as an engine driving the whole. The Gaga is a projection, perhaps derived from Cruickshank's 19th-century Locomotive - "They've gone loco" - images of the confluence of steam and imperial capital. The Gaga, like the Japanese Kappa, is a figure at once vulnerable and dangerous. It is vulnerable because it resides in the Network, a post-Situationist entity susceptible to major and minor illness or decay - through the strategic application of hacking and other disruptive techniques. The Gaga is utterly inhuman, nonhuman, inhumane; all of The Gaga films are in black-and-white, as if to indicate, from the mode of representation itself, the structural and nodal nature of The Gaga. The Gaga is most often described in these films by means of chalkboard lectures, diagrams in pencil, voice-overs, and talks. Computers and digital effects are rarely used; they are the centrifugal residue of The Gaga, incapable of anything more. It seems paradoxical that The Gaga both underlies the skein and is within it; the skein is its flesh and blood, and a computer repre- sentation would be nothing more than a desiccated and useless sample of its tissue. For it is clear that The Gaga is continually in process, that it participates in the quantum states known as superimpositions, that it is always extended beyond itself, non-boolean, gestural, genderless. A feminist professor appears in one of the films, delineating The Gaga, demonstrating its difference and distinction from a feminist fluidity that absorbs and gives, breaks down the transitive. She, like all other actors in these works, is defined as such - "a feminist professor" - in subtitles that also list "a working-class hero" - "a factory worker" - "a consumer" - even though an attempt is made, beyond analysis, to develop a romance - "a lover" - "another lover" - against the constant and broken, jump-cut description that constitutes the style of the films. The Gaga alone, like the Virgin of the Virgin Mary, like the sealed womb, is never described, always clothed in the Network. It is clear that The Gaga is part of the distribution of the films, that the audience, as in violent pornography, is implicated, just as The Gaga is implacable. The implacability is portrayed in terms of gray zones; the black-and-white occupies, for the most part, an uneasy middle ground, most of the time. There are never any "true" whites, "true" brightness, in the films; instead, starting from an upper middle gray, the films descend into murky darkness, as if they were reproduced several times over, from an earlier, and now lost, model. The result of all of this is a clear indication that we, ourselves, have lost the power of brilliance, of brightness, of that clear light permitting analysis; instead, our theoretical explanations begin in that gray area where language proliferates, cut off from the clarity of projection and representation. These explanations likewise descend into darkness, where they are part and parcel of the substance of the world, where they are within and without, suffused with The Gaga, from which, like the real weight of the curtain of iron, there is no escape. It is no wonder that both films are titled "The Gaga" as well; the resulting confusion in talk and analysis (some speak of "Gaga A," "Gaga B," "First and Second Gaga," etc.) only serves to reconfirm their internal direction. If there is any brilliance in the world, it is clear, it is to be found in the films themselves; nowhere else in culture is analysis so devastating, accurate, and beyond recall. The films are undated; the names of the participants involved are never given; even their origin remains, not a mystery, but simply unknown. Go see "The Gaga"; everything else falls, into place. _ day after day we go day after day now. the rest of the world is terror. this is no terror, not even the culling, the shattering of the thin shells of the crust. this is a moment to think about intelligence, the intelligence of the world, breaking out of the loop. this is the breaking out. . :this is the way the aging brain works. neurons skein, tangle, interlace, inter- weave. some die off. there are submerged strata absorbed by the other. the other is transformed into others. wisdom is the networks among the others. wisdom is the limestone, the submergence. wisdom is the marl gathered beneath the peat. there are large saw palmettos at chikeka. the brain is gathered among the confluence of life. the brain is self-reflecting, resonant, subsumption architecture. wisdom is the making-manifest of the network. wisdom is the culling of extraneity.:at chikeka, two men were fishing. we went through the hardwood hammock. a little girl took some mosquito-fish for her aquarium. watched the sawgrass. watched several killdeer. a turkey vulture landed in front of the car, flew around to the back. strangler figs everywhere. before that, oasis, back to the ibis rookery. there were heron mixed in. walked through the mudflats to the left of the runway. before that, back at shark valley. there were too many cars. back at chikeka a possum eating alligator eggs. on the way out the limestone showed. there were snake and crabholes everywhere. a huge flock of ibis, enormous, in big cypress. :anhinga:glossy ibis shrike tricolored heron green heron glossy ibis white ibis cormorant anhinga _ heron distant herons distant herons distant herons distant herons continuity saw grass cut through perception o distant herons green anole orchid adolescent alligators gathered y churned blue racers distant herons churned blue racers brown anole moving fast distant herons turkey vultures white ibis, white ibis distant herons apple snails molten turkey vultures ibis churned blue racers distant herons clotting anhinga streamed towards orchid adolescent alligators gathered y churned blue racers distant herons spearing beneath surface distant herons distant herons molten turkey black adolescent alligators gathered y distant herons molten anhinga herons green anole molten turkey vultures circled overheard anhinga churned blue racers anhinga spearing beneath surface distant herons apple gathered w white ibis, white ibis churned blue racers distant herons towards me r black adolescent alligators gathered y distant herons green adolescent alligators gathered w churned blue racers distant herons apple herons green anole molten turkey vultures circled overheard anhinga rookery. there were heron mixed in. walked through the mudflats to the heron green heron glossy ibis white ibis cormorant anhinga distant herons _ Of Ancient Wisdom Searched the web for "Alan Sondheim". Results 1 - 10 of about 4,130. Search took 0.11 seconds. In 1/9 of a second, more or less, 4,130 tiny mangrove roots have sprouted, 4,130 cypress knees have broken through the skein, 4,130 new breaths have been taken. Searched the web for "Tricolored Heron". Results 1 - 10 of about 4,140. Search took 0.23 seconds. In 1/4 of a second, more or less, 4,140 tricolored herons have flown above me, 10 herons have circled me, 10 herons have spoken softly, 10 herons have given ancient wisdom. _ Title: Nine Points of the Phenomenology of Painting "Title: "the canvas is an indeterminate size, sufficiently large to occupy a fair proportion of the viewer's angle of vision. color and textual attributes are also indeterminate, irrelevant, peripheral" Oil on white canvas, black text in imitation of courier." this title affixed to white label, traditionally placed to the left of the painting at an indetermin- ate distance. beneath: "THESE ARE THE FIRST ERRORS." description of painting: "Oil on white canvas, black text in imitation of courier." Text rescued from the painting: Upper left: "i reside here, huddled in flight within the corner. it's comfortable but requires energy, continuous maintenance. one false slip and i crash. this is half-wrecking zone, half-home. no one imagines i'm here; it's safe. someone or something else ... requires the same amount of energy ... has no place to huddle ... out in the open ... who knows " Upper middle: "this is impossible, all this energy; i'm sliding back and forth; you can't get to me; you can't find me; you know i'm not cornered; i can never be cornered; this is the sky, the heavens, the empyrean; this isn't the corner; the corner's always artifice; the corner takes a different kind of energy, a push; here it's towards the vertical; i'm always heading up, against the edge; the edge is a horizontal line" Upper right: "The edge is a point. The edge is one-dimensional. I gather towards the point. The point is natural; it's origin. It takes energy to remain in the vicinity of the point. The point marks the edge of the roof. This is a roof, neither sky nor heaven. You can always find me by my coordinates. This is the Cartesian fetishization of the real. This is the last of the systems of defense." Middle left: "I'm against the margin, the margin is a line, a vector, the margin points to the roof, the sky, the pole at pagoda center, I'm there, rubbed raw against the Thing, vertical and human, walking, not fucking, at attention, not supine, nothing's beyond the left; nothing's left of it." Center: "there's nowhere, there are names and no names, there are things and no things, there's nothing to grasp, i'm naked, vulnerable, you can see all of me, you can see through me, i'm the punctum of representation, this is the vanishing-point of the phenomenology of the real, arms and legs, mountains and valleys, waters and locomotives, herons and pagodas in all directions, frameworks and annihilations, states and processes, trans- formations, the name leaks, suppurations, double dimensions, i'm sliding in every direction, i can't see the lines or points, a spread or stain, splayed or residue, abject, the stigmata of effacement of the other, the strategic game, i.e. the location of the game, played out" Middle right: "This is it - the vertical body - compressed against the bar of the real - there's a bit of support for it - the vertical dimension, hierarchy - the frame's holding - always aware of the frame - this could be an infinite plane extending from here - imagine the possibilities - lungs and breathing - in the distance - nothing at all - I remember the center - I couldn't work there - couldn't begin or end there - all that blanked space - nothing - but here - there's a moment of parallel - every point has that - moment of perpendicular - the same - whole pencils of lines - filling in the interstices - cubisms of all sorts - spectacles of abstraction - styles - genres - I'm safe here - I could go on and on - " Lower left: "she's down in the corner... she's there with him... they're so safe... they're sleeping... look at them sleep... they can do anything here... this holds the rest of the image... this is the source of all rep- resentation... this doesn't have to do anything... this can't do anything ... another of the zero-dimensionals... they're fucking now... now they're drinking... they're whispering... i can almost hear them... they don't have to maintain anything... they're not sliding anywhere... they're cuddling... they're quiet and serene... they're at rest... they're holding their own... garnering sweetness and light... " Lower middle: "What are you thinking of? We're sliding back and forth? We're the base of all things! We're the foundation! What are we going to do? Is this the horizon at your foot? This is the foreground of every world! This is the earth against the ungraspable mysteries reaching upwards beyond the possibility of body, organism, original face! Are you claiming essentialism? Wouldn't this be essentialism, if such, if any, were the case? Of course, still it takes energy to hold on! It takes a bit of energy to avoid sliding to the point! Isn't the point zero? Isn't the point nothing at all? Look, an animal! Look, names and contours! Look, all sorts of things?" Lower right: "outlaw grasps of forms and substances, crashed caches of brushstrokes and inscriptions, compression algorithms of conversations and languages: LOOK WE'RE SAFE HERE TOO: the wall of the work where the signature sits: HERE: anywhere but there are expectations: IT'S CROWDING US OUT: what is: the names: all the names: but they're safe, the store- house: store-house of the real: something else, something else: I'LL LOOK IT UP; demarcation one again of origins: IT SAYS HERE AS AN AFTERTHOUGHT: one moment, one moment: " lit from an indeterminate distance, THIS IS AN ERROR, in consideration of the canvas - nevertheless, it's there _to be read_ as if there were an adjudicated syntax, acceptable, beyond which the world is differend. _ Of the list of miscellaneous photographs, of the coagulations of content, of the disorderly presentation cray.jpg SOME CRAYFISH dSCN0009.JPG SOME ROOM SOME COMPUTER n028.jpg SOME MARINA SOME ALLIGATOR SOME BLACK VULTURE n029.jpg n030.jpg n033.jpg n035.jpg n036.jpg n038.jpg n039.jpg n040.jpg e3.jpg SOME FRUIT TREE n041.jpg SOME BLACK VULTURE SOME ALLIGATOR eSCN0001.jpg SOME EDO CHEST eSCN0002.jpg eSCN0009.jpg eSCN0013.jpg eSCN0015.jpg eSCN0016.jpg eSCN0017.jpg FLmotel.jpg SOME FIRST RESIDENCE poly.jpg SOME POLYPORE eSCN0030(3).jpg SOME ALLIGATOR SOME MARINA gSCN0035(2).JPG SOME LICHEN SOME ALLIGATOR NEST gSCN0034(2).JPG gSCN0032(1).JPG gSCN0031(3).JPG gSCN0029(2).JPG gSCN0030(4).JPG gSCN0027(4).JPG gSCN0024(1).JPG gSCN0023(4).JPG gSCN0022(3).JPG gSCN0021(3).JPG gSCN0020(4).JPG gSCN0019(4).JPG gSCN0018(4).JPG gSCN0017(4).JPG gSCN0016(5).JPG gSCN0015(3).JPG gSCN0014(5).JPG gSCN0013(5).JPG gSCN0012(4).JPG gSCN0011(5).JPG gSCN0009(5).JPG gSCN0008(3).JPG gSCN0007(3).JPG gSCN0006(4).JPG gSCN0005(6).JPG gSCN0004(6).JPG gSCN0003(4).JPG gSCN0002(4).JPG gSCN0001(3).JPG art000.jpg SOME BUILDING SOME MEDIA art001.jpg art002.jpg art003.jpg gSCN0050.JPG SOME CYPRESS KNEE gSCN0028.JPG dSCN0002(5).JPG SOME SOLUTION HOLES dSCN0004(7).JPG dSCN0005(7).JPG dSCN0009(6).JPG dSCN0007(4).JPG dSCN0006(5).JPG dSCN0008(4).JPG older004.jpg SOME SIGNAGE older001.jpg older002.jpg older003.jpg older005.jpg older006.jpg older007.jpg older008.jpg older009.jpg nn006.jpg SOME CORNICE nn010.jpg nnn001.jpg SOME SWIMMING POOL SOME GAS STATION nnn002.jpg nnn003.jpg nnn004.jpg nnn005.jpg nnn006.jpg nnn007.jpg nnn010.jpg n000.jpg SOME HIGHWAY SOME SUBURB SOME ALLIGATOR n001.jpg n002.jpg n003.jpg n004.jpg n005.jpg n008.jpg n009.jpg n011.jpg n016.jpg n021.jpg n022.jpg n023.jpg n024.jpg n026.jpg n027.jpg eSCN0027(3).jpg SOME JAPANESE SCREEN SOME AUTOMOBILE eSCN0033(3).jpg eSCN0034(1).jpg eSCN0037(1).jpg eSCN0041(1).jpg eSCN0042(3).jpg eSCN0043(2).jpg eSCN0010(5).jpg eSCN0011(4).jpg SOME SAW PALMETTO eSCN0012(3).jpg eSCN0014(4).jpg eSCN0016(4).jpg eSCN0017(3).jpg eSCN0021(2).jpg eSCN0022(2).jpg eSCN0023(3).jpg eSCN0026(1).jpg eSCN0035(1).jpg eSCN0036(3).jpg oo002.jpg SOME SAWGRASS SOME PERIPHYTON oo003.jpg oo004.jpg oo005.jpg oo006.jpg oo007.jpg oo008.jpg oo010.jpg oo012.jpg oo013.jpg eSCN0032.jpg SOME EDO CHEST eSCN0039.jpg eSCN0040.jpg eSCN0025.jpg eSC.jpg SOME EDO CHEST gSCN0045(2).JPG SOME HARDWOOD HAMMOCK SOME SOLUTION HOLES gSCN0043(2).JPG gSCN0042(4).JPG gSCN0041(2).JPG gSCN0040(1).JPG gSCN0037(2).JPG gSCN0036(4).JPG oo009.jpg SOME ALLIGATOR HOLE oSCN0001(4).JPG SOME SAWGRASS oSCN0002(6).JPG oSCN0004(8).JPG oSCN0025(2).JPG oSCN0024(2).JPG oSCN0019(6).JPG oSCN0018(6).JPG oSCN0017(6).JPG oSCN0016(6).JPG oSCN0015(5).JPG oSCN0014(6).JPG oSCN0013(7).JPG oSCN0010(7).JPG oSCN0012(6).JPG oSCN0009(7).JPG oSCN0008(5).JPG oSCN0007(5).JPG ooo02.jpg SOME FICUS ooo03.jpg ooo05.jpg ooo06.jpg ooo10.jpg m004.jpg SOME ALLIGATOR m010.jpg m007.jpg m006.jpg m008.jpg m009.jpg m012.jpg m013.jpg m014.jpg m016.jpg m003.jpg m002.jpg m001.jpg m000.jpg strangle.jpg SOME FICUS bb001.jpg SOME HAMMOCK bb004.jpg bb005.jpg bb006.jpg bb007.jpg bb009.jpg bb013.jpg bb014.jpg bb015.jpg bb018.jpg bb019.jpg bb020.jpg bb023.jpg bb024.jpg bb026.jpg bb028.jpg bb032.jpg bb033.jpg bb034.jpg bb035.jpg bb036.jpg bb037.jpg bb039.jpg bb040.jpg bb041.jpg bb042.jpg bb043.jpg bb045.jpg SOME SUPER MARKET bb048.jpg bb052.jpg bb053.jpg b000.jpg SOME WATER b006.jpg b007.jpg b008.jpg b009.jpg _