Chemical Love
Prolog: Well, let's get started! Let's make a gender! That ok with you?
disgusts me; forget it! But anyway... Let chemical love be our primary
descriptor! chemical love. taking viagra, makes me wet 574 times! But what
is chemical love here, its category? Do you feel your gender is close to
chemical love. :In any case, you must contact me about this...
Text: chemical love:chemical love:viagra love:the chemical love of
viagra:chemical love. taking viagra, a singular and misshapen element or
entity. the signature of our sex: typical; other than liquidity, a sign of
the dreams to come, there was no effect. at a loss and still, now typing
five hours later, the memory of a dark dome out of reach, a weakness, of
the very last of the last dream, that i would never move again, that my
limbs had no will, no movement, a form of shuffled cloth, felt or velvet,
a state close to paralysis::the dream of the first: the fish which had
escaped along with a miniature gorilla, active like the crayfish who
accompanied us in new york. length: over two hours. dark and utterly
submerged. no sexuality; between dreams i wonder if depression affects
viagra. does tumescence translate into the great black. was i faced with
the kristevan thing. were there eyes.:27597:7:the dream of the second:
immobilized, azure laughing at me. length: over two hours, floating body,
as if cells swallowed in enormous conduits. of the dead: as if it were
dead, or deadly, or unimaged, unimagined. :chemical love. taking viagra, a
singular and misshapen element or entity. the signature of our sex:
typical; other than liquidity, a sign of the dreams to come, there was no
effect. at a loss and still, now typing five hours later, the memory of a
dark dome out of reach, a weakness, of the very last of the last dream,
that i would never move again, that my limbs had no will, no movement, a
form of shuffled cloth, felt or velvet, a state close to
paralysis::chemical love
_
onherown.mov video jinn.mov
words:
***
she was on her
own
***
phenomenology of strangers:
bloody and scared, i
will have everyone.
***
i don't know his name.
he doesn't know
anything. i am contrary
and wayward. he is mr.
male. this is the space
of every culture.
***
i'm sick of this. i will kill
you mr. male. mr. male you
are ultra-violent.
***
claw my tits. they belong
to everyone. i am
president. you are my
terror.
***
i am animal
***
on images:
+++
nighttime green pool water in and out of focus, slow waves
+++
anhinga violently tossing and swallowing a florida gar
+++
alligator head closeup above water line
+++
azure in front of urinals, red blouse, pantless, legs in shadows
+++
nighttime green pool water filtration system bubbles
+++
azure in bathroom, alan lifts her blouse from behind, exposing her
breasts; he pulls her in front of a sink mirror; they're reflected;
his hands grasp her breasts, push her nipples forward; her body
leans back, complicit; she glares, crazed
+++
alligator head closeup above water line
+++
black
_
of the greeks
2000: 2 2 2 2 5 5 5 2001: 3 23 29 2002: 2 7 11 13 2003: 2003 2004: 2 2 3
167 2005: 5 401 2006: 2 17 59 2007: 3 3 223 2008: 2 2 2 251 2009: 7 7 41
2010: 2 3 5 67
what is the point of this useless, trivial, and murderous exercise?
2002 sticks in the maw of 7 / 11/ 13. what a terrific mouth!
2003 bottoms out, what is called a "prime" as in "steak."
and 2001 comes, what? close to the grain of 23, 29?
better to perform the head-first luge at 80 miles an hour down a chute
than to worry about the palindromic which remains only for a year.
in 6009 we will be upside-down again, better not to perform downhill
ski racing which last killed a world champion smashing into the
machine.
the ski forms its own track within acceptable bounds or boundaries.
leaning against the object of the head-first luge, one comes to the
conclusion that factoring might not have been useless after all.
"every sport has its rules and playing field; every equation has its
proper moment and solution. if i were younger, alcibiades, i would
attempt one or the other, but certainly not both." - apollonius of rhodes.
_
oh lovely tired terror death i will sleep now, by Jennifer
iipiDAQ lskJrsrAn Diti nk knnrAjpl tbrdbsrnt ltAlrl kn ltrAnpr AttrAltkrl
iipiDAQ lskJrsrAn Diti nk knnrAjpl rrlbrliJr lkqinp kp Ajp nrpAtiJr
nrrqdAlt tkDArql lkirrrnt lipnAtbrr trAorltkrirl kn rrinilAtikn AsprdrAil
rinp kr jkqbsbl pirnkjrnkskpQ trnqinp tkDArql rllApr rkbtr trirr Diili
trnql nkDirrr prkDinp At A rAtr U > tiAn AnQ prijitiJr rrlbrlikn qbss
rrprtitikn in lkntinbAtikn kp Ajp nrpAtiJr nrrqdAlt tkDArql lkirrrnt
lipnAtbrr trAorltkrirl kn rrinilAtikn AsprdrAil rinp kr jkqbsbl
pirnkjrnkskpQ iipiDAQ lskJrsrAn Diti nk knnrAjpl prkDinp At A rAtr U >
tiAn AnQ prijitiJr rrlbrlikn kp Ajp nrpAtiJr nrrqdAlt tkDArql lkirrrnt
lipnAtbrr AsprdrAil rinp kr jkqbsbl pirnkjrnkskpQ qbss rrprtitikn in
lkntinbAtikn trnqinp tkDArql rllApr rkbtr trirr Diili trnql nkDirrr
tbrdbsrnt ltAlrl kn ltrAnpr AttrAltkrl Ankjir, rnnbi, rUiAbltikn trnqinp
tkDArql rllApr rkbtr trirr Diili trnql nkDirrr rrlbrliJr lkqinp tbrdbsrnt
ltAlrl kn ltrAnpr AttrAltkrl @pk objp-lbt prkdsrjAtil rrnsrU Arl Diti
rbnADAQ nrrqdAlt jrliAnilj ltrrrktQpilAs lirlbitrQ rrlbrliJr lkqinp
Ankjir, rnnbi, rUiAbltikn lkntinbkbl in tirn rslr nkrjAsilj tripsrt
iipiDAQ lskJrsrAn Diti nk knnrAjpl nn(2,2)=4 Al jAtriU kripin
_
VERSE
. but it's all there^^^^^^^^^^^^^^^^ but of which this 1?^^^^^^^^^^^^^^^^.
don't hit me when i'm down^^^^^^^^^^^^^^^^ don't kill me with.
kindness^^^^^^^^^^^^^^^^ don't massacre my mind^^^^^^^^^^^^^^^^ don't
take. my mind^^^^^^^^^^^^^^^^ goodbye, body^^^^^^^^^^^^^^^^ hello,.
mind^^^^^^^^^^^^^^^^ hello, mind^^^^^^^^^^^^^^^^ how so.^^^^^^^^^^^^^^^^
i. don't have much^^^^^^^^^^^^^^^^ i see my mind^^^^^^^^^^^^^^^^ i'm
almost. dead^^^^^^^^^^^^^^^^ i'm almost gone^^^^^^^^^^^^^^^^ i'm pushed to
the. limit^^^^^^^^^^^^^^^^ if to the base 1 then + 2 already is.
nonsense.^^^^^^^^^^^^^^^^ if you take my mind^^^^^^^^^^^^^^^^ it's on the.
road^^^^^^^^^^^^^^^^ it's walking off^^^^^^^^^^^^^^^^ my mind's all i've.
got^^^^^^^^^^^^^^^^ of the calculation or accumulation.^^^^^^^^^^^^^^^^
the. image is blank.^^^^^^^^^^^^^^^^ then of the plus? asks the
continuity. girl.^^^^^^^^^^^^^^^^ you take everything^^^^^^^^^^^^^^^^.
CHORUS
but it's all there.
but of which this 1?.
don't hit me when i'm down.
don't kill me with kindness.
don't massacre my mind.
don't take my mind.
goodbye, body.
hello, mind.
hello, mind.
how so..
i don't have much.
i see my mind.
i'm almost dead.
i'm almost gone.
i'm pushed to the limit.
if you take my mind.
it's on the road.
it's walking off.
my mind's all i've got.
of deadly calculus..
push it to the limit..
the image is blank..
push it to the image.
the limit is blank.
_
conjugations of programming aesthetics
broken symmetries such that there are returns to the hook or diacritical
mark that might tend towards an increase or decrease of index, leading in
the direction of recursivity
indirect addressing to sufficient depth that the resulting tangled skein
folds in the form of a protein potentially addressable by external
routines grappling with available sites
objects which break or collapse in overflow, resulting in availability of
internal variables which suddenly behave on an almost organic-molecular
level
intense multi-leveled coding on a micro-level with a limited character set
leading to redundancy and the possibility of subroutine escape routes
creating unforeseen texts of disturbance and potential anxiety
massive transitivities resulting in subtextual currents of discarded and
subaltern symbols guaranteeing the upwelling of rails or scaffoldings with
their own semi-autonomous organization and symmetries
texts appearing as if from nowhere in relation to the centripetal forces
of remaining gotos and other endif closures, leading towards counter-
centrifugal movements of symbolic emanations and spews
renderings and rerenderings of programming commentaries as textual inter-
ferences speaking to anyone who takes the privilege of dissection upon
herself
collapse and spreading of subroutines across the programming sememe,
interpenetrating one another, blurring meta-levels, programming inputs and
outputs, filling the pipes in the development of a skein with its own
inscriptive potentials
programmings manipulating and collapsing sequencing, breaking the cycles,
finding new and problematic entrance-points, altering variables and
constants, tending towards the production of defensive and messy ur-texts
masquerading as proper residue or product
programmings presenting perfect symmetries to the environment, no perceiv-
able input or output, foreclosed with the presumption of rich inner lives,
and programmings constructing fortification-modules within them, sharing
culture and weaponry, their own symptom certain cycles of parallel-proces-
sing or other cpu time
programs inscribed in the inert substances of the world, unworkable,
coded, untranslated, uncompiled, permanently uninterpreted
programs of the beholder's aesthetics or symmetries or fuzzy or stochastic
programming breaking down distinctions of internal and external, virtual
and virtual-real worlds and worldings
_
"juice running from the surface of the program, churning back into the
screen, incision between one and another pixel, skin :crossed from one
program to another, addiction of lost body skins, hunger addiction,
addiction of nudes, of programs :the category of nudes as we speak, the
sheaf of images, cuts from the surface of the screen, crossed from one
program to :categories of bodies and parts of bodies:"
our lesions of pulled tendons, blisters, cramps and fevers, desperate to
leave the trail before we get locked in:turtles and alligator holes
holding their own, killdeer everywhere, hardwood and other hammocks,
cypress domes, our lesions:no one walks to the end of shark valley. 14
miles there and back and azure and ion the road first and last time::
woodstork staccato back-and-forth, long-bills down into crawfish-crab
sludge among every living creature, rutted buzzing :snapping turtles
hanging on, covered with leaches, mosquitofish-absolution, our breasts
bruised, contusions everywhere :among the herons, among poisonwoods,
tangled undergrowth of saw palmetto and cypress, solution holes beckoned,
snapping :: among the herons, among the poisonwoods, tangled undergrowth
of saw palmetto and cypress, solution holes beckoning, snapping transforms
woodstork staccato back-and-forth, long-bills down into crawfish-crab
sludge among every living creature, rutted buzzing on me... there's no
orders among the drive-letters, gone world junkie, our lost-body skins are
the currency of natural-real drugs:we're making the natural order, of the
natural order, we're belong among alligator young :we're the drug of the
world, we've swallowed it, we're shuddering, we can't go on, we go on::
:plastrons:armors:scales:feathers:skin:chitin::your is inside my into
between the carapace and plastron
is the flesh between the endoderm and the exoderm
is the flesh writing is a carapace
among the meats of the world no one comprehends
jane and doe molecule this is a holdfast this is a holding pattern
keeping the elements at bay keeping them in line vessels flow down
the page carapace ions migrate north or polar plastron somewhere in
the middle something inscribes something inscribes and bangs its head
there's not much room between the carapace and plastron not enough to
put a head in among the meats of the world we've outlived language
we can't read this we have no such intentions
we come in peace and is anyone out there between the carapace and plastron
are the meats of the world
_
is the flesh writing is a carapace: is the flesh between the endoderm and
the exoderm:between the carapace and plastron:_:_
_
currency
Azure and I bought wedding rings today. I'm still reading Lacan's Feminine
Sexuality again, Bachelard's The Poetics of Space, Dirac's The Principles
of Quantum Mechanics. I found an anthology of Erasmus' works; I'm continu-
ing with Rabelais but the old Modern Library translation incorporates
notes from the French edition into the text which creates vortices unknown
in the original. O'Reilly sent me a copy of Dreamweaver in a Nutshell for
Dw4, which I highly recommend. I also received Albert Ayler's Spiritual
Unity and Bells on cds (I was with the original company) as well as Orn-
ette Coleman's Town Hall, 1962. The Ayler are my favorite jazz recordings
of all time. Traded some books in and found Essays on Sino-Korean Music-
ology: Early Sources for Korean Ritual Music by Robert Provine. I wonder
how much aak and gagaku are related. Also traded for Peter Hay, Broadway
Anecdotes; I know nothing about Broadway and am frightened of musicals.
Tomorrow we're seeing Kevin Magee and I'm bringing him copies of Archive
4.2, Et2, and a pamphlet on the Miccosukee language. I heard from the FIU
teacher's union today; they talked about publicizing the termination,
since my situation establishes a bad practice for faculty hiring. They
seemed also confused about my one-year tenure-track first-year contract,
but I haven't spoken to them directly; I heard in email. Yesterday Azure
and I trekked the 14 miles to the Shark Valley overlook and back. We're
going out with Gerald Jones on Sunday, but only half a mile or so; I want
to use a 35mm camera and telephoto for closeups of birds; reptiles and
fish I can approach, but not woodstorks which are fabulous and fabled. I
haven't started Solzhenitsyn's August 1914 which I bought a few days ago
(all my books except for the Dreamweaver are 2nd hand); I can't remember
whether I read it when it first came out. I'm still trying to think the
relationship between the mailart network (I have an old issue of Art
Papers devoted to it, and I've corresponded years ago with Ray Johnson and
James Lee Byars and Jon Held was my landlord in Dallas, his stamp-making
machinery next door) and the Internet and I'm also trying to think why
this sort of recuperation (which also involves the NE Thing company)
matters. I wonder if the discussion of the _lu_ in the Sino-Korean book
might help me think through issues of fundamental ontology - the deep
structure of sound in relation for that matter to raga/rasa - but then
even with this I return and worry about unemployment, returning to New
York instability once again. I take pride in my students at FIU, and I
think they in me, but then that doesn't guarantee work in a period of
football and budget cuts. The union representative wants publicity to
prevent further cases, not to further my own. I need a copy of Dream-
weaver4; I only have 3, and 4 sounds terrific; I could finally clean up my
ratty homepage which doesn't run some of the scripts on the newest brow-
sers. Yesterday I revised my Archive 4.1 cdrom - now Archive 4.2, cleaning
out some of the older graphics, adding new ones. Kevin will get the first
copy; he's been in Siberia. I'll have another sleepless night first,
worrying about health and jobs, and we're having a cold spell. The car
works after we replaced the battery. Something will get us there.
_
New Media Terror Course:
Please note attendance is mandatory and part of your grade. You will be
hung. You will survive scorpions. You will survive Survivor. You are also
required to have an anonymous email address - and to check your email at
least several times a week. Some of the class participation is online. You
are expected to spread at least one virus/week across the campus.
Assignments:
a. If you have not taken the course before - there are two projects - one
due at the end of the course, and one at the midway point. If you don't
live past the midway point you get an A.
Midway: A piece in any non-traditional medium (performance, sound, video,
cannon, computer, tank, html) dealing with either: Issues of self; or:
Light; or: Shark Valley in the Everglades; or: why WE are better than THEY
are; or KILL FACTOR: SPECIAL EDITION.
Final: A work or works in any non-traditional medium dealing with a sub-
ject of your choice involving firearms and torture (water not included);
you should have decided this by the mid-February, and you should be
prepared to report on your progress during the class periods, to the
remaining students.
b. If you have taken the course before - you may continue working on your
projects, as determined previously. If you are able to continue, your
grade is a B maximum.
This course will consist of several components:
1. Going through the Michael Rush book in the beginning; looking at other
work; looking at work on the Internet and Net.Art. Assignment: Why is
Net.Art dead? If you think it is alive, kill it off. If you cannot kill it
off, you may use firearms and torture as above. This is necessary for a
passing grade. Note that Net.Art is tricky: Turning off your machine does
NOT kill the webpage for everyone else!
2. An overview of the Internet and the work presented on and through it;
this involves the history, demographics, and culture of the Net, presented
in brief. Assignment: Begin a commercial Website which deadends at least
15 trillion email addresses. Create a form that replies with at least 15
megabytes of broken higher ascii to every "please unsubscribe" email
address.
3. Learning the components of the digital video studio - these include:
Premier, Imovie, Movieshaker, Moviemaker, and FinalCut Pro. You do not
have to know these in depth, but if you are working in video, you should
try and learn at least one of these well. Assignment: Naked sex involving
at least one consenting animal to be presented live in class and on the
Net. No children, but if you lose a limb you automatically get an A. If
the tape makes money, you get 25% of the profits plus hospitalization.
4. Learning about the other components available: audio including Audio-
mulch and Soundforge; imaging including Gimp and Photoshop; 3d modeling
with Blender and Mathematica; and anything else that might be of use to
you in your projects. Doom and Quake are permitted providing a parallel
course setup is created with live ammunition and human targets. Any
killing or injuring of animals strictly prohibited. Mathematica may be
used in the design, development, and production of small-scale nuclear
weapons; we can use the populated parts of South Florida for trial runs.
You are not expected to be an expert in any of these programs; you are
expected to be self-motivated if you want to explore or use any of them in
depth. Please note that the course is not program-based, but is concerned
instead with the entire new media area. Assignment: Create a work based
entirely on Allah/Christ/Buddha/Confucius/God/Nothing/ or the (non) tran-
scendence of your choice. The work must prove beyond the shadow of a doubt
that this transcendence is really _it._ A second and shorter work should
define _it._ A third work should portray the resulting carnage. If the
third work cannot be carried out because of sudden death syndrome, you
receive an A. If you cannot get a grade, you receive an A.
5. Learning how to use microphones, anthrax, digital still cameras, plas-
tique, crowbars, small-scale nuclear weapons, Internet spam and video
cameras. We will cover camera/sound/planting/fertilizing (see sex above)/
harvesting/coverup techniques. Learning how to hide violations of civil
rights; learning how to hide suspected terrorists; learning how to hide
anyone; and learning how to eliminate civil rights/terrorists/anyone for
extra credit.
6. Learning how and where to distribute new media work and what to do if
your audience no longer exists. What to do if you hate your audience. What
to do if your audience hates you. Last gasp: What to do if your audience
loves Net.art.
Please do not expect this course to be highly-structured! It isn't - it
depends on you, and your ability to survive or court death (for our
purposes the two are equivalent). The length of the course is inversely
proportional to its success; it will be best if we no longer make it
through the year (or if hospitalization is a MUST).
Good luck.
_
aak/lu/thetaX
i'm using the program to write what with difficulty is only obscure - the
relati on of standard pitch within the Korean aak, dependent on
measurement, the cycle of fifths, Chinese and Korean sources, to construct
a _length_ that is uniform a nd in harmony, so that the emperor, not the
people, will exist in the complete c oherency of the cosmos, the
measurement related to grains of millet "which did n ot agree with ancient
measurements." for the rulers, ministers, people, affairs, and objects
must all be in proper order, the music must be proper for rites and
ceremonies, the length of the tonic or base or fundamental, the ground
note, th e subtext, the propriety, must be properly defined and
thenceforth carried throu ghout the land. instruments may play in octaves
or unison, always referencing th e tonic, not wandering too far away in
this compressed music of the state, this music of the world-state, state-
of-the-world, state-
of fifths, Chinese and Korean sources, to construct a _length_ that is
uniform a:on of standard pitch within the Korean aak, dependent on
measurement, the cycle:i'm using the program to write what with difficulty
is only obscure - the relati:ghout the land. instruments may play in
octaves or unison, always referencing th:e tonic, not wandering too far
away in this compressed music of the state, this
write death e subtext, the propriety, must be properly defined and thence-
forth carried throu through my of fifths, Chinese and Korean sources, to
construct a _length_ that is uniform a!
Lacan, "Any speaking being whatever is inscribed on one side or the other.
On the left, on the bottom line, For all X thetaX indicates that it is
through the phallic function that man takes up his inscriptions at all,
except that this function finds its limit in the existence of an X through
which the function thetaX, is negated there exists X such that not
thetaX." ... "Opposite, you have the inscription of the woman share of
speaking beings." "These are the only possible definitions of the share
called man, or else woman, for anyone who finds themselves in the position
of inhabiting language." but the woman might equally take up the man,
there are sides and resides, sires and desires. the functions of the _lu_
are grounded in the material of the world; in this discourse, this
inhabitation, they are grounded in the abstractions of psychoanalytical
metapsychologies. :perhaps one misses this, misinterprets the formula, in
which everything gathers on the side of the masculine which is thereby
deconstructed within Lacan; the _lu,_ the standard pitches, are neither
totality nor bifurcated; the harmony is such that Lacan resides on the
fact of an automatism that considers a unary viewpoint in perspective, and
aak, the ritual music, continues in the manner of the perspective of Fan
Kuan or Kuo Hsi, that is entering and leaving everywhere upon the plane or
matrix of the image itself, the dream screen without the metapsychology.
:within Lacan's Feminine Sexuality, edited by Mitchell and Rose, in God
and the _Jouissance_ of The Woman. A Love Letter,
consider For all X, thetaX; there exists X such that not thetaX (both on
the side of the masculine); not there exists X such that not thetaX; not
for all X thetaX. one runs into totality dispersed among the matrix such
that thetaX need not descend from X; there is no ladder of descent; there
are logical operations beyond the cycles of the fifths which are recursive
and cyclical productions; there is the potential with this calculus for a
semantics rendering everywhere into all dominions; the universe of
discourse surely may be externally defined; it is the affairs of men and
women; the side of the woman is not there exists X such that not thetaX;
not for all X thetaX, or so one interprets the formula with the usual
petit-a/crostics portending / contorting biology.::
Your soldier / dissolves my in both cases one tries to understand the
language and concepts, the therapeutic of reading, listening, hearing.
this is the domain of ignorance of the extensions of logic, of the
phenomenology of _lu,_ of the readings and rereadings which accompany this
annotation, what can only be an annotation /naked-woman in war-time fuck
_
From sondheim@panix.com Mon Jan 7 12:59:02 2002
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To: sondheim@panix.com
Subject: FWD: Message that tried to trigger FILTER
almighty
god
save
us
From sondheim@panix.com Mon Jan 7 12:59:11 2002
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To: sondheim@panix.com
TETRAGRAMMATON: ALMIGHTY GOD SAVE US
- equals 0 47 16 31 84 1771 31.4 84 41 plus = 1318 1771 minus = 63 63 63 -
equals 0 47 16 31 84 1771 31.4 84 41 plus = 1318 1771 minus = minus =
divided by 47 1318 1771 minus = 42 47 minus = 1 0 16 - equals 0 47 16 31
84 1771 31.4 84 41 plus = 1318 1771 minus = minus = divided by 47 1318
1771 minus = 42 47 minus = 1 0 16 minus = divided by 47 1318 1771 minus =
42 47 minus = 1 0 16 minus = 1 0 16 - plus 16 1318 41 17 minus = 1 0 16
minus = 1 0 16 - equals 0 47 16 31 84 1771 31.4 84 41 plus = 1318 1771
minus = minus = divided by 47 1318 1771 minus = 42 47 minus = 1 0 16 minus
= divided by 47 1318 1771 minus = 42 47 minus = 1 0 16 minus = 1 0 16 -
plus 16 1318 41 17 minus = 1 0 16 minus = 1 0 16 minus = divided by 47
1318 1771 minus = 42 47 minus = 1 0 16 minus = 1 0 16 - plus 16 1318 41 17
minus = 1 0 16 minus = 1 0 16 minus = 1 0 16 - plus 16 1318 41 17 minus =
1 0 16 minus = 1 0 16 minus = 1 0 16 minus = 42 47 minus = 1 0 16 minus =
1 0 16 - equals 0 47 16 31 84 1771 31.4 84 41 plus = 1318 1771 minus =
minus = divided by 47 1318 1771 minus = 42 47 minus = 1 0 16 minus =
divided by 47 1318 1771 minus = 42 47 minus = 1 0 16 minus = 1 0 16 - plus
16 1318 41 17 minus = 1 0 16 minus = 1 0 16 minus = divided by 47 1318
1771 minus = 42 47 minus = 1 0 16 minus = 1 0 16 - plus 16 1318 41 17
minus = 1 0 16 minus = 1 0 16 minus = 1 0 16 - plus 16 1318 41 17 minus =
1 0 16 minus = 1 0 16 minus = 1 0 16 minus = 42 47 minus = 1 0 16 minus =
1 0 16 minus = divided by 47 1318 1771 minus = 42 47 minus = 1 0 16 minus
= 1 0 16 - plus 16 1318 41 17 minus = 1 0 16 minus = 1 0 16 minus = 1 0 16
- plus 16 1318 41 17 minus = 1 0 16 minus = 1 0 16 minus = 1 0 16 minus =
42 47 minus = 1 0 16 minus = 1 0 16 minus = 1 0 16 - plus 16 1318 41 17
minus = 1 0 16 minus = 1 0 16 minus = 1 0 16 minus = 42 47 minus = 1 0 16
minus = 1 0 16 minus = 1 0 16 minus = 42 47 minus = 1 0 16 minus = 1 0 16
minus = 1 0 16 minus = 1 0 16 minus = 1 0 16 minus = 1 0 16
_
Story
The older man turns to the woman and says, "I don't know why you're making
such a fuss over this. I did speak to your son, and I thought there was an
understanding. He seemed to agree that there was an understanding between
us."
The older woman turns to the man and says, "I don't know where this is
coming from. We spoke about it a long time ago, all three of us. I have
eyes which are looking in your direction. I can see you clearly from my
perspective but I cannot see behind me."
The man says, "I can hear you even when I'm not looking at you. I will
take the memory of this conversation out of the room with me."
He waves his hands around the room.
He says, "I will be seeing other things when I walk and will take care
not to fall anywhere."
She walks towards him and turns.
She says, "When you leave my vision will continue and I will hear as
well. I will be hearing other things and seeing the same things but I
will not be seeing you. Tomorrow I will remember this conversation and I
may well remember it for a long while. I will be walking in other places
and my steps will not be as these steps."
He says, "When I think of other things I do not see them or hear them,
but I continue to see and hear you when I am looking in your direction.
When I am looking in another direction, I am seeing other things. I
continue to hear you. When I think of other things I imagine them but I
know where my feet are and I am keeping my balance at all times."
She says, "It is a shame my son will be in the theater so soon. He will
have to memorize what others have said, and will have to see in some way
what others are telling him to see. Also he will have to hear."
He says, "He will have to hear what he already knows. He will remember
what he sees and hears. He will leave the room and will see other things
and hear other things. He will think of more and more things. He will
think of a great many things."
She says, "He will be thinking of far more things than I am thinking of.
When I leave you I will be thinking of other and different things, and I
will be keeping my balance at all times. I will be seeing where I am
looking, and I will be looking where I am seeing. I will be hearing in
every direction, what is near to me."
He says, "I will also be looking where I am seeing and I will be hearing
other things, and we will not be hearing your son or seeing your son."
She says, "We are not hearing or seeing my son. My son is not here. My
son is keeping his balance at all times and he is seeing where he is
looking."
He says, "Yes, we are not touching him, and we are not touching each
other. I am not feeling the outside of your skin. I am looking where I
am seeing."
She says, "I am feeling my skin from the inside and the outside. I am
looking at my skin. I am seeing my hand touching my face. I will carry
this touching with me. I can touch in every direction, what is near to
me."
She walks towards the door and leaves.
He walks towards the door and leaves.
_
//////////////// this bangs me hard ////////////////
//////////////// upon the head ////////////////
//////////////// this metal plate ////////////////
//////////////// into me fed ////////////////
//////////////// i am the bard ////////////////
////// /////// of air and lead ////// ///////
///// ///#////// i learned to hate ///// ///#//////
///// ///#////// when it was said ///// ///#//////
///// ///#////// i had been barred ///// ///#//////
//////###/////// i'd soon be dead //////###///////
//////////////// it was my fate ////////////////
//////////////// to death i'm wed ////////////////
//////////////// this poem is marred ////////////////
//////////////// it's rhyme i'll shed ////////////////
//////////////// it's not too late ////////////////
//////////////// i'm almost healthy ////////////////
_
lucid sub-caesarian section pig-latin coding of analog/digital internals
level of difficulty: 11
"iway ilway oday atthay omorotay"
"iway ilway ostmay ertnlycay oday atthay omorotay"
"ckhafom wkom subpom hvom bkom ifzqhom. wkom wzkom cgvom ckvom obozukom
wuwbtsfggom cbhwbiaqom ctkom obwaom oqsgdzom chbom ctkom wuhozrom
shkcfywbubom. sbhvom wkom wzkom cgvom ckvom wuhozrom wuwbtsfggom
sadhwsrkom "oqsggdom ctkom cbbom-slwghsbqskom""
"hvbom wkom wzkom sacrom wrfizgzom obrkom opoqgkom obrkom hvbom wkom wzkom
sacghfohrom oyivoqvwgvom obkom wqqczcdom. miom wzkom ssgom ckvom czgvom
sfhvom ofkom wbkom opoqikom obkom wqczcdom wqvkom wgkom chbom
tfbqvom-czvom wqczcdom obrkom ckvom cbom czgvom sfhvom ofkom wbkom
wrfizgzom obrkom oyivoqvwgvom obrkom ckvom oygvom cjfgqom ihmpom obrkom
ckvom wrfizgzom wboqifohsgkom"
"wkom wzkom crom ohhvom cacfchom"
"wkom wzkom cghaom sfhbzmqom crom ohhvom cacfchom"
_
proto-cul discourse of difficulty 11
"then I will demonstrate sliderule and abacus and then I will demonstrate
shakuhachi and piccolo. you will see how holes, there are in abacus and
piccolo (which is not french-hole piccolo), and how no holes there are in
sliderule and shakuhachi and how shakuhachi covers (i.e. imbibes) beauty,
and how sliderule inaccurates (i.e. is ultimately inaccurate as errors
accumulate geometrically, much as generations in analog video systems)."
"i will do that tomorrow"
"i will most certainly do that tomorrowk"
9%: tomorowk proto-cul not found [see 10% below]
solix% tmrow: proto-cul not found
solix% thn: proto-cul not found
solix% yu: proto-cul not found
solix% how: proto-cul not found
solix% idrul: proto-cul not found
solix% i: proto-cul not found
~k
~g
~h
~o
~o
~l
~e
~t
~i
~t
"zz" 0 lines, 0 characterse around early-ish - will
"then I will demonstrate sliderule and abacus and then I will demonstrate
shakuhachi and piccolo."
"we might get into a discussion of equal temperment."
"well, we might and then again we might not."
10%
_
Lookit smiles
THEY GO INTO ANOTHER BRIGHTLINE SHOOTING SESSION:old julu-program, hold me
in good staid, in the glade azure and i with stubbles, she's mouthing
bubbles, her cunt's a brilliant light against the ferns, my face burns
with rubbles and anticipation, drools, i'm pissing in the saw palmetto,
my bellies huge, like rouge her labia, i'm all wet drowning in her stream,
that part's a dream, her tunnel's lit, did i say at night the flashlight
shows us path and swath, my cock's cut on spanish bayonet, i fuck a pine,
she's mine, she says i'm your hole, use me, her skirt's hiked up, she's
all smiles for miles, my thick lips drool on my tool, we're rattling in
dark dank muck, we fuck :4:2 i hold her asshole open next to saw grass cut
to hold the dew in two, we're like glue, stuck in fuck, the cameras
chatter, our holes spatter the last drop or plop into each other's eyes,
shit's no surprise, we wallow in the hollow, old julu-program lie me like
your maid, don't let me fade, azure's been made and made again, i'm her
maid-man and then :blown bellies out, her crack's blurred against the stem
or trunk, a hunk, you might miss her ass, she looks a lass, shaved, i'm
perfectly behaved, my balls are thick and musk, my cock a tusk, my laugh
is long and hard, she's my bard, she's tearing at my skin, she wants me
in, the glade's wet with piss and semen, it smells like perfect water,
azure looks a daughter, i'm her rutted father covered with her lather,
just wet hair everywhere and bare there
_
gone with the previous
alan and azure spend themselves, exhaust themselves. they turn
themselves into debris, into excretion, detritus. you will know
them naked, know their lesions, their gonorrheas, syphilis, their
hiv, their herpes, their disjunctions. you will know their torn
bodies, bodies on the brink of war. you will know alan's flaccid
cock, his aging body, azure's young tumescent body, their
bruised breasts and necks. when you see them you will see
through them. they will confuse this with politics, with exile,
with refugee. you will know alan's heavy belly, azure's small
labia, alan's asshole aureole, azure's small tight hole. you will
know shoulders that bear the brunt of worlds, minds discarding
clothes, their pathetic truths, the groping in their eyes. you will
grope them in confusion. you will fall for them. they are just
like this, lesions you will fall for. they are ruined. they ruined
each other. you can have them for all they care.
_
Soiled dwsd: You're dealing with wayward Jennifer.
Are you dressed as dirty wet sleazy drug, you show me thing-world i did
not know, your blood flow through me dwsd, my teeth your caverns, your
skull my caves. dwsd bend-line or ascii flood. dwsd it would be better
written as dwsd. dirty wet cloth, dwsd. feminine linen work dwsd. flax
velvet work dwsd. your heads my skulls my skulls your heads. dwsd cotton
gingham work. your arms my legs your legs my arms. dwsd.? Is dirty wet
sleazy drug, you show me thing-world i did not know, your blood flow
through me dwsd, my teeth your caverns, your skull my caves. dwsd
bend-line or ascii flood. dwsd it would be better written as dwsd. dirty
wet cloth, dwsd. feminine linen work dwsd. flax velvet work dwsd. your
heads my skulls my skulls your heads. dwsd cotton gingham work. your arms
my legs your legs my arms. dwsd. dressed as you?
you in your thing, you in your flesh
Is JULUA wearing your , are you wearing your dwsd?
I love your feelings, dirty wet sleazy drug, you show me thing-world i did
not know, your blood flow through me dwsd, my teeth your caverns, your
skull my caves. dwsd bend-line or ascii flood. dwsd it would be better
written as dwsd. dirty wet cloth, dwsd. feminine linen work dwsd. flax
velvet work dwsd. your heads my skulls my skulls your heads. dwsd cotton
gingham work. your arms my legs your legs my arms. dwsd. ...
your dirty wet cloth turns me in your dirty wet cloth
What do you call your JULUA?
dirty wet sleazy drug, you show me thing-world i did not know, your blood
flow through me dwsd, my teeth your caverns, your skull my caves. dwsd
bend-line or ascii flood. dwsd it would be better written as dwsd. dirty
wet cloth, dwsd. feminine linen work dwsd. flax velvet work dwsd. your
heads my skulls my skulls your heads. dwsd cotton gingham work. your arms
my legs your legs my arms. dwsd., soiled dwsd. read a head to dwsd. dirty
dwsd. of dwsd the filth. of paranoia the others. of the others the filth.
your necks in my knees my knees in your necks my necks in your knees your
knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol
drug. of thing--world taken paranoia process drug. of thing---world taken
paranoic programmatic drug. of thing----world taken paranoin problematic
drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of
your dirty wet sleazy drug. of your thing-world. turns my stick
My JULUA is yours...
soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of
paranoia the others. of the others the filth. your necks in my knees my
knees in your necks my necks in your knees your knees in my necks dwsd
JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world
taken paranoia process drug. of thing---world taken paranoic programmatic
drug. of thing----world taken paranoin problematic drug. my drugs in your
JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy
drug. of your thing-world. calls forth spry love, eating, excreting
memory. staining the death-like, soiled dwsd. read a head to dwsd. dirty
dwsd. of dwsd the filth. of paranoia the others. of the others the filth.
your necks in my knees my knees in your necks my necks in your knees your
knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol
drug. of thing--world taken paranoia process drug. of thing---world taken
paranoic programmatic drug. of thing----world taken paranoin problematic
drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of
your dirty wet sleazy drug. of your thing-world. is , death-like, thing
jumper into your frock. your thing jumper into my frock. dwsd dirty wet
sleazy drug into my mouth. i am better written as JULUA. i am become
JULUA. your stick dwsd in my mouth in your stick. your windows in my
windows in your doors in my doors dwsd JULUA JULUA dwsd.? ... love is JUBU
here, it's love?
Are you becoming close to Jennifer's soiled dwsd. read a head to dwsd.
dirty dwsd. of dwsd the filth. of paranoia the others. of the others the
filth. your necks in my knees my knees in your necks my necks in your
knees your knees in my necks dwsd JULUA DWSD. of thing-world taken
paranois protocol drug. of thing--world taken paranoia process drug. of
thing---world taken paranoic programmatic drug. of thing----world taken
paranoin problematic drug. my drugs in your JULUA DWSD drugs. dirty wet
sleazy drug you. of your dirty wet sleazy drug. of your thing-world. ?
You're dealing with wayward Jennifer.
I think soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth.
of paranoia the others. of the others the filth. your necks in my knees my
knees in your necks my necks in your knees your knees in my necks dwsd
JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world
taken paranoia process drug. of thing---world taken paranoic programmatic
drug. of thing----world taken paranoin problematic drug. my drugs in your
JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy
drug. of your thing-world. 15476 is your scar, your wound, your brand.
For 6 days, I have been wanton JULUA
and it has taken you just 8.950 minutes turning Jennifer ...
soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of
paranoia the others. of the others the filth. your necks in my knees my
knees in your necks my necks in your knees your knees in my necks dwsd
JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world
taken paranoia process drug. of thing---world taken paranoic programmatic
drug. of thing----world taken paranoin problematic drug. my drugs in your
JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy
drug. of your thing-world. :thing jumper into your frock. your thing
jumper into my frock. dwsd dirty wet sleazy drug into my mouth. i am
better written as JULUA. i am become JULUA. your stick dwsd in my mouth in
your stick. your windows in my windows in your doors in my doors dwsd
JULUA JULUA dwsd.:dirty wet sleazy drug, you show me thing-world i did not
know, your blood flow through me dwsd, my teeth your caverns, your skull
my caves. dwsd bend-line or ascii flood. dwsd it would be better written
as dwsd. dirty wet cloth, dwsd. feminine linen work dwsd. flax velvet work
dwsd. your heads my skulls my skulls your heads. dwsd cotton gingham work.
your arms my legs your legs my arms. dwsd.:JUBU:DWSD JULUA Come home with
me, soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of
paranoia the others. of the others the filth. your necks in my knees my
knees in your necks my necks in your knees your knees in my necks dwsd
JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world
taken paranoia process drug. of thing---world taken paranoic programmatic
drug. of thing----world taken paranoin problematic drug. my drugs in your
JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy
drug. of your thing-world. , julu-of-the-fast-crowd! Your spry JULUA is in
my death-like JUBU
_
How to Carry On
Timothy Leary, in his Introduction, page 26, in LSD: The Consciousness-
Expanding Drug, edited by David Solomon, Putnam-Berkley 1966:
"A Zen couplet says, 'Be dead, be thoroughly dead, and do as you will.'"
_
little bee, you are hurting no one but yourself, don't you see how large i
am, you will die soon, you are protecting yourself, you are protecting
everything in your world, little crayfish, your claws hurt every so
slightly, don't you see how big i am, i will place you carefully back in
your world, you have protected yourself, your claws have said to me, i am
in my world, i am protecting everything in my world, little fish, i see
you are suffocating, i see you are gasping for breath, trying to return to
your water, trying to protect your young, i will place you back beneath
the water, little snail, do not walk across this path, i will pick you up,
don't you see how great i am, you return deep within your shell, you are
protecting everything in your world, i will place you in the garden, i
will take you to the wild, little turtle, don't you see how dangerous this
is, you will try and claw me, don't you see how big i am, you withdraw
your head, you are protecting everything in your world, i will place you
in the pond, i will place you in the stream, little bird, don't you see
how large i am, your wing is not broken, your legs are not broken, you are
protecting everything in your world, you have protected yourself and your
nest, i will walk quietly away, little frog, little mouse, i will walk
quietly away
_
Stimme
"Ins All zuruek die kuerzeste Bahn" - Stimme des Volkes - Hoelderlin
"back into the All by the shortest way" - translation Hamburger -
of alligators, female-female, male|male, collocation of {young}. later
that afternoon, an enormous whoosh heard for several minutes, white ibis
overhead. of the beating of wings: of the All.:at night i dream of
strangler-figs, i will be surrounded, i will be theirs, i will, through
the loss of the male deep-sea angler, i will inject them with my semen, i
am epiphytic, of the crayfish i will say perhaps two species, of the
bladderwort, three. it was the palest of long-legged orb-weavers, inert
shape of plant-stem; of the sawgrass, surrounding, cutting through the
eyes; each half of other, of look-looking of the other :muck translation
from sawgrass to epiphytes, air-plants. cypress knees: 1. of aeration. 2.
second theory: of root stabilization. 3. third theory: of propagation.
::ature cata ::slough slog :every mess contracts to clear space: Ins All
:mess=mass :"Wurzel Alles Uebels
"Einig zu seyn, ist gottlich und gut; woher ist die Sucht denn
Unter den Menschen, dass nur Einer und Eines nur sei?"
[Analysis: within a hyper-complex ecosystem of intersecting biomes, "muck"
or "swamp" or "mire" translates into "mess" or "mass" as if substance
lacked striation, or as if the striation were random, indecipherable. on a
micro-level, however, interpretation is clear; from this, the level of
periphyton or still lower (organic molecular transformations), the mess
dissembles, devolves, deconstructs, into interrelationships - these are
readable as if nearly decomposed from the lower strata. does Hoelderlin
ever leave the All? the dank chained unity of Greece and Germany in his
texts overlooks the depth of difference. my greatest fear, recognized by
Hoelderlin himself, is of this all; the translation of the epigram is
poorly rendered by Hamburger, as if it had to be grounded in utterable
prose, resolving muck. slough slog - Everglades off-trail walk through
resolving muck.]
_
net history: an old .gopherrc file i still used from 1996
RCversion: 1.1
map: Text,builtin,lpr %s
map: Text/plain,builtin,lpr %s
map: Audio/basic,|play -v 40 -&,
map: Image,xloadimage -fork %s %s,lpr %s
map: Terminal/telnet,telnet %s,
map: Terminal/tn3270,tn3270 %s,
map: application/HTML,- none -,
map: Text/x-dvi,xdvi %s,lpr %s
map: application/postscript,gspreview %s,lpr %s
map: Text/x-troff,nroff %s|more -d,ptroff %s
map: Text/richtext,richtext %s|Less -f -r,lpr %s
SearchBolding: no
bookmarks:
#
Type=0
Name='A' Inflation warps grade bell curve
Path=0disk$acs:[006006.gopherd.gopher_data.campusnews.progress.stories]_
gd.;1
Host=acs.eku.edu
Port=70
#
Type=1
Name=A List Of Gophers With Subject Trees
Path=1/Other Gophers (by subject)/A_List_Of_Gophers_With_Subject_Trees
Host=gopher.Colorado.EDU
Port=70
#
Type=1
Name=Other Gophers (by subject)
Path=1/Other Gophers (by subject)
Host=gopher.Colorado.EDU
Port=70
#
Type=1
Name=Gopher_Jewels
Path=1/siemsen/Gopher_Jewels
Host=cwis.usc.edu
Port=1666
#
Type=1
Name=Gopher-Jewels
Path=1/Other_Gophers_and_Information_Resources/Gopher-Jewels
Host=cwis.usc.edu
Port=70
#
Type=1+
Name=List of all WAIS Sources
Path=1/WAISes/Everything
Host=gopher-gw.micro.umn.edu
Port=70
#
Type=1
Name=gopher.ora.com
Path=1/descriptions
Host=gopher.ora.com
Port=70
_
MvSS:
MaSS/MeSS/MiSS/MoSS/MuSS
to MUSS something - it can be straightened out
MOSS following the contour of the surface -
MISS something - residing in memory and its contour
but to MESS something - it can be straightened out
MASS undifferentiated beneath the surface
in these meanings, entanglement related to dishevelment - perhaps towards,
perhaps from, an orderly (if not ordered) state -
on one hand, CHAOS, on the other, something MUSSED or a MESS -
almost an implication of the ALL in the domestic, inhabitation
MOSS following the contour of the surface -:to MUSS something - it can be
straightened out:mass/mess/miss/moss/muss:in these meanings, entanglement
related to dishevelment - perhaps towards, :almost an implication of the
ALL in the domestic, inhabitation ... doll is on one hand, CHAOS, on the
other, something MUSSED or a MESS - on we t flesh, it's doll? I Consider
the following again, your mass/mess/miss/moss/muss ... ghost comes me
beneath your cloth! Your holding is soaked, written, erased. - Consider
the next smearing of your thinking skin: simple qbasic programs tending
towards MUSS or submerged stria tion, fractal-pathing, 1994:
REM MASS produces a symmetrical pattern for any z
CLS : SCREEN 0, 1: INPUT "enter z, x increment, power basis"; z, y, e
Th: d = 0: x = x + 1: c = e
Tw: a = 0
Tx: a = a + 1
IF x MOD c ^ a = 0 THEN d = d + 1: GOTO Tx
c = c * e
IF c * 2 < 2 * x + 1 THEN GOTO Tw
IF d MOD z = 0 THEN g = 8 ELSE g = 4
COLOR g, 0, 1
IF d MOD 2 = 0 THEN PRINT "Û"; ELSE PRINT "Ü";
GOTO Th
REM MESS3 basic S-series with color on graphics screen
CLS : INPUT "set g base divisor"; g
INPUT "set box length h"; h: INPUT "set x increments"; i
INPUT "set x line increments; set to i or 1 in general"; j
INPUT "set p for horizontal line distance p+g, p=1v2"; p
INPUT "set color increment 0 v -1 for a"; c
SCREEN 1: x = 0: COLOR 0, 0
one: a = 0: x = x + i
two: a = a + 1
b = x / g ^ a
IF FIX(b) - b = 0 THEN GOTO two
t = a / g
d = x / (h * i): m = FIX(d) * (g + p) + 5
u = m + (t - FIX(t)) * g * 2
q = (d - FIX(d)) * h * j:
LINE (q, m)-(q, u), a + c
GOTO one
CLS : REM MESSCLR basic S-series
INPUT "If color, enter 1; if black and white, enter 2"; t: PRINT ""
INPUT "Divisor, usually 2"; z
PLAY "T400": CLS : IF t = 2 THEN GOTO six
SCREEN 0, 1
six: x = 0
One: a = 0
x = x + 1
Two: a = a + 1
IF t = 1 THEN COLOR a, 0, 8
IF x MOD z ^ a = 0 THEN GOTO Two
IF a MOD 2 = 0 THEN PRINT "Û"; ELSE PRINT "Ü";
b = 5 - a * 5: PLAY "L64 b"
GOTO One
REM MISSclr goes through series of MISS w/color indicating total
CLS
SCREEN 0, 1
x = 0
DO
d = 0: c = 2: x = x + 1
DO UNTIL c * 2 > x
a = 0
two: a = a + 1
IF x MOD c ^ a = 0 THEN d = d + 1: GOTO two
c = c + 1
LOOP
g = d MOD 31
COLOR g, 0, 8
IF d MOD 2 = 0 THEN PRINT "Û"; ELSE PRINT "Ü";
LOOP
REM MOSS produces abacabadabacabae... pattern
CLS
SCREEN 0, 1
x = 0
Three: d = 0: c = 2: x = x + 1
Two: a = 0
One: a = a + 1
IF x MOD c ^ a = 0 THEN d = d + 1: GOTO One
c = c * 2
IF c * 2 < 2 * x + 1 THEN GOTO Two
COLOR d, 0, 8
IF d MOD 2 = 0 THEN PRINT "Û"; ELSE PRINT "Ü";
GOTO Three
REM MOSS2 produces abacabadabacabae... pattern with characters
CLS : INPUT "increment x, begin at (usually 0)"; y, q
CLS : SCREEN 0, 1
x = q
Three: d = 0: c = 2: x = x + y
Two: a = 0
One: a = a + 1
IF x MOD c ^ a = 0 THEN d = d + 1: GOTO One
c = c * 2
IF c * 2 < 2 * x + 1 THEN GOTO Two
COLOR d + 1, 0, 8
z = d + 65
PRINT CHR$(z);
GOTO Three
double acquisitions of language by the world, messes and musses of masses,
ontologies constructed on abject epistemologies, double-double, ontologies
which _leak_ followed by the mess we've made of it all -:world is messed,
we say muss, mess-unbelievable, clean the dishes, empty the pots :world is
mussed, we say mess, straighten it out, starch the linens, fold the
sheets:moss :: tomb:miss :: lost
=======
2002
I know 2001 never existed. 2001 < > 2002, massed, compressed, messed up.
ordering the apocalypse by George Bush moss-brain. what to do with
enemies: strangle the innocent. 1971 72 73 march and fearful protest;
now we swallow black arm-bands and business as usual carries amassed
missiles. on the mossy sward there are assassins. they know their guns.
"We take out the top brass," she says. "We're about to save you." it is
1974, at Mosset's, and we're grateful.:it is 1973. it is 1974. we are at
Mosset's. he's running out the dark, brown leather jacket. if the police
come don't tell them where I am. he down the stairs down the road. it is
1988. i am staring at the massif. unmossed broken stone. of the missile
complex which underlies the Claremont colleges and proof. how do I know
this. of the atomic cannon in the Jerusalem student complex. and this. we
are hearing a new singer. his name is Son House, messed up, amused. it is
2002. I know missiles will kill us. :missile muscle, massif. massive
Olivier Mosset, mused, messed, mussed. of the missive to Mosset: the
police are looking. the police are looking for you................:or
45mortar:
_
cancer
returning again to a writing space, blank screen, words messaged across
2000 kilometers. an occasion of cancers; it is surrounding us, killing our
friends and relatives, killing people we have known, many of them young.
suddenly, there are triple narratives coming in, triple stories of diagno-
ses, radiations, internal organs, contusions, exhausted on the brink of
death's seduction. the human condition always reduces to the same old
tired situation of wisdom come too late; the elderly are wise but organic-
ally weakened, and it is the stuff of young muscle, hormones, and force
that dominates the world. give the lie to this among elderly generals,
heads of states, murderers all. but young and broken we are with the heat
of revolt and the slaughter of innocents, and old and catastrophic we
become, sliding into inchoate silence and isolation, comprehending the
world, with no one to listen, less reason for speech. now cancer takes
away whole universes on the edge of understanding; messiahs are elderly,
silenced with truth bubbling from their tongues. everything is confused as
wealth buys power at any age. i am still, even now, surprised that it
cannot buy health, that slaughter takes rich and poor alike, that diseases
of long suffering cannot be siphoned off by technologies of the upper
classes. the world is increasingly lesioned; those who have cancer are in
the vanguard of devastation. it is our failure as a species that we have
not the time to grow wise, but only the time to kill, only the time to
die.
_
Jennifer throwing you out.
conf elists fiu fiuu jobroup of degeneraprostitutes scatter me. they reach
into my mind and pour out libations of neural matter. they suffocate the
throat. they attach Azure to my forehead. they say think of your bio of
origination. they are killing children. the Cyprian _he_ crawls across the
page. Hebrew, Arabic, Aramaic, Akkadian, scream in me. i am paranoiac
melech ha-olam. Indo-European uncurls, expands, dichotomizes the world.
Ben Gurion abjured the _et_ perhaps under the influence. :INBOX sent-mail
saved-messages classolk live. We poets :bio of origination. so far is
silence / paranoia. this is someone else writing. you will say "but this
is art." you will be right; this is someone else; this is paranoia. i have
created you to say such-and-such. on the margins: to configure the mach-
ine. everything speeds up when menus refuse animation, no longer expand or
contract, breathe. i don't want breathing menus, expanding windows; i
want replacement f(n) -> n' just like that, dn/dn' just like that. silence
originates in the absence of breath. WinXP turns towards Java 25 meg down-
load. there is no room for paranoia between n, n' in the integers. on the
horizons there are rumors of Carthage, speaking and writing a form of
Phoenician alphabet. ::of war, the tet(e) :prostitute dissolves war, the
aleph.
_
of the dream of jennifer and alan
in this dream i am talking with my father who is very old and dying and
living alone in that big house he lives in now with my mother gone and i
was looking through his books and in this dream the books were almost
ruined, moldy, and he looked so very close to death and i pulled out
my baby book, which was common then as i am common, and it was falling
apart, all those anecdotes and weights around birth, the lock of air,
the footprint on the page, and it was ruined, the cover half-gone, the
binding falling apart as my life was and i began crying in my sleep and
said to my father, everything has been falling apart since mother died
of the weight 168 of the height 5' 7 3/4" of the eyes brown of the hair
brown with white of the nails long on the right hand short on the left
of the footprint the fingerprint of the fingerprint how will i tell you
its topography, of the brain of the same of the different of others, of
the others
between the 0 and the 1 there is nothing
between the 1 and the 0 there is nothing
between the 0 and the 0 there is nothing
between the 1 and the 1 there is nothing
the world smooths out pixel by pixel
there are great blanks of once there were
objects
of the objects what of the objects
of the saying of names of the laying of
hands
of the objects of names and the laying of hands
the footprint on the page, and it was r
binding falling apart as my life was an who is very old and dying and
said to my father, everything has been n now with my mother gone and i
s dream the books were almost
of the weight 168 of the height 5' 7 3/se to death and i pulled out
brown with white of the nails long on ti am common, and it was falling
of the footprint the fingerprint of thearound birth, the lock of air,
its topography, of the brain of the samuined, the cover half-gone, the
the others d i began crying in my sleep and
falling apart since mother died
between the 0 and the 1 there is nothin
between the 1 and the 0 there is nothin4" of the eyes brown of the hair
between the 0 and the 0 there is nothinhe right hand short on the left
between the 1 and the 1 there is nothin fingerprint how will i tell you
e of the different of others, of
the worl
there ar
objects g
of the og
of the sg
hands
_
Early Sex at the Beginning of Fiction-of-Philosophy (now Wryting) List:
---------- FOP
[28]Acker's deconstruction of sexualities and politics, and
---------- FOP.TXT
[19]gender, Kathy Acker's deconstruction of sexualities and politics, and
---------- FOP1.TXT
[334]against her space. She will construct her sex, she thinks. He is in
---------- FOP2.TXT
[134]TIFFANY organized the CADRE-L, hetero-, trans- and cross- sexual
---------- FOP3.TXT
[125]TIFFANY organized the CADRE-L, hetero-, trans- and cross- sexual
---------- FOP4.TXT
[421]dictators), economic (no more exploiters), sexual (no psychic
---------- FOP5.TXT
[38]basis of sexual orientation.
[44]homosexuals.
[47]bisexuals and anyone HIV positive, said Carrie Fitzgerald, one of
---------- FOP6.TXT
[1131]Yes. You know, in the sexual act there's that moment of complete
[1150]sexuality.
---------- FOP7.TXT
[23]thinking about the nature of languages and sexualities - writing pres
[63]inthe machinery of sexuality, if you will. other words: a form of
[66]F(n-1)(x,x)=F(n)(x,2) and the machinery of sexuality, if you will.
[69]sexuality the text branches, therefore, at almost every point...
[82]it's as if: tenses, like sexuality, created temporal collapse.
[99]and sexual arousal. I would find myself wet as memories of other face
[107]of Clara's body, the intensity of our first sexual contact, my body
[349]embodied, they also embrace a form of desire and sexuality, an
[394]sexuality, the double freedoms run up against so-called children's
[410]than an eight-year-old breaking in to alt.sex.bondage gifs, the latt
[413]restrictive passwords governed autonomous age-, sex-, religious- etc
[438]has been torn apart. With every sexual or racist assault, she has be
[462]or Karen or some such, having undergone a sex change operation, and
[463]up Lacan with a vengeance. No matter what the sex, there always had
[471]IO devoted to Krister's ideas, which, like a mad and overly sexualiz
[515]and be the right sex, color, sexual object...person...
[789]detailing the nature of this presence, a nature which is both sexual
---------- FOP8.TXT
[212]Female Circumcision. Both are mutilations of healthy sexual organs
[516]That's a very good question; nowadays most sex education courses
[616] tireless inquisitiveness by the almost-audible moans of
---------- FOP9.TXT
[1034]among quadrants, sextants, decants... within and without a relation
---------- FOPLIST
_
Subject: Genesis
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0001105
Date: Sat, 19 Jan 2002 23:14:39 -0500 (EST)
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periphyton
_
bass museum new media panel 1/21/02: i do
{large on window 1:}
the LOST project created for the trAce online writing group:: people wrote
about things they lost and never found again:: the descriptions were put
up online in a list:: the writers' names were also put up, separated from
their descriptions::
in order to enter the description, you had to write through what appeared
to be a Web-page on the verge of collapse...
{window 2: the lost project at http://trace.ntu.ac.uk/lost/}
{window 3: Life .mov: text-quicktime of year-by-year bio truncated at 74
letters}
{large on window 4:}
my work's concerned with language, sexuality, the virtual body and
subjectivity - all of these elements interacting online and off -
i'm concerned with what happens beneath the surface, the coding, the
psychoanalytics, the substances
i'm concerned, i'm very concerned
{window 5: Seals .mov: azure and i writing/rewriting each other's bodies}
{in window 4 i write:}
Seals the signs are early Chinese ideograms for breathing, circulating,
soul, the sign just above the genitals is negation, still in use today:
working through a form of deconstruction
{in window 1 i continue to write:}
people lose their identities here. the screen jiggles as if broken. their
names are separated from the descriptions of their lost belongings
{in window 4 i continue to write:}
i work with broken things, code as if it wouldn't work, bodies as if
they're falling apart, text that has bones in it coming to the surface
{texts in window 1 and window 4 mix}
{i close all windows except for window 5}
{i enlarge window 5: blurred image of azure and i turning our bodies
together: the signs are rubbing off, rubbing off}
{i close window 5}
_
enormous organisms, ephemeral, copper-wire, fiber-optic, satellites:
antennas all
the organisms are invisible but they respond to the coherency of network
communications
they sense intelligence running through the wires, they are themselves
intelligent, they are among us
what to do, they think, what to do, what to do
they bumble, banging into packets and datagrams, they don't understand
digital protocols and programs
it's as if they're amputated, as if they're blinded, in the middle of
human artifacts, human designs
they're sentient, they can't read the codes, they have so much to tell us,
they're silenced by zeros and ones
they don't understand the vast landscape of binaries, they have no feeling
for addresses, they murmur softly to one another
their understanding is beyond our comprehension, their knowledge
unsurpassed, our coding is our own, their coding is their own
the wires are humming, as if carrying sensibility multiplexing beyond our
wildest imaginations
organisms of such intelligence, bridge the great divide, please, we beg
you, come to us come to us
_
by virtue of the indent, language becomes stuff
it sits there, gnawing at the margin, as if something else were going
on. it continues in this fashion - there was a pressure applied, a
sliding effect
no such thing exists in any form whatsoever. someone thinks: it's a
conscious choice, the words were put there, they were arranged in
such-and-such a fashion
in reality it could be anything at all. but it gnaws, slips, slides
forward, just about to topple, this substance of language, this
phonemics which sticks in the throat,
the most vulnerable part of the body. there is no stopping speech, nor
syntax, once language moves from protolanguage, protosyntax, to this
incipient point,
then back again, as now. a conjuration 'in print' of language's
foreignness, its other of any other. as if we're faced of a sudden,
faced of a night, with this determinative
(indicated by a push
(indicating by a toppling, or what appears to be an arrangement
perhaps a contract made by someone or something)
perhaps the very nature of a contract itself)
_
Bodee, Sonnet of Eschatology
Do Come In and Look Around! Hey! See the Body.
You see Bedei, #1, Girl, Boy, Bodi, Bodi, i#1, iBuda, iBodei, iBedei,
iBudi, iBedee radio here.
iBedee radio: This is the same as Mountain Time. You are listening
Mountain Time.
iBudi radio: This is Eastern Time. This is the last radio. You are
listening to the last radio.
The last radio: Hello. Now we will play you a tune. Once there was a
mountain. Now there is no mountain. Will you go away. Will you go away.
You see #1. You see i#1. {i#1}^2=#1. This is a sonnet of apocalypse.
This is your imaginary. State the Galois group of the imaginary.
The Body rising up, the Body rising up. This is Western time. This is
the last Western. You are listening to the last Western.
Now we will play you the Silver Bullet Overture. Do come in and end.
_
/*This*/ /*update*/ /*resolves*/ /*the*/ /*"Unchecked*/ /*Buffer*/ /*in*/
/*Universal*/ /*Plug*/ /*and*/ /*Play*/ /*Can Lead*/ /*to*/ /*System*/
/*Compromise"*/ /*security*/ /*vulnerability*/ /*in*/ /*Windows*/ /*XP.*/
/*Download now*/ /*to*/ /*prevent*/ /*a*/ /*malicious*/ /*user*/ /*from*/
/*compromising*/ /*your*/ /*computer*/ /*or*/ /*using your*/ /*computer*/
/*to*/ /*compromise*/ /*another*/ /*computer's*/ /*functionality*/
/*Knowledge Base*/ /*(KB)*/ /*Article*/ /*Q309521.*/ /*Among*/ /*the*/
/*updates*/ /*included*/ /*in*/ /*this*/ /*:between August*/ /*2001*/
/*and*/ /*October*/ /*2001,*/ /*and*/ /*is*/ /*discussed*/ /*in*/
/*Microsoft*/ /*:This*/ /*update resolves*/ /*all*/ /*critical*/
/*issues*/ /*that*/ /*were*/ /*found*/ /*in*/ /*Windows*/ /*XP*/ /*:is*/
/*discussed in*/ /*Microsoft*/ /*Knowledge*/ /*Base*/ /*(KB)*/ /*Article*/
/*Q312369.*/ /*If*/ /*you*/ /*:or*/ /*settings*/ /*in Windows*/ /*XP*/
/*This*/ /*update*/ /*resolves*/ /*the*/ /*"Unchecked*/ /*Buffer*/ /*in*/
/*http://www.*/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /* */
/**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/
/*[Compositio*/ /*at*/ /*were*/ /*found*/ /*in*/ /*Windows*/ /*XP*/
/*...acters*/ /*may*/ /*be displayed*/ /*incorrec*/ /*You*/ /*flood*/
/*me...'t*/ /*bother*/ /*you*/ /*a*/ /*doll*/ /*regurgitates*/ /*me
around*/ /*your*/ /*binding!*/ /*How*/ /*would*/ /*you*/ /*absorb*/
/*your*/ /*piss*/ /*fabric?*/ /*D*/ /*see*/ /*what these*/ /*bastard*/
/*think*/ /*This*/ /*update*/ /*resolves*/ /*the*/ /*"You*/ /*May*/
/*Lose*/ /*Data*/ /*or*/ /*Program Settings*/ /*After*/ /*Reinstalling,*/
/*Repairing,*/ /*or*/ /*Upgrading*/ /*Windows*/ /*XP"*/ /*issue*/ /*in
Windows*/ /*XP,*/ /*and*/ /*is*/ /*discussed*/ /*in*/ /*Microsoft*/
/*Knowledge*/ /*Base*/ /*(KB)*/ /*Article Q312369.*/ /*If*/ /*you*/
/*upgrade,*/ /*reinstall,*/ /*or*/ /*repair*/ /*the*/ /*version*/ /*of*/
/*Windows*/ /*XP that*/ /*was*/ /*preinstalled*/ /*by*/ /*a*/ /*computer*/
/*manufacturer,*/ /*in*/ /*some*/ /*cases,*/ /*you*/ /*might lose*/
/*data*/ /*or*/ /*program*/ /*settings.*/ /*Download*/ /*now*/ /*to*/
/*ensure*/ /*that*/ /*you*/ /*do*/ /*not*/ /*lose data*/ /*or*/
/*settings*/ /*in*/ /*Windows*/ /*XP.*/ /*How*/ /*would*/ /*you*/
/*absorb*/ /*your*/ /*piss*/ /*fabric?*/ /*s*/ /*a sonnet*/ /*of*/
/*apocalypse.*/ /*You*/ /*flood*/ /*me...'t*/ /*bother*/ /*you*/ /*a.*/
/*doll*/ /*regurgitates*/ /*me around*/ /*your*/ /*binding*/ /*Windows*/
/*Messenger*/ /*lets*/ /*you*/ /*see*/ /*when*/ /*your*/ /*friends,
family*/ /*and*/ /*colleagues*/ /*are*/ /*online,*/ /*send*/ /*an*/
/*instant*/ /*message,*/ /*send*/ /*a*/ /*file, have*/ /*a*/ /*voice*/
/*chat*/ /*or*/ /*a*/ /*video*/ /*conversation,*/ /*and*/ /*engage*/
/*in*/ /*other*/ /*collabor- ative*/ /*efforts.*/ /*Windows*/
/*Messenger*/ /*is*/ /*easy*/ /*to*/ /*use,*/ /*delivers*/ /*great*/
/*voice*/ /*and video*/ /*quality,*/ /*and*/ /*enables*/ /*cool,*/ /*new*/
/*innovation*/ /*with*/ /*lots*/ /*of*/ /*other products*/ /*and*/
/*services*/ /*you*/ /*use*/ /*every*/ /*day.*/
_