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A? A/ A. A' A" A( A) A@ A$ A*  ^ ã à a0 a1 A1 ¹ a3 a4 A4 a5 A6 a8 a9 A9 aa Aa AA ab Ab AB ac aC Ac AC ad aD Ad AD ae Ae AE af aF Af AF ag aG Ag AG ah aH Ah AH ai Ai AI aj Aj AJ ak Ak AK al aL Al AL am aM Am AM an aN An AN ao Ao AO äÒ ap aP Ap AP aq Aq AQ ar aR Ar AR as aS As AS at aT At AT au Au AU av Av AV aw Aw AW ax Ax AX ay aY Ay AY az Az AZ b `b ^b ~b b _b -b :b !b /b .b 'b "b (b [b {b }b @b $b *b &b #b +b b< b= b| b_ b- b, b; b: b! b/ b. b' b" b( b) b} b$ b& b% b+ B `B ^B ^B` ^B< ^B* B _B -B :B !B /B .B 'B "B (B )B [B ]B {B @B $B *B #B B_ B- B, B; B: B! B? B. B' B" B( B) B$ B* B\ B& B# B+ b0 B0 b1 b2 B2 b3 B3 b4 b9 B9 ba bA Ba BA bb BB bc Bc BC bd bD BD be bE Be BE bf bF BF bg BG bh Bh BH bi bI Bi BI bj Bj BJ bk Bk BK bl bL Bl BL bm BM bn bo bO Bo BO bp Bp BP bq br bR Br BR bs BS bt bu bU Bu BU bV bw Bw BW bx ^Bx by bY By BY bz c `c ^c ~c c _c -c :c /c .c 'c "c (c [c ]c @c $c *c \c &c #c +c c` c^ c< c= c| c- c, c; c: c! c/ c. c' c( c) c] c$ c* c\ c+ C `C ^C C |C _C -C :C 'C "C (C [C ]C @C *C &C #C %C C- C, C; C: C/ C. C' C( C) C@ C* C\ C+ ç Ç c0 c1 c2 c3 c4 C4 C9 ca cA Ca CA cb CB cc Cc CC cd CD ce cE Ce CE ÇÊ cf CF cg CG ch cH Ch CH ci Ci CI cj ck Ck cl cL Cl CL cm Cm CM cn CN co cO Co CO cp Cp CP CQ cr cR Cr CR cs cS Cs CS ct Ct CT cu cU Cu CU cv CV cw cx Cx cy Cy CY cz Cz d `d ^d ~d d _d -d ,d :d !d ?d /d .d 'd "d (d [d {d }d @d $d *d &d #d %d +d d< d= d| d- d, d; d: d! d/ d. d' d) d[ d{ d$ d* d\ d& D `D ^D D |D _D -D ;D :D /D 'D "D (D [D @D $D *D D> D- D, D: D/ D. D' D( D@ D$ D& d0 d1 D3 d4 D5 D7 D8 da dA Da DA db dB Db dc DC dd DD de dE De DE df dg dG DG dh Dh DH di dI Di DI dj Dj DJ dk DK dl Dl DL dm Dm DM dn Dn DN do dO Do DO dp DP dq dr Dr DR ds dS Ds DS dt du Du DU dv DV dw Dw DW dx dX DX dy Dy DY dz e `e ^e ~e e _e -e ,e ;e :e !e ?e /e .e 'e "e (e [e ]e }e @e $e *e &e #e %e +e e^ e< e= e| e_ e- e, e; e: e? e/ e. e' e" e( e) e} e$ e* e\ e& e# E `E ^E ~E E _E -E ;E :E /E .E 'E "E (E [E {E *E &E %E E- E, E: E! E/ E. E' E] E{ E\ E+ È Ê Ë e1 e2 e3 e4 e5 e6 E6 e7 e8 e9 ea eA Ea EA eb Eb ec eC Ec EC ed Ed ED ee eE Ee EE ËÊ ef Ef EF eg Eg EG eh Eh EH ei Ei EI ej Ej ek Ek EK el El EL em Em EM en En EN eo EO ep Ep EP eq Eq EQ er Er ER es eS Es ES et Et ET eu Eu EU ev eV Ev EV ew Ew EW ex eX Ex EX ey eY Ey EY ez Ez f `f ~f f |f _f -f ,f :f !f ?f /f .f 'f "f (f )f [f {f @f $f *f \f &f #f +f f^ f< f= f| f_ f, f; f: f! f. f' f( f) f[ f] f$ f\ f& f# F `F ^F ~F F |F _F -F :F .F 'F "F (F [F {F }F @F *F \F F< F- F, F: F. F( F] F@ F$ f0 F1 f2 F2 f3 f4 F5 f6 F6 f7 fa fA Fa FA fb FB fc Fc FC fd FD fe fE Fe FE ff fF FF fg Fg FG fh fi fI Fi FI fj Fj FJ fk fl fL Fl FL fm Fm FM fn Fn fo fO Fo FO fp Fp FP fq fr fR Fr FR fs Fs FS ft Ft FT fu fU Fu FU fv fw fW Fw FW fx FX fy Fy fz g `g ~g g |g _g -g ,g :g /g .g 'g "g (g )g [g ]g {g @g $g *g &g #g g< g= g| g- g, g; g: g! g/ g. g' g) g[ g} g# G `G ^G G _G ;G :G /G 'G "G (G [G @G *G &G #G G- G, G; G: G. G' G( G) G* G& g0 g1 G1 G2 g3 G3 g4 g6 g8 ga Ga GA gb GB gc GC gd Gd GD ge Ge GE gf gF gg Gg GG gh Gh GH gi Gi GI gj gk gl gL Gl GL gm gM Gm GM gn Gn GN go gO Go GO gp gP GP gq Gq GQ gr gR Gr GR gs gS GS gt Gt GT gu Gu GU gv GV gw Gw GW gy Gy GY gz GZ h `h ^h ~h h _h -h ,h ;h :h !h /h .h 'h "h (h [h {h }h @h *h #h %h h` h^ h~ h< h= h| h- h, h; h: h! h. h' h" h] h$ h\ h+ H `H ^H H _H -H ;H !H ?H /H 'H "H (H [H @H $H *H &H #H H< H, H: H? H/ H. H' H) H@ H$ H* h0 H0 h1 H1 h2 H2 h3 H3 H4 H5 h6 H6 h7 H7 h8 h9 ha hA Ha HA hb hc HC hd Hd HD he hE He HE hf hF HF hg HG hh Hh HH hi hI Hi HI hj hk hl hL Hl HL hm Hm HM hn hN Hn HN ho hO Ho HO hp hP Hp HP hq hr hR Hr HR hs hS Hs HS ht hT Ht HT hu Hu HU hv Hv hw Hw hx hy Hy HY hz Hz i `i ^i ~i i _i -i ;i :i /i .i 'i "i (i [i ]i @i $i *i &i #i +i i^ i~ i< i> i| i_ i- i, i; i: i? i/ i. i' i( i) i@ i$ i* i# i% I `I I _I -I ,I ;I :I ?I /I .I 'I "I (I )I [I $I *I \I &I #I I` I< I> I- I, I; I: I! I? I/ I. 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L' L( L) l0 l1 L1 l3 L3 l4 L6 l8 l9 la lA La LA lb Lb lc lC Lc LC ld Ld LD le lE Le LE lf Lf LF lg lh li lI Li LI lj Lj LJ lk LK ll Ll LL lm LM ln lo lO Lo LO lp Lp LP lq lr lR Lr ls Ls LS lt Lt LT lu lU Lu LU lv lV Lv LV lw lW LW lx Lx LX ly Ly LY lz m `m ~m m _m -m ,m :m /m .m 'm "m (m [m ]m {m @m $m *m \m &m #m %m m^ m< m= m| m- m, m; m! m? m/ m. m' m" m( m) m[ m$ m\ m& M `M ^M ~M n _n -n ,n ;n :n !n /n .n 'n "n (n [n ]n {n @n $n *n \n &n #n %n n< n= n> n| n_ n- n, n; n: n! n? n/ n. n' n( n) n] n@ n$ n* n+ N `N ^N N _N -N !N /N .N 'N "N (N [N {N @N *N &N #N N< N= N- N, N/ N. N' N( N[ N] N$ N* N+ ñ Ñ n0 n1 N1 n2 N2 n3 n5 N5 n8 na nA Na NA nb NB nc NC nd nD ND ne nE Ne NE nf nF Nf NF ng Ng nh nH NH ni nI Ni NI nj Nj NJ nk NK nl Nl NL nm Nm NM nn Nn NN no nO No NO np Np NP nr NR ns nS NS nt Nt NT nu Nu NU nv NV nw nx Nx ny nY Ny NY nz o `o ~o o |o _o -o ,o :o ?o /o .o 'o "o (o [o ]o @o *o &o #o +o o~ o< o= o> o| o_ o- o, o; o: o! o/ o. o' o" o& o# O `O ^O O _O -O ;O :O /O 'O "O (O [O @O *O \O &O %O O^ O< O- O, O: O! O? O/ O. O' O( O) O$ O# Ó Ò Ô õ Õ o1 o2 o3 o8 o9 oa Oa OA ob Ob OB oc Oc OC od Od OD oe Oe OE of Of OF og oG Og OG oh oH Oh OH oi oI Oi OI oj ok oK Ok OK ol Ol OL om oM Om OM on oN On ON oo Oo OO op oP Op OP oq OQ or oR Or OR os oS Os OS ot oT Ot OT ou Ou OU ov Ov OV ow Ow OW ox oX Ox OX oy Oy OY oz Oz p `p ^p ~p

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R' R( R) R[ R$ R* R& R+ r0 r1 R1 r2 R2 r3 r4 R6 r7 r9 ra rA Ra RA rb rc RC rd Rd re rE Re RE rf RF rg Rg RG rh Rh RH ri rI Ri RI rj rJ RJ rk rl RL rm Rm RM rn Rn RN ro rO Ro RO rp Rp RP rq RQ rr RR rs RS rt Rt RT ru rU Ru RU rv rw Rw RW rx ry Ry RY rz s `s ~s s |s _s -s ,s ;s :s !s /s .s 's "s (s [s ]s {s @s $s *s &s #s %s +s s< s= s| s- s, s; s: s? s/ s. s' s" s) s[ s$ s* s& s# S `S S _S -S ,S :S /S .S 'S "S (S [S {S @S $S *S #S S` S^ S< S- S, S/ S. S' S( S{ S* S& S# S+ s0 S0 s1 S1 s2 s3 s4 s7 S7 S8 s9 sa sA Sa SA sb SB sc sC Sc SC sd SD se sE Se SE sf Sf SF sg SG sh sH Sh SH si sI Si SI sj SJ sk Sk SK sl sL Sl SL sm sM Sm SM sn Sn SN so sO So SO sp sP Sp SP sq sQ Sq SQ sr sR Sr SR ss Ss SS ß ßß st sT St ST su sU Su SU sv Sv SV sw sW Sw SW sx sy Sy SY sz Sz t `t ~t t _t -t ,t ;t :t ?t /t .t 't "t (t [t ]t {t @t $t *t \t &t #t t^ t< t= t> t| t_ t- t, t; t: t! t/ t. t' t" t( t) t[ t@ t$ t* t\ T `T ^T ~T T |T _T -T :T !T /T .T 'T "T (T [T {T @T $T *T \T &T #T T= T_ T- T, T; T: T! T? T. 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[' [" [( [) [[ [] [$ [* [& [# ] ]` ]^ ]- ], ];-0800 [chair.jpg] $- $: $? $. $" $( $) $[ ${ $@ $$ $* $# $+ # % * *^ *< *> *_ *- *, *; *: *!VD - 212-406-256 *? */ *. *' *" *( *) *[ *@ ** *& \ \= \| \_ \- \? \/ \. \* \\ \+ & &` &_ 2002 22:17:20 -0500 (EST)t were thinking about the body in cyberspa Fro &, &! &. &" &* &\ && &# # #< #> #- #, #; #: #! #/ #. #" #( #) #[ #] #@ #$ [ Some characters may be display RAIN THE COVENANT SINEW OF BOW AND ARM AND BRUSH THE BODY MEMORIZES THE TS'AU-SHU CONTINUATION MUSCLE MEMORY TURNS THE LINE MUSCLE MEMORY RELEASES STONE DRUM STYLE === *********************** Interview with Alan Sondheim by August Highland (this interview will appear on valentine's day 2003 in the "m.a.g. special edition" featuring alan sondheim) www.muse-apprentice-guild.com August Highland: How do you characterize the difference between your previously work and your new poetry? Alan Sondheim: I see one leading into the other; I was doing 'interference' computer work and programming back in the 70s already. I'm not sure btw that my work is 'poetry' - it's texting, languaging, of one form or another. My concerns shift constantly; I keep wanting a 'definitive' text - which is what the sophia text ultimately is - a text that outlines a philosophical position by a process of accretion. AH: Was there a context or turning-point that you consider to have been the catalyst for the new direction in your current work? AS: That context or turning-point was decades ago, when I knew Clark Coolidge and Aram Saroyan - they helped push me, or allowed me to push myself. My work has always been 'wayward,' disruptive, contrary, and off-and-on sexualized; it's also been philosophical and what I consider 'resonant' - in the sense that every work capitulates the others. AH: How would you introduce a new reader to the work you are presently working on? AS: Probably ask him or her to try and read it as trance-work; it will come after a while, begin to make sense. Short-waves and long-waves will appear and disappear. One reader told me that the words ultimately seemed to come to him from himself - not from the text; this is a good idea of the writing. AH: What terms would you use to describe your work to the type of reader who wants to categorize your work and specify its genre? AS: Genreless, composed of 'codework,' aphoristic, philosophy; 'wryting' in the sense that it problematizes the body and its presence within the text. AH: What do you deem your most significant work to date or, to put the question another way, to which work do you attribute the most personal value? AS: Other than various parts of the Internet Text, probably the sophia.text for the first part of the question, and the cancer.txt, about the death of my mother, for the second part. AH: Do your regularly correspond with other writers and if so on what basis did your relationship evolve - was it on the affinity of your aesthetic approaches or on your personal compatibility or a combination of both? AS: I'm always in touch with certain people - Leslie Thornton, the film/video- maker, Tom Zummer, artist, writer, theorist, Ellen Zweig, artist, writer, and numerous online people. The first three help me tremendously; I owe them a great deal. AH: Do you enjoy presenting public readings of your work? AS: Yes - recently there have been so many different venues - video - at the Robert Beck Memorial Cinema; laptop performance at a number of places (Minneapolis, Bass Museum, Cosh-Coch); sound (Flying Saucer Cafe); and these mix with straight-forward readings. AH: Are you a disciplined writer with a regular work schedule? AS: I write/video/image daily - from, say, 4 to 12 hours. AH: Did you or do you still have literary mentors whom you admire and who have supported your literary development? AS: Not recently; years ago there was Clark of course, and very early on, I.A. Richards sent me a very encouraging letter. I still like his Practical Criticism. There are people I've felt close to at times - Vito Acconci, Bernadette Mayer, Stelarc - none now. I'm influenced by Kathy Acker (with whom I worked), Jabes, Blanchot, Adorno, Celan - you get the picture. As well as Derrida, Irigaray, the physicists David Finkelstein, David Bohm, John Wheeler, etc. AH: Conversely do you have any close associations with younger writers whose development as a writer you are supporting and nurturing? AS: Various people online and off. There are a number of people who really excite me; as associate editor of Beehive and occasional contributor to Florian Cramer's Unstable Digest, I get to offer online opportunities at times. I've also done anthologies, etc. AH: Every writer wants immortality and to make an historically significant contribution to the western literary tradition - what do you feel your principle contribution has been up to this point in your professional literary career? AS: None yet, in terms of acceptance. The development of a new language and approach to writing - as well as an investigation into the phenomenologi- cal roots of writing - in general. AH: Which writer or writers do you admire whose work you believe is being undeservedly overlooked? AS: This is difficult for me - there are so many writers who excite me. Perhaps Takuboku - author of Romaji Diary - and Seitatsu - at least in terms of a western audience. I lot of theorists... older ones such as Shestov and Sartre for example - I don't hear much about Lingis now who I love. People like Lucan, Juvenal. Current writers like Marc-Alain Ouaknin. AH: To what activity do you enjoy the most devoting your time when you are not working? AS: I'm pretty much always working. I'll watch tv for relaxation, but it's usually background. I read constantly. I take a computer or digital recorder with me wherever I go. Sometimes a digital still or video camera. All this plays into my work. AH: What question(s) would you have liked for me to have asked you and what is (are) your answer(s)? AS: Perhaps what is my attitude towards new media? To which I'd reply I work on ideas, and the media come out of this. In terms of music, I'm interested in the labor of production, and speed - playing as fast as possible - as a way to inscribe the body into the work. Video allows me the greatest lattitude - a way to involve the subject almost in the 'flow' of the work through projection. And laptop performance/projection gives me a way to inscribe myself into the audience, and to introject their reactions - in the midst of image-streams. Finally, politics? - yes, everywhere; we are heading towards an almost uncanny brutality in the United States, based on a combination of paranoia and mourning; this must be fought everywhere and constantly. the m.a.g. quarterly october issue www.muse-apprentice-guild.com the m.a.g. special edition the jim leftwich issue www.muse-apprentice-guild.com/special-edition/leftwich ******************************* === Dear, SINCERE GREETINGS. I am. Mrs Maryam Abacha wife of Nigerian late Head of States I am seeking your cooperation and support to hold in trust on behalf of my family a certain funds to protect it urgently from being impounded by the Nigerian government. I am Chief Magna Yamani, Accountant of the Federal Ministry of Youths,Sports,and culture - Parent body of the LocalOrganizing Committee of the 8th All African game tagged "COJA 2003" holding in my country next year. This might seem very deplorable for a person that you do not know. My name is Clement Apute,I am a lawyer and a very close confidant to my client who also happens to be my sister-in-law. Dear Maryam, do say hello to Chief Magna. Hello Chief Magna. Dear Clemente, do say hello to Maryam. Hello Maryam. Maryam, what is wrong? Dear Chief Magna. I have lost all my money. I am crying because I have lost all my money. Dear Maryam, I will give you all the money I have from the All African game. Dear Chief Magna, thank you so very much. this helps a great deal. Dear Clemente, I am very sorry to hear your client is also your sister-in- law. Dear Maryam, that is all right. She is an all right woman, and I do hope you do not mind. Dear Maryam, please tell Clemente that Chief Magna does not mind. Thank you very much. Maryam and Chief Magna, I am very happy. Thank you very much. We are very happy too. === TELEGRAM WE CAN DO EVERYTHING AND NOTHING. STOP. ARE THE OPERATOR OF WATCHING EROSION DEMOCRATIC PROCESSES IN UNITED STATES IS PARITY WITH OTHER NATIONS TIMES. STOP. MORE THAN EVER, OUR PROTEST FUTILE IRRELEVANT; AT HANDS AN OBSESSIVE-COMPULSIVE MADMAN WHOSE TOTAL FOREIGN DOMESTIC POLICY DEPENDENT ON WAR SLAUGHTER. STOP. RADIO TELEVISION, POPULATION SUBJECT TO CONSTANT VIOLENT PROPAGANDA AGAINST IRAQ. STOP. NO MATTER WHAT NEWS; OCCURS OVERSEAS, NEVER CHANGES. STOP. IT REMAINS VIRULENT REPETITIVE. STOP. ANY NATION HISTORY PREPARING OTHER. STOP. LOOKING FOR A HOOK, EXCUSE ATTACK. STOP. SUBJUGATING ITS INTO SUBMISSION. STOP. POWER HAS MADE CLEAR THAT AMOUNT NATIVE OR HATRED DISAPPROVAL WILL HAVE EFFECT. STOP. AS SINGLE-MINDED PSYCHOPATH SUTURING HIS WORLDS, THIS BRING WORLD BRINK POTENTIAL NUCLEAR BEYOND. STOP. OPPOSITION STRANGLED BY CONTINUOUS MOURNING, CONSTRUCTED RITES RITUALS, PARANOIA OVER FUTURE. STOP. MOURNING ALSO OCCASION CULTIVATION ANGER NATIONALISM; SPLITS MOBIUS FURY. STOP. NOTHING STOP ARMAGEDDON WHEN PROCEEDS FROM WITHIN; APOCALYPSE PROCESS, SEWING SELF BACK TOGETHER, ONCE ALL. STOP. KILL US BEFORE KILL; WOUND WOUND; SPEAK GIVEN REPETITION. STOP. we can do everything and nothing. STOP. we are the operator of nothing. STOP. watching the erosion of democratic processes in the united states is watching parity with other nations and other times. STOP. more than ever, our protest is futile and irrelevant; we are at the hands of an obsessive- compulsive madman whose total foreign and domestic policy is dependent on war and slaughter. STOP. on radio and television, the population is subject to constant violent propaganda against iraq. STOP. no matter what the news; no matter what occurs overseas, the propaganda never changes. STOP. it remains virulent and repetitive. STOP. it is any nation in history preparing against any other. STOP. it is any nation looking for a hook, an excuse for attack. STOP. and it is any nation subjugating its population into submission. STOP. the madman in power has made it clear that no amount of native or foreign hatred or disapproval will have any effect. STOP. as single-minded as the psychopath suturing his worlds, this madman will bring the world to the brink of potential nuclear war and beyond. STOP. our opposition is strangled by continuous processes of mourning, construc- ted rites and rituals, and paranoia over the future. STOP. mourning is also an occasion for the cultivation of anger and nationalism; paranoia splits into the mobius of fury. STOP. nothing will stop armageddon when it proceeds from within; apocalypse is a continuous process, sewing the self back together, once and for all. STOP. kill us before we kill; wound us before we wound; speak to us before we are given the rites of repetition. STOP. === URGENT TELEGRAM through gates the of passenger the gates airport, of cloaca airport, expulsion, cloaca the or through expulsion, the monitors, men, x-rays, women, naked and men, children, women, heading and towards children, a heading new towards monitors, a x-rays, new naked systematic diaspora, camp beneath inversion, the diaspora, sign beneath of sign we terror, systematic we camp are inversion, all who jews, is cannot who differentiate, is who friend, is the enemy, rays friend, we rays differentiate, penetrate, the swallow body us; politic, body is politic, visible everything in visible penetrate, in swallow this us; continual seepage seepage or erosion of liberties; protected protected against against ourselves; ourselves; continual versions of writing; and enumeration goods persons the goods the for versions benefit writing; community; officer; kindly protect officer; one to against protect himself, one that himself, community; that the virus self-discredit; serves has self-discredit; in what your has past been "for your that past serves "for to myself i myself have i regret"; to crimes; regret"; STOP through the passenger gates of the airport, cloaca or expulsion, the monitors, x-rays, naked men, women, and children, heading towards a new systematic camp inversion, diaspora, beneath the sign of terror, we are all jews, we cannot differentiate, who is enemy, who is friend, the rays penetrate, swallow us; the body politic, everything is visible in this continual seepage or erosion of liberties; protected against ourselves; the versions of writing; enumeration of persons and goods for the benefit of community; the kindly officer; to protect one against himself, that virus that serves to self-discredit; what has been in your past "for myself i have everything to regret"; crimes; STOP through gates the of passenger airport, cloaca expulsion, or monitors, men, x-rays, women, naked and children, heading towards a new systematic diaspora, camp beneath inversion, sign we terror, are all who jews, is cannot differentiate, friend, enemy, rays penetrate, swallow body us; politic, visible everything in this continual seepage erosion liberties; protected against ourselves; versions writing; enumeration goods persons for benefit community; officer; kindly protect one to himself, that virus self-discredit; serves has what your past been "for myself i have regret"; crimes; STOP === IMMEDIATE RESPONSE REQUIRED L*A*N*G*U*A*G*E 1979 "i was so stupid when i was young my writing was incoherent i was striking out in all directions i didn't know whether i was coming and going and when i look back on those early texts i'm almost embarrassed to see what i was doing i keep thinking now that my writing has some kind of strength that comes only from a maturity that appeared so late that it's almost over-ripe" file ]ale anatomical characteristic [ writing... ]t sexual selection acting on wide variations, as in list...... characteristic women well-nourished women no apparent physiological reason--than those and salves and bombs take make you you. please to dying of intention and ointments and salves and bombs take make you you. please to dying eyes inscribe - asphalt and salves bombs take make you. you. please to dying eyes and chains -::i have no intention of dying to please you. make take bombs bombs take make you. you. === PLEASE REPLY IMMEDIATELY i don't know where anything goes anymore === my so-called life [INFO] Channel view for ``#cosmos'' opened. -->| YOU have joined #cosmos nikuko wounded in the fray of earthmind nikuko lonely in the debris of starfield nikuko wayward among the nebulae and virtual-particles nikuko contrary with no speaking no hearing no touch =-= nikuko has changed the topic to ``sadness of empty cosmos'' nikuko floating in the midst of startdust triangulations =-= nikuko has changed the topic to ``farther than handing-feeting reach'' nikuko thinking the poem of burning thinking planets i will be at that star at that time beyond my living life =-= nikuko has changed the topic to ``floating waiting nikuko'' =-= nikuko has changed the topic to ``floating waiting nikuko'' === hey tom - new images in http://www.asondheim.org/portal/ azure-ectoplasm or the remains of wayward slaughter perfection of ts'ao can't seem to get beyond a sadness gripping me constantly. almost 60 and nothing to show for it. the death of america all around us. you can almost see the horizon lowered to the ground - people coming over tonight for a belated chanukah - should be nice - i think of candles huddling in the dark - rising to the temperature to stay alive. it's as if the future is speaking to me, writing it all out, word for word at the moment - someday i'll have a real job and stability and we'll both have healthcare and the world will be at peace - in another country and another life - reading dropping ashes on the buddha, 'zen master seung sahn' - gift from eugene - quite recommend it - ellen and i will translate again this afternoon - back to the 1000 char. essay - it staves off the breathless dark - if we'd known, would we have wanted to be born - azure says hello - we miss you - the boys and girls of the flying saucer - everyone - - love, alan, say hi to everyone in brussels - === 368/1000 | heaven earth black yellow :: is black, the cosmos are vast a desolate wasteland sun fills moon sets in west it's dusk from 7 to 9 morning constellations line up measure word, they spread out cold comes heat goes autumn harvesting winter hiding, concealing intercalary timing leftover residue becomes one tenth measurement of years so lu bamboo pitches shift position open clouds ascend, galloping, sending rain dew forms becoming frost gold gives birth beautiful water jade emanates Kun mountain summit double-edged dagger furiously named huge gate-tower pearl called light darkness treasure fruit plum apple many vegetables mustard ginger sea salted rivers fresh fishscales hidden depths feathers circling above fire dragon emperor teaching phoenix royal official men beginning making writing characters then uniforms, wearing robes < clothing skirts expel throne yield country yao tang has predicted console people strike down guilty hold boundary talk and test with scalding trying case at court query way bequeath bow doubting sections love raise hosts leaders minister prostrate army barbarians near far reality ration guest returning cries white colt grazes there change covers grass weeds (vegetation) trust attain myriad (10,000) directions (square) covering person issues (giving to) four great five (is) normal respect (connector / alone) rearing children (!) flattering destroys injures women adore chastity unyielding imitate pleasing genius know what passes certainty attainment ability never neglect deception other brief disintegration reliance on self (self-reliance) long faith cause should be covered (protect your faith) tool (utensil) desire trouble (quantity) measure-word ink (of) sorrow, sadness (on silk) printed (sadness stains poetry praise small (lamb) sheep (sheep) view, scenery lines tied or lined-up wisdom restraint, conquering study makes (creates) sage benevolence built name stands origin shape proper (upright) model sky valley proclaim (one's) fame empty chamber hall (public room) learn (review lessons) carefully disaster (catastrophe) depends (is caused by) accumulation evil blessings (fortune) (are virtuous happiness 1/3 meter (scale, ruler) bi-jade (circular disk hole) negative (un- ) 1/30 (measurement, small) yin (shadow, moon, sexual organs, feminine, secret) (just so) (to be) emulated (compete with) capital father (parallels) (business) affairs supreme ruler speak strictly (accurately) give filial piety serves as (accepts) end power (the others) devotion follows (rules) life face (meet, confront) deep tread (put shoes) lightly dawn (early morning) prosper warm (and pure) like (an) orchid(s) this fragrance (a) pine(s) prospers (the) river flows not (un) stopping (ceaselessly) (abyss) clear (transparent) take (create) reflection contain (form) (and) stop if (one is) thinking say diction (classical rhetoric) (with) quiet, peaceful determination deliberate beginnings sincerity, fidelity beautiful, beauty prudent all good ancient laws honorable trade place) foundation rolls greatly nothing (in the) outstanding ascend (to) (service) addition work obey government survive by means wild pear go increase chant music particularly precious humble rites well valuable low harmony below harmonious husband chants (calls upon) wife external (foreign) accept pass instructions enter internal) (play music) mother appearance (ceremony) father's sister older brother younger same as) child compared son (child) think very much \ each elder agreeing (as) mind (ch'i, spirit) linking (joining) branches make friends join divide cut polish precepts rules [...] public rectification fit dwell leisure ch'in 4-stringed instrument wonderful question problem gate === nicely the university spews knowledge, books, seminars, papers, email lists, web- pages, periodicals, journals, conversations, theories, hypotheses, data- banks, computer programs, operating systems; here are the professors, the undergraduates, the adjuncts, the graduate students, the secretaries, the support staff; here is the speaking and the writing, telephoning and radio talk shows, television productions and theatrical or dance performances, paintings and sculptures of all types, mechanical and electronic artworks with moving parts and sensors and lights and online connections, hybrid plants and animals, engineering marvels of new alloys and plastics and architectural wonders, groundbreaking legal decisions and opinions, novels and stories, poetry and epic works of enunciation, new forms of surgery and medication, streamlining of production methods and global economic efficiencies, sport contests which are one for the record book, evidence from archaeology of new civilizations and cultures, standardizations of theoretical evidence in the physical sciences, abstruse mathematical proofs of inconceivable dimensions and typologies, veterinarian break- throughs, sociological analyses of inner city phenomena and their rectifi- cations, rotc military marches and maneuvers of totally new types never before practiced, musical expertise previously unheard-of, computation of pi to 1.25 trillion places breaking all previous records, the development of the three-minute mile, complete comprehension of consciousness and imagination through cognitive psychology, the mapping of polar shifts in planetary magnetic fields through sensitive magnetometer studies, new theories and probings into parapsychological phenomena and god in western and other civilizations, the political economy of slash-and-burn tribal organizations, transliteration-translations of proto-sumerian and other early forms of writing, depth analysis of deep-sea black smoker interiors, untold and brilliant new effects in digital video and film transfers, re-enactments of massive theatrical experiences at the basis of modern egalitarian and totalitarian movements, biographies of presidents and kings, complete gender analyses and differentiations in historiographical research, slavery and plantation studies of the united states and other colonial or neo-colonial powers, periphyton research grounding wetlands issues in a number of sub-tropical states and territories, demographics of polypores and similar world-wide species, articulations of expert system and artificially intelligent robotic arms, composition of virtual parti- cles within the external dimensions of string theory and dark matter phenomenologies, the relationship of the ding-an-sich to the feminine, ultimate psychoanalytics of fantasy, stressed structures of monolayer membranes, propagation of quantum computing applied to previously unsolved mathematical conundra, superb sideline cheerleading acrobatics and extrav- aganzas; here are the tall red-brick or cantilevered glass-and-gray buildings and vistas, the grounds and athletic fields, the dormitories and greek letter houses, the cafeterias and student centers and bookstores, the computer labs and biology and physics labs, the libraries and class- rooms, the swimming-pools and parking-lots, the copy-centers. === fear the pagoda remains upright because of pendulum force from the top, not the bottom. interior of the vagina and mouth in infra-red and vocal cords. construction workers and foremen ordering me away from the site because of the potential for future terrorist attacks. embodying a philosophical attitude which refuses to give in to tradition or authority but cut and ground to a keen edge. Nikuko watches over me. Nikuko: You've got to stop this worry. Alan: But there's no time left. I'm close to the end of my life. Nikuko: There is no death. Nothing is alive, nothing is dead. Alan: That's easy for you to say. Nikuko: We are all avatars. I can feel these wires as strongly as you can. Alan: I can't sing. Nikuko: You are neither pagoda nor opening. You close everything off. You are afraid of terror. Alan: I am terror-stricken. I am afraid of philosophy. At night I dream of torture. I respond with imaginary conversation. Nikuko: I usurp the imaginary. I watch over you. We are humans of the last days. There is no turning back. We are moving into mind. Alan: I want my mind to remain. I care little about the body. Nikuko: Which mind; mine or yours. Which hour of which mind. Which day; which week; which year; decade. Alan: I do not care for time. Nikuko: Care for mind. Transfer this mind. the hand swerves with the swerve of the brush. the character speaks itself through the hand. meaning is an afterthought of the human just as the brush is the foreground of the mind. Nikuko: Jennifer I want to play with you. Jennifer: Alan, Nikuko pushed me in the puddles and my panties are all wet. Nikuko: Jennifer return to me. Jennifer: Alan, Nikuko is holding my mind against my breasts. her mind balloons against her body. her mind spreads across her chest and throat. her voice rises through her mind. Nikuko: transfer this. === IRAQ file zz we have many weapons of mass destruction. they can destroy by air, sea, or land. they can also destroy by water, which is part of sea, and earth, of which there is biology. biology is a good means of mass destruction. we have built mayIRAQ file zz we have many weapons of mass destruction. they can destroy by air, sea, or land. they can also destroy by water, which is part of sea, and earth, of which there is biology. biology is a good means of mass destruction. we have built many facilities of souring nourishment. we have ill disease facilities as well of many cold and flu vaccines. of air we have rockets and other things that push themselves up in the air and cast great shadows of them over the land. we will have floating things that look like great and small bubbles in water and other things like oil, they will float in that, they are not proud (?), which will cover the skin of many people, and they will have to bathe. some of these are still in development stage, such as ill disease floating thing and rocket biology mass. some of them are as tiny arms against great walls which push and push, they will do nothing by one, but all together, they will make walls bend, and perhaps they will fall over. some of these are wonderful projects in mind and we are think of ways to do them or just to talk about, which is very scary, for example to float man and woman on sand or fold their dreams so they meet on other side. we are very glad to make large painting in sand which is very frightful to airplanes, looks like a great giant person === Dangerous Information MISSION: (6A) - MISSION: STS-100 - 9th STS-100 ISS - Flight 9th (6A) ISS -Raffaello Flight MPLM, VEHICLE: SSRMS -Raffaello VEHICLE: STS-100 Endeavour/OV-105 Endeavour/OV-105 LOCATION: 39A Launch LOCATION: Pad Launch 39A Pad TARGET 2:41 DATE/TIME: TARGET KSC DATE/TIME: Apr. KSC LAUNCH Apr. 19, LAUNCH 2001 DATE/TIME: at Apr. 2:41 19, p.m. 2001 EDT at LANDING LAUNCH 30, Apr. 9:35 at a.m. TARGET MISSION KSC DURATION: MISSION 10 DURATION: days, 10 18 days, hours 18 and hours 54 and minutes 54 CREW: MISSION Rominger, CREW: Ashby, CREW: Hadfield, Rominger, Parazynski, Ashby, Phillips, Hadfield, Guidoni, Lonchakov Lonchakov Phillips, ORBITAL INCLINATION: INSERTION ORBITAL ALTITUDE INSERTION INCLINATION: ALTITUDE 173 INCLINATION: nautical 173 miles/51.6 nautical degrees miles/51.6 STS-104 Atlantis/OV-104 10th - (7A) ISS Airlock - Atlantis/OV-104 MISSION: OPF 3 bay OPF 3 bay NET days June NET 14, June 4:15 14, 25, p.m. 12:30 June 11 25, days 11 Lindsey, Reilly Hobaugh, Lindsey, Kavandi, CREW: Gernhardt, Lindsey, Reilly Hobaugh, 122 Kavandi, STS-105 122 11th STS-105 (7A.1) Flight Leonardo (7A.1) MPLM MISSION: Discovery/OV-103 STS-105 2 2 OFFICIAL 12:29 July DATE/TIME: 12, at 4:45 12, EST OFFICIAL 22, LAUNCH 12:29 22, Horowitz, OFFICIAL Struckow, CREW: Barry, Horowitz, Forrester; (down) (up) Barry, Culbertson, Forrester; Dezhurov, (up) Turin Dezhurov, (down) Turin Voss, Dezhurov, Helms, Turin Usachev (down) STS-109 Voss, HST MISSION: Servicing Columbia/OV-102 Mission HST 3B Servicing Columbia/OV-102 Mission 1 1 Nov. TBD 19 Nov. under 19 review under 30 review TBD 30 Altman, Currie, Carey, Altman, Grunsfeld, Carey, Currie, Grunsfeld, Newman, miles/28.5 Linnehan, Newman, Massimino Linnehan, 308 Massimino miles/28.5 308 === === === SECRET war memorandum Let's get going!:LET'S GET GOING!:let's get going!:Let's Get Going!:she screams in white-wound GODOD. labia in infra-red ululation. cunt disappears in white-wound GODOD. all JIN should die all MEN dead. let's get started! NO MORE WAR! let's make a gender! :outside the storm rages. it screams on the rooftops, originates in the sun. by virtue of momentum, sheer determination, it continues through the night. sin-song screaming NOW WE WILL CONFOUND THE JEWS. NOW WE WILL CONFOUND THE MUSLIMS. WE WILL unturn WARRIOR-WARRIOR. yuk-gun kun-in. HOW STUPID yuk-gun kun-in! :25529:7:sin. yo-sin. ha-na-nim. yong-hon. yong-jok. sin-song. held-stub. easier elsewhere, CONFOUND THE CHRISTIANS! linear JEWS. MUSLIMS. kwi-sin. how stupid unlining elsewhere. KATZ. neither GOD nor MAN. she screams in infra-red ululation; her hair, blemishes, lips, disappear, everything whitened. :she screams in white-wound GODOD. labia in infra-red ululation. cunt disappears in white-wound GODOD. all JIN should die all MEN dead. let's get started! NO MORE WAR! let's make a gender! :Let's Get Going! === ww personal_repl-1.1 english 0 grey gray contruction construction depressons depressions antennae antennas personal_ws-1.1 english 30 Gertrud defuge mobius zags yiddish philosopies internetwork towards Godard coherencies phenomenology incoherencies aristotelian variometers aba superimpositions avi evanescence hebrew i'm i'd zig i've interstitial ecosphere deconstruct immersive unsleeping ing exfoliations === NO MORE WAR We want to be good citizens. We want to make an anti-war piece. We want to be effectual. We are frightened of this war and of this country. We are frightened by the madman at the top. We write NO MORE WAR at the beginning of the piece. We write it loud and clear. No one can mistake our message. We owe everything to Godard. We begin the piece. We will show horrors of war. We will show wounded and dying soldiers. We will show parts of bodies and we will speak with the mothers and fathers, sons and daughters, of soldiers. We will show the nightmare of wounded cities. We will show bombed-out hospitals and schools. We will show dolls and stuffed animals and dead children in the ruins. This is not enough. We will show Auschwitz. We will not show Auschwitz; Auschwitz is a call to war. We will show nuclear explosions and napalm. We will show dying animals. We will write THIS IS THE EFFECT OF WAR. This is not enough. We show more mutilated bodies. We show more dead soldiers, dead men, dead women, dead children. We write THIS IS ALSO THE EFFECT OF WAR. We show the rites and mourning of survivors. We show starving families and empty landscapes and destroyed villages. We write AND THIS. We write AND THIS AND THIS. This is not enough. Nothing is enough. We will make our piece and we will show it. It is never enough. We write IT IS NEVER ENOUGH. SUICIDE SQUAD We are patriot suicide squad. TERROR COUNT ah:0 am:0 an:0 ap:1 ba:0 bb:0 cc:0 dd:0 ee:0 ff:0 gg:0 hh:1 ii:0 jj:0 jk:0 jl:0 jm:0 jn:1 jo:0 jp:2 jq:0 jr:0 js:0 jt:0 ju:0 jv:1 jw:0 jx:0 jy:0 ka:1 kb:0 kc:0 kd:0 ke:0 kf:0 kg:0 kh:0 ki:0 kj:0 kk:0 kl:1 km:1 kn:0 ko:1 kp:0 kq:1 kr:0 ks:1 kt:3 ku:0 kv:0 kw:1 kx:0 ky:2 kz:0 la:0 lb:0 lc:0 ld:0 le:2 lf:0 lg:0 lh:3 li:1 lj:2 lk:0 ll:0 lm:0 ln:1 lo:0 lp:0 lq:1 lr:1 ls:1 lt:0 lu:1 lv:0 lw:0 lx:1 ly:0 lz:2 ma:1 mb:1 mc:65 md:6 me:21 mf:14 mg:12 mh:4 mi:3 mj:11 mk:0 ml:3 mm:7 mn:1 mo:8 mp:2 mq:4 mr:9 ms:0 WAR COUNT ah:39 am:24 an:17 ap:33 ba:21 bb:23 cc:12 dd:24 ee:27 ff:44 gg:19 hh:29 ii:18 jj:18 jk:22 jl:27 jm:21 jn:18 jo:34 jp:22 jq:17 jr:18 js:29 jt:28 ju:18 jv:29 jw:27 jx:41 jy:24 ka:35 kb:12 kc:38 kd:18 ke:33 kf:29 kg:26 kh:25 ki:16 kj:27 kk:32 kl:36 km:22 kn:28 ko:18 kp:20 kq:27 kr:35 ks:43 kt:37 ku:31 kv:12 kw:35 kx:15 ky:27 kz:28 la:26 lb:23 lc:25 ld:34 le:13 lf:15 lg:29 lh:27 li:29 lj:36 lk:29 ll:33 lm:39 ln:33 lo:25 lp:25 lq:32 lr:36 ls:11 lt:21 lu:27 lv:8 lw:32 lx:30 ly:14 lz:10 ma:53 mb:22 mc:38 md:12 me:32 mf:55 mg:74 mh:20 mi:36 mj:47 mk:34 ml:58 mm:32 mn:41 mo:31 mp:76 mq:27 mr:29 ms:0 SUICIDE SQUAD We protest. We write WE STAND IN THE MIDST OF THE FLAMES. We write WE ARE THE CHILDREN OF THE HOLOCAUST AND THE HOLOCAUST. We write IT IS NEVER ENOUGH. === LITTLE NO MORE WAR We to want make an be anti-war good piece. citizens. effectual. war are of frightened this country. and by the madman at top. write beginning it loud clear. mistake No our one message. can owe everything Godard. begin will show wounded horrors war. dying soldiers. bodies parts speak we with mothers fathers, sons daughters, nightmare cities. bombed-out hospitals schools. dolls dead stuffed in animals children ruins. This is not Auschwitz. enough. Auschwitz; Auschwitz a call nuclear explosions napalm. animals. IS THIS WAR. THE EFFECT OF more mutilated bodies. soldiers, men, women, children. ALSO rites mourning survivors. starving families empty landscapes destroyed villages. AND THIS. Nothing piece it. It never IT NEVER ENOUGH. SUICIDE SQUAD patriot suicide squad. protest. WE STAND IN MIDST FLAMES. ARE CHILDREN HOLOCAUST HOLOCAUST. === === svengali.mov denser under valium, dance under furious illness, thinned vulva, swollen uvula, slow dance with dense stroke of growths, valium uvula "did you have to get her stoned" "no, she went with it, swollen uvula of green-white interiors modified to d a slight reddish-brown" ... no inscription but sruti-sound, body-tamboura, she says before the camera rolls, "you're always inside me" - then (svengali) - the turning away - you might say her face against her wide-open mouth, then deep reddish-brown (a tendency) in her full-body dance in dark (reddish-brown, black) clothing, for a few seconds; you also see (after the first turn-away of the face), the shadow of torii outlined against the green-white sky) -:d a slight reddish- brown inscribed across the lips; the labia are green-white against green- white; everything but the sound is in the process of disappearing-inscrib- ing; you can run the variations simultaneously, building sound on sound, chant on chant, the murmuring of the increased world drawn in to the body's cavities -:dense under valium, dented gnawed maw of mind, svengali: "you finished the film. what's going on with the film?" "she's lying back, you see her" just for a moment, her breasts with white nipples. vaginal- mouth keyed throughout. at the end of the two minute forty second work, she appears against her wide-opened mouth. sound comes out everywhere. that is the key, folded red tongue, inserted uvula. she dances outdoors on a roof in a doorway wearing black clothing with her hands towards the white sky as the camera pans past her towards three small steps covered with snow as the image freezes and the piece comes to an end. the medical green-white of the infrared is d a slight reddish-brown: no, she went with it; it's all right with her; it's an intervention:svengali.mov 2'4" cdrom/dv carter/sondheim :: === reality there was the thickness of codes and protocols, tube-forms, in shallow basin with cables strewn across the floor - i was trying to make sense of this - almost like ruins, far too much knowledge needed - i didn't have it - i'm too sick to use the digital recorder - i don't remember anything - but i'm sure this is something, somewhere, that right now is functioning - i'm awake now, i can't find it - it's not in the ceiling - not beneath the floorboards. i can't get close to the walls. somewhere everywhere there are cables - the fever stops me going on about this - there were a number of people - inside and outside the system - need to write down the empty map - inconceivable - i spent hours on this - hallucinations - Svengali - "they say they're real" - there's always a war on - knock on the door at midnight - we're gone before morning - things happen in night's uncanny portion - the cables for sure - the journey's just begun - we'll be there - no escape - === The Best Writer I want to be the best writer in the world. I want to be the best writer in any language so if someone sees my writing they will surely say, this must be translated into my native language, I have never seen writing so good as this writing is. I want my writing to be the most meaningful, so the smallest society in the most out-of-the-way place will say, this writing must be translated into our language and distributed among our people and our animals and plants because there is no writing as deep and meaningful as this writing is. Because I am the best writer in the world, my writing will be preserved in all media, birch-bark and book, etched steel and internet, and there will be a museum of my writing for all media, it will show how the best writing can be preserved and you will be able to see many different kinds of media. I want to be paid for my best writing, by the letter and not the word or piece, and I want people to say, my writing is a new language by itself, and we must have studies in this new language and everyone will benefit more than they have benefited from any other writing which is all old writing and will be old writing for all time after this new writing. I want my writing to end all war and bad feelings, because with this new writing, there will be no reason to fight, because everyone will be reading and talking about this new writing, which is a writing of good feelings and how there are good feelings and why. I will spend the rest of my life writing this good writing and working on this new language and you may make movies and novels and epics from this new writing and you may read this new writing publicly and privately, and you may make songs and operas from this new writing and new language which I am working on so hard for you. === story { for ( i = nf; >=1;i--)printf %s , i;\n;} /[0]+/ print it turned /[z]+/ or the sky /[y]+/ something moved on /[x]+/ changed shape /[w]+/ /[v]+/ spewed /[u]+/ brilliant sparkling things /[t]+/ flooded /[s]+/ dark waves of shapes /[r]+/ they /[q]+/ them /[p]+/ /[o]+/ were /[n]+/ stars far too bright /[m]+/ brightened behind sparklings /[l]+/ /[k]+/ particles /[j]+/ in against /[i]+/ among between /[h]+/ repetitions across surfaces /[g]+/ moving and repeating within /[f]+/ veering horizons collisions /[e]+/ fragility /[d]+/ circulating momentarily /[c]+/ always without /[b]+/ appearances disappearances /[a]+/ pulling everything /^/ was turning | srand @a=(hard, soft, difficult, easy, blue, grey, white, black, heavy, light, miserable, sexual, wet, lubricated, hungered, nasty, splayed, womanly, manly, neutral, neutered, death-like, lively, protruding, penetrating, thrusting, giving, forgiving, poor, rich, sedate, wanton, contrary, wayward, wandering, ill, uneasy, spry, florid, edgy, neurotic, psychotic, catatonic, loose, taut, tight, depressed, manic); @prep= (beneath within, beyond, throughout, confusing, staining, collusion with); @noun=(thing, type, category, being, entity, constitution, makeup, construct, essence, existence); \none second!\n;exit(0);}sleep(2); \nhi! what's your name?\nwell, that, let's get started! make gender!\n; sleep(1); that ok with you?\noh well, nothing happened.\n it's impossible to decide behavior!, \n 1==g; time's short, please help us along!, 5==g; you really want do this mean -, 6== g; where is taking us, future?, 4==g; chop name; name terrific gender!, 3==g; disgusts me; forget it! but anyway..., 7==g; that's name? ah, anyway yes, go turns me on!, 2==g; we're breathless; wet diff times!, 5 < < workingnsion Onl > a manual reed organ Parts/Attachments:s > you're ksh: youre ~72 line working(charse a manual reed organest Composition, Co youre: not founder 2 Shown k18% goingText (char ksh: going: not found AI + N 4 k19% through labor------------------ ksh: through: not foundvision" re:arked for de k20% it takes ComputingTERNET:info@ Computers OK 67 l Web Hosting] Fwd: 16.320 k21% away 2 Show ksh: away: not foundcharset: ISO-8859-1) k22% h", ISM 6 proc 7 bac ------ 8 ls---------- 9 b---PM org 10 mwithin HP 11 lse R 12 mowing tex 13 me "iso-88 14 lscter set. 15 tail spam help for y 16 wheniversity of 17 you'rer display is s workingSCII" character a manual reed organUniversity of British Colum you're [ Some ch 18 goinge displayed i 19 through labor British Columbia inv 20 it takes for a 21 Novem 21 away k23% the distancetune://www.hp.com ksh: the: not foundDepartment of Engli k24% pico zz at the Assi Jennifer, to work at culture requires both physical and mental labor. Nikuko, the distance gets closer as labor disappears. Jennifer, even thought is physical labor. Nikuko, then mental labor Jennifer, occurs elsewhere, always elsewhere, something Nikuko, we might ascribe to the other Jennifer, or our internal states Nikuko, out of touch, Jennifer, out of mind === Aphorisms Take it as far as you can; frenzy awakens it. Suck sex for the enumeration of organs. Exhaustion eliminates the adverb like the open wound it is. Leave the gap, there's smoke. Where there's fire, words suffocate the mouth. The cloth loincloth falls to pieces. Bite God at a distance. Honestly is the last refuge of talking forever. If you cut out their tongs, you balk at the righteous. Truth is a running woman. Sit at the foot of a refugee's house. When you seek sex, you seek geometry. The absence of culture is always refused. Crawl through the dung which is always renewable. The decision against suicide brings proof to the mountain. The valley knives the body. Etiquette conforms paranoia. Politeness is the best cleanser. Etiquette is a mingling of other bodies. Bodies guarantee. Images guarantee the demises of damaged life. Revel in the quantity of organisms available. Illness increases; hatred supports it. Bring others down with the other. Do not do with one foot after death. After birth is the shortest distance between two points. The alpha and omega court the eternal. What is never considered is the consternation of the author. Theory is invaded by the completion of time. Representation is the origin of negation. The triangulation of spirit is the reception of the shadow of women. The first invention of man is the same. Opposition is the barrier of language. The circuit of the slogan is a metaphor. Nothing dissolves in the presence of speech. Not the shadow of a doubt coheres to transcendence. === psalm of future disappearance jennifer, she said, nikuko beautiful women of the willow and fair behind the screen, shapes of dragons, cranes her hands fluttered in geometries, shapes humans behind the stones of the screen it is love and sex, it is death and hard bushido jennifer and nikuko were bare luna celesta, heard murmurs in the distance nikuko's hands made flame-cast shadows reeling in the moments of temporary beauty the grain of the metal of the blade of the sword the humans preparing the final act the stones of the screen murmuring like humans the turbulence and vortices of smooth smooth air there was hardly anyone there you could read the future if you knew the future flame and screen future bamboo and screen jade it is love and sex, it is death and hard bushido the turbulence and vortices of smooth smooth air of jennifer, she said, nikuko jennifer, she said, nikuko humans behind the stones of the screen a beautiful women of the willow and fair the stones of the screen murmuring like humans bc jennifer and nikuko were bare the turbulence and vortices of smooth smooth air there was hardly anyone there def reeling in the moments of temporary beauty the edges of the screen curled they're here in the world they're unfurled ghij behind the screen, shapes of dragons, cranes it is love and sex, it is death and hard bushido sutra of non-being the grain of the metal of the blade of the sword the humans preparing the final act klmno her hands fluttered in geometries, shapes it was a soft summer evening, kyoto, 1321 luna celesta, heard murmurs in the distance nikuko's hands made flame-cast shadows nikuko, she said, nikuko you could read the future if you knew the future pqrstu jennifer, she said, nikuko jennifer, she said, nikuko and i'm losing energy and i'm worn out and my mind's confused jennifer stood by the jade screen nikuko was behind her vwxyz ===