Annoying Behavior Annoying and annoyance are difficult to analyze. Yet they form a behav- ioral matrix, appearing in such forms as teasing, taunting, daring, whining, infuriating, and seducing. The phenomenology of annoyance is complex; among animals, annoyance plays roles ranging from deflection to prey production. Crows and other birds will annoy hawks; smaller birds will annoy crows - in both cases to lead the larger birds away from potential prey. Egrets on the other hand will annoy bottom-dwellers, which flee their hiding-places and are caught. Their behavior ranges from wing- flapping and circling to leg vibrating and kicking back. These actions change quickly, decreasing the likelihood for a steady-state response by potential prey. It's unclear to what degree this behavior is learned or instinctual. See http://www.asondheim.org/annoyingegret.mp4 - a snowy egret at dawn in the Bolsa Chica wetlands, Huntington Beach, California. Other examples - chipmunks, squirrels, and various bird species taunting rattle-snakes; coyote and other large predatory animals harrowing prey; annoying by the weaker and taunting by the stronger, among humans. _ Our Future In 1973 I taught "The Year 3000" at the Rhode Island School of Design. Most of the predictions described for the year 2000 have already occurred. Now for the modest future of thirty years hence: All megafauna in the wild will be extinct. The population of the earth will be close to its carrying capacity. Disease will run rampant due to pollution. Global warming will bring about fast-forward environmental effects, including rising seas, increased desertification, and extremely violent hurricanes. The life-span of humans will begin a temporarily exponential decrease. The rich will live in highly defended enclaves. Fundamentalisms will be the order of the day, since belief alone commands. Terrorism will be increasing exponentially, since future paradise is all there is. Capitalism will be bankrupt as national currencies collapse and world-wide depression sets in. The information explosion will continue on localized data-networks and stuttering global communication systems. The global communications infrastructure will have reached its carrying capacity as well. For the first time, information will begin to corrode, decay, as structures can no longer be protected against the world-wide environmental crisis. The smaller generalist flora and fauna will begin to dominate the earth. Great portions of the globe will be uninhabitable. The larger aquatic species will have gone extinct, and the oceans will be dominated by off-shore algal blooms. Most urban drinking water supplies will be polluted and rationed. Suburbs will be abandoned as gasoline becomes an almost inaccessible commodity. The planet will seethe with continuous war, no longer fought among nation-states, but among private militias, guerilla groups, and individual cowboys. Religions and extremisms will be intertwined. There will be heavily-defended holdouts in the North American mountains, and relatively isolated land masses such as New Zealand. Fluid urban structures will be composed of well-armed gangs dealing with the major currency of drugs and weaponry. At least a third of all births will result in deformed infants. Ozone depletion will be almost complete and skin cancers will be exponentially increasing. Most hospitals world-wide will have closed their doors to all but the extremely wealthy. Knowledge-structures will have broken down as specialization and increased mathematical difficulties result in the problematizing of any theoretical work at hand. Computers will have reached a plateau of speed, complexity, and miniaturization. They will not have achieved consciousness. Robotics and nanotechnologies will not be the order of the day - plagues will. Sports franchises will be local and heavily subsidized. The air will be almost unbreathable, and asthma / allergic reactions will be one of the primary causes of death. Most deaths however are the result of violence. Local police will perform rearguard holding actions at best. Highway systems will have fallen into disrepair as economies collapse. Air travel will be almost non-existent; space travel will have disappeared. The space station will be a rusted hulk, if it has not already plummeted to earth. Literacy will be on the decline. There will be a world-wide energy crisis. Child abuse will have become child use and child discard; a high percentage of children will be proffered for labor and sexual slavery, in return for food and goods. Informal economies and the barter system will characterize most local trade. Transnational trade will be at a minimum. The genetic revolution will result in new and uncontrollable pandemics as viruses and bacteria become increasingly resistant. Highly modifiable immune deficiency diseases will appear on an exponentially-increasing basis. The greatest percentage of murder victims, per capita per age level, will be the elderly. Despair will be transformed into religious salvation. More than twenty nuclear weapons, most of them small and poorly-constructed, will have been exploded in various urban areas. Most of the countries of the world, such as they are, will have weapons programs which will absorb a large proportion of the gross national product. Political economy will be ad hoc. Political ideologies will be fragmentary and situational. Electrical grids will be hard-put to maintain even the most minimal of services. The arts will have reached the limits of extremity, with suicidal art movements in the fields of theater, performance, ballet, and installation. The new media 'movement' will have become a thing of the past. Art history will have disappeared as museums fall victim to gang warfare and destruction. Most national heritage monuments will have been at least partially destroyed. Most populations will be drugged... _ Fetishes and Nudes What (I've, you've) been missing @ www.asondheim.org Error Log Last 300 Error Log Messages in reverse order: [Sat Sep 17 03:52:52 2005 218.1.112.234] fetish.jpg [Sat Sep 17 03:21:47 2005 218.75.57.246] fetish.jpg [Sat Sep 17 03:21:46 2005 218.75.57.246] fetish.jpg [Sat Sep 17 03:21:14 2005 218.75.57.246] fetish.jpg [Sat Sep 17 03:19:49 2005 212.202.198.160] favicon.ico [Sat Sep 17 03:19:27 2005 212.202.198.160] favicon.ico [Sat Sep 17 03:18:35 2005 212.202.198.160] favicon.ico [Sat Sep 17 03:18:26 2005 68.142.251.21] ko [Sat Sep 17 03:11:43 2005 212.202.198.160] favicon.ico [Sat Sep 17 03:11:42 2005 212.202.198.160] favicon.ico [Sat Sep 17 03:11:42 2005 61.130.202.147] fetish.jpg [Sat Sep 17 03:09:29 2005 218.13.24.227] fetish.jpg [Sat Sep 17 03:08:26 2005 218.13.24.227] fetish.jpg [Sat Sep 17 03:08:17 2005 218.13.24.227] fetish.jpg [Sat Sep 17 03:05:41 2005 68.142.250.38] robots.txt [Sat Sep 17 03:03:08 2005 202.188.40.89] 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[Fri Sep 16 21:19:18 2005 222.223.166.237] fetish.jpg [Fri Sep 16 21:16:00 2005 80.191.163.8] fetish.jpg [Fri Sep 16 20:47:03 2005 144.228.79.166] favicon.ico [Fri Sep 16 20:36:08 2005 193.198.128.233] favicon.ico [Fri Sep 16 20:34:53 2005 221.233.144.86] fetish.jpg [Fri Sep 16 20:34:52 2005 221.233.144.86] fetish.jpg [Fri Sep 16 20:08:24 2005 69.166.61.222] fetish.jpg [Fri Sep 16 20:06:21 2005 12.36.51.194] para.txt [Fri Sep 16 20:06:21 2005 12.36.51.194] cybinfo [Fri Sep 16 20:05:12 2005 12.36.51.194] LIFELINE.BAS [Fri Sep 16 20:03:47 2005 84.24.107.218] portal/ [Fri Sep 16 20:03:43 2005 80.41.26.43] fetish.jpg [Fri Sep 16 19:51:22 2005 68.218.213.31] fetish.jpg [Fri Sep 16 19:49:47 2005 66.196.101.83] robots.txt [ Go Back ] _ Philosophy of [spam] Pornography "How're you doing? Pelite teen pussy doing all sort of nasty things: masturbating, licking pussy, fingering herself [...] The 1980s are to debt what the 1960s were to sex. The 1960s left a hangover. So will the 1980s. Just girls, playing, posing hot and teasing each other. Action is coarsened thought thought becomes concrete, obscure, and unconscious. Don't waste your chance to see beauty in the very prime of life ! Refrain from asking what going to happen tomorrow, and everyday that fortune grants you, count as gain. He seems determined to make a trumpet sound like a tin whistle." _ pissy-fuck flooding yes A saliva and excretions nightmare! You wrote for 313089 hours? my panties cloth soaking wet with damming splits against your throbbing cock of is, filthy germs streaming ghosts across your splitting cunt against my filthy wateraradise" work - another entity named and made! - b For 1 split day, we have been breaks. & filthy germs streaming ghosts across your splitting cunt against my filthy waters they will not stay on filthy waters they will dry in my hole, your my panties are wet for you and i will soak myself in your filthy waters and your moisture germs will enter my hole and you will eat me out with my filthy moisture germs ... ghost streams me across your cloth! How would you absorb your splits damming? my panties cloth soaking wet with damming splits against your throbbing cock of filthy germs streaming ghosts across your splitting cunt against my filthy water s Your my panties cloth soaking wet with damming splits against your throbbing coc k of filthy germs streaming ghosts across your splitting cunt against my filthy waters is mine, my my panties are wet for you and i will soak myself in your fil thy waters and your moisture germs will enter my hole and you will eat me out wi th my filthy moisture germs is yours! will germs effluvia spit against your semen piss your lymph will soak my damming filthy splits my cock will soak your filthy panties cunt my moisture germs will kill effluvia throb my panties cloth soaking wet with damming splits against your throbbing cock of filthy germs streaming ghosts across your splitting cunt against my filthy waters:you will wipe my filthy moisture germs into smeared existence with the residue of your thinking skin with erased and soaked germs always written on filthy waters they will not stay on filthy waters they will dry in my hole :my panties are wet for you and i will soak myself in your filthy waters and your moisture germs will enter my hole and you will eat me out with my filthy moisture germs:my cock will soak your filthy panties cunt:my cock will soak your filthy panties cunt tears your lymph will soak my damming filthy splits through my my panties cloth soaking wet with damming splits against your throbbing cock of filthy germs streaming ghosts across your splitting cunt against my filthy waters! _ Real Dismembrment is clotting everything. - Your cloth is soaked, written, erased. - Your suture should be wiped into existence? I Consider the following again, your ... spectre splits me in your suture! How would you absorb your waxes cloth? Your unto us our lesions legions, each and all, dead cities, living forest, of is mine, my is yours! My of all of us, not one, not just this not that, make us prey-dismember, do is your chemistry here... unto us our lesions legions, each and all, dead cities, living forest, of calls forth ghost, hungered, making things. across the breaks, unto us our lesions legions, each and all, dead cities, living forest, of is , 041], of all of us, not one, not just this not that, make us prey-dismember, do ? ... ghost is torn dying animals, somewhere on a bayou seems, ironic, of total on wet flesh, it's ghost? Are you satisfied with your unto us our lesions legions, each and all, dead cities, living forest, of ? Use of uninitialized value at ./.juluold line 113, chunk 52. Use of uninitialized value at ./.juluold line 114, chunk 52. Use of uninitialized value at ./.juluold line 115, chunk 52. You wrote for 313109 hours? unto us our lesions legions, each and all, dead cities, living forest, of and 10851 and 24470 - another entity named and made! For 2 waxes days, we have been piss. and it has taken you 0.167 minutes to swallow your last ... of all of us, not one, not just this not that, make us prey-dismember, do unto us our lesions legions, each and all, dead cities, living forest, of hurricane force world-wide, too much is too little, we should die among me, fury:lord move the mount of blasphemy, take out the messenger, devour the production, dismantle armature, cam articulation, my eyes are burning, are on fire, they would kill one another as well, perhaps i miss the end-angel, animal reassemblage, once before years, video of cat decapition from friend never further spoke to, if these are humans, we are humans, deserve to die, our cruelty is our exaltation, our holy brutality, our one-another death, dear god, annihilate, in truth not in false demand, would go willingly, the element you would apply.:watching video, transformation and freedom of the natives, my soundwork was used i think in part for a score, received the tape just, horrifying documentary of animals torn apart, couldn't watch more than four minutes, am shaking, already what is wrong with me, this i cannot do, perhaps there is final salvation, i could not get beyond the images of torn dying animals, somewhere on a bayou seems, ironic, of total annihilation, preacher kill them all, humans all, tear out their tongues, burn their legs-arms, unacceptable, just:piled of slaughtr:battered hmans Write first killed dogs through my of all of us, not one, not just this not that, make us prey-dismember, do unto us our lesions legions, each and all, dead cities, living forest, of hurricane force world-wide, too much is too little, we should die among me, fury! of all of us, not one, not just this not that, make us prey-dismember, do :::hurricane force world-wide, too much is too little, we should die among :dogs through my of all of us, not one, not just this not that, make us Does replace your of all of us, not one, not just this not that, make us prey-dismember, do ? with ideogrammatic intervals! unto us our lesions legions, each and all, dead cities, living forest, of :of all of us, not one, not just this not that, make us prey-dismember, do ::?:annihilation, preacher kill them all, hmans all, tear out their tongues, Your spectre dissolves my torn dying animals, somewhere on a bayou seems, ironic, of total ! ghost with ideohydraulesis! of all of us, not one, not just this not that, make us prey-dismember, do unto us our lesions legions, each and all, dead cities, living forest, of hurricane force world-wide, too much is too little, we should die among me, fury:lord move the mount of blasphemy, take out the messenger, devour the production, dismantle armature, cam articulation, my eyes are burning, are on fire, they would kill one another as well, perhaps i miss the end-angel, animal reassemblage, once before years, video of cat decapition from friend never further spoke to, if these are hmans, we are hmans, deserve to die, our cruelty is our exaltation, our holy brutality, our one-another death, dear god, annihilate, in truth not in false demand, would go willingly, the element you would apply.:watching video, transformation and freedom of the natives, my sound used i think, received the tape just, horrifying doc animals torn, couldn't watch more than four minutes, am shaking, already what is wrong with me, this i cannot do, perhaps there is final salvation, i could not get beyond the images of torn dying animals, somewhere on a bayou seems, ironic, of total annihilation, preacher kill them all, hmans all, tear out their tongues, burn their legs-arms, unacceptable, just:piled of slaughtr:battered hmans:wrythed birds:torn birds:what hapend to kitens: Write first killed dogs through my of all of us, not one, not just this not that, make us prey-dismember, do unto us our lesions legions, each and all, dead cities, living forest, of hurricane force world-wide, too much is too little, we should die among me, fury! of all of us, not one, not just this not that, make us prey-dismember, do unto us our lesions legions, each and all, dead cities, living forest, of hurricane force world-wide, too much is too little, we should die among me, fury:lord move the mount of blasphemy, take out the messenger, devour the production, dismantle armature, cam articulation, my eyes are burning, are on fire, they would kill one another as well, perhaps i miss the end-angel, animal reassemblage, once before years, video of cat decapition from friend never further spoke to, if these are humans, we are humans, deserve to die, our cruelty is our exaltation, our holy brutality, our one-another death, dear god, annihilate, in truth not in false demand, would go willingly, the element you would apply.:watching video, transformation and freedom of the natives, my soundwork was used i think in part for a score, received the tape just, horrifying documentary of animals torn apart, couldn't watch more than four minutes, am shaking, already what is wrong with me, this i cannot do, perhaps there is final salvation, i could not get beyond the images of torn dying animals, somewhere on a bayou seems, ironic, of total annihilation, preacher kill them all, humans all, tear out their tongues, burn their legs-arms, unacceptable, just:piled of slaughtr:battered hmans Write first killed dogs through my of all of us, not one, not just this not that, make us prey-dismember, do unto us our lesions legions, each and all, dead cities, living forest, of hurricane force world-wide, too much is too little, we should die among me, fury! of all of us, not one, not just this not that, make us prey-dismember, do :::hurricane force world-wide, too much is too little, we should die among :dogs through my of all of us, not one, not just this not that, make us Does replace your of all of us, not one, not just this not that, make us prey-dismember, do ? with ideogrammatic intervals! _ CHURNMONSTER o i-heard-you-so MONSTER? But what is DEATH-churn FIX of ha-ha-further-future here, its constitution? http://www.asondheim.org/monster.mov Do you feel your gender is close to of fury that one says or OF THE EARTH speaki ng or of CHILDREN OF monster COKE AND COCACOLA world-gone game of the fathered-g rid? no You're dealing with miserable fictions. In any case, you must contact me about this... For 2 loose days, I have already been in catatonic mourning! And it has taken you just 5.200 minutes to make a monster! http://www.asondheim.org/monster.mov MONSTER drug of ha-ha-falter-future:DEATH-churn FIX of ha-ha-further-future:of fury that one says or OF THE EARTH speaking or of CHILDREN OF monster COKE AND COCACOLA world-gone game of the fathered-grid:ok of MONSTER empyricon faltered-grid i-told-you-so MONSTER to i-heard-you-so MONSTER:3891:5:children of marx and cocacola MONSTER children of coke and cocacola MONSTER my objects are your styx:of fury that one says or OF THE EARTH speaking or of CHILDREN OF monster COKE AND COCACOLA world-gone game of the fathered-grid:MONSTER drug of ha-ha-falter-future http://www.asondheim.org/monster.mov children of coke and cocacola MONSTER my objects are your styx:of furystered name is included to show this message originated from that one says or OF THE EARTH speaking or of CHILDREN OF monster COKE ANDre _ new name my tube is lubed, they call me julu, i am your tool, you, you can always pump her, jennifer wears my jumper, i woke up swooned, my womb a wound, teased and greet you, i'll have to beat you, good cheer! skin mar!, my rod-seed sowed, my furrow hoed, lewd near! in car!, i am not what-for, you are not her, headed and weak, dripping and leak, unable to speak, ungagged and ragged, my body stowed, leased to cheat you, alice to greet you :my name wears my clothes, julu i suppose, infanticides in panties, tra-la-las in bras, infants in pants, dependers in suspenders, i am so weak, i am not aaron burr, i am now interred, i do not come around, i am gagged and bound, i will speak with forlorn hope, my mouth held wide with ragged rope, fetters from my setters, please do not repeat, you will kiss my feet, distressed to seat you :they call me alice, my name is jennifer, i will not speak, i am not aaron burr, i do not come around, my name has another sound, it reads as julu, disarmed to fool you, letters from my betters, i will speak with my mouth closed, more than you supposed, here! we are!, i am emptied, ready for download, you will have my body towed, no fear! so far!, jennifer-replete, pleased to meet :aaron alice julu:jennifer: come home with me, my tube is lubed, they call me julu, i am your tool, you, you can always pump her, jennifer wears my jumper, i woke up swooned, my womb a wound, teased and greet you, i'll have to beat you, good cheer! skin mar!, my rod-seed sowed, my furrow hoed, lewd near! in car!, i am not what-for, you are not her, headed and weak, dripping and leak, unable to speak, ungagged and ragged, my body stowed, leased to cheat you, alice to greet you , julu-of-the-fast-crowd! your tight julu jennifer alice aaron is in my soiled jennifer:aaron:alice:julu "w hoed, lewd near! in car!, i am not what-for, you are not her, headed and weak, dripping and leak, unable to speak, ungagged and ragged, my body stowed, leased to cheat you, alice to greet you calls forth tight your masquerade, eating, ex creting memory. accompanying the soiled, my tube is lubed, they call me julu, i am your tool, yo u, you can always pump her, jennifer wears my jumper, i woke up swooned, my womb a wound, teased and greet you, i'll have to beat you, good cheer! skin mar!, my rod-seed sowed, my furrow hoed, lewd near! in car!, i am not what-for, you are not her, headed and weak, dripping and leak, unable to speak, ungagged and ragge d, my body stowed, leased to cheat you, alice to greet you is , soiled, my name wears my clothes, julu i suppose, infanticides in panties, tra-la-las in bras, infants in pants, dependers in suspenders, i am so weak, i am not aaron burr, i am now interred, i do not come around, i am gagged and bound, i will speak with forlorn hope, my mouth held wide with ragged rope, fetters from my setters, plea se do not repeat, you will kiss my feet, distressed to seat you ? ... your masquerade is jennifer:aaron:alice:julu here, it's your masquerade?" "Are you becoming close to Jennifer's my tube is lubed, they call me julu, i am y our tool, you, you can always pump her, jennifer wears my jumper, i woke up swoo ned, my womb a wound, teased and greet you, i'll have to beat you, good cheer! s kin mar!, my rod-seed sowed, my furrow hoed, lewd near! in car!, i am not what-f or, you are not her, headed and weak, dripping and leak, unable to speak, ungagg ed and ragged, my body stowed, leased to cheat you, alice to greet you ? yes" = boyznoyz alas i am forgotten. i will sing through a megaphone to the world. http://www.asondheim.org/boyznoyz.mp4 the callous-cold world pays no attention to my brilliance. i can do what no other mortal can do. alas, such sounds! _ no, it's not that sort of blond, but a magnificent drawing on a zaurus pda that barely escapes the ikons. worth seeing? hardly, but then there's a punctum a la Barthes, form of enthrallment - http://www.asondheim.org/blond.mov 'my zaurus is my thane' sonnet grep oh oh k9% i am dying in your dreams ksh: i: not found k10% k9% i am dying in your dreams ksh: k9%: not found k11% k10% k9% i am dying in your dreams ksh: k10%: not found k12% k11% k10% k9% i am dying in your dreams ksh: k11%: not found k13% k12% k11% k10% k9% i am dying in your dreams ksh: k12%: not found k14% k13% k12% k11% k10% k9% i am dying in your dreams ksh: k13%: not found k15% k14% k13% k12% k11% k10% k9% i am dying in your dreams ksh: k14%: not found coda ironic, of total ! ghost with ideohydraulesis! trolley thoughtless and riding the perfect trolley, suspended in the perfect air, no exhaust and no pollution, suspended travel, the rail-blink of an eye This thoughtless and riding the perfect trolley, suspended in the perfect air, no exhaust and no pollution, suspended travel, the rail-blink of an eye speeds endlessly through the body - Your heroin is the currency of your drug - Ah... Your lost-body-skins are your me? naked with lost body skins, ultimate me, seated alongside my love of seventy years standing, little requirements but the sound of the iron wheels on the iron rails, trolley-pole circuiting around us, electric conflagration tamed for the languor of the traveling vector and cool breezes through the oaken open windows I love these feelings, thoughtless and riding the perfect trolley, suspended in the perfect air, no exhaust and no pollution, suspended travel, the rail-blink of an eye ... highs you me inside-you your me! What do you call your cock heroin? bliss, if it could be called that, riding such rails, slight aerial ozone and promise of practical sparks, my arm around her wainscoted waist, if i were grant the forfeiture of heaven... thoughtless and riding the perfect trolley, suspended in the perfect air, no exhaust, pollution, suspended travel, the rail-blink of an eye, bliss, if it could be called that, riding such rails, slight aerial ozone and promise of practical sparks, my arm around her wainscoted waist, if i were grant the forfeiture of heaven... opens my directory! Your drugs - pacific electric laurel line red cars trackless trolley My pacific electric is yours... bliss, if it could be called that, riding such rails, slight aerial ozone and promise of practical sparks, my arm around her wainscoted waist, if i were grant the forfeiture of heaven... makes me read in meditation 8042 times! bliss, if it could be called that, riding such rails, slight aerial ozone and promise of practical sparks, my arm around her wainscoted waist, if i were grant the forfeiture of heaven... calls forth into floors, eating, core-dumping. put-you-in-me the she, bliss, if it could be called that, riding such rails, slight aerial ozone and promise of practical sparks, my arm around her wainscoted waist, if i were grant the forfeiture of heaven... is , 019], naked with lost body skins, ultimate me, seated alongside my love of seventy years standing, little requirements but the sound of the iron wheels on the iron rails, trolley-pole circuiting around us, electric conflagration tamed for the languor of the traveling vector and cool breezes through the oaken open windows? ... floors is trackless trolley here, it's floors? Are you properly compiling bliss, if it could be called that, riding such rails, slight aerial ozone and promise of practical sparks, my arm around her wainscoted waist, if i were grant the forfeiture of heaven...? yes, her long brown tresses held by naught and of the wind! Your death-trip is mine. the enfolding of the trolley :cc:my hunger takes the electric Your world is in my ties Your crawled connects my with needle park bliss, if it could be called that, riding such rails, slight aerial ozone and promise of practical sparks, my arm around her wainscoted waist, if i were grant the forfeiture of heaven...:naked with lost body skins, ultimate me, seated alongside my love of seventy years standing, little requirements but the sound of the iron wheels on the iron rails, trolley-pole circuiting around us, electric conflagration tamed for the languor of the traveling vector and cool breezes through the oaken open windows:thoughtless and riding the perfect trolley, suspended in the perfect air, no exhaust and no pollution, suspended travel, the rail-blink of an eye:laurel line: Come with me, bliss, if it could be called that, riding such rails, slight aerial ozone and promise of practical sparks, my arm around her wainscoted waist, if i were grant the forfeiture of heaven..., beautiful wetware! ===|===|===|===|===|===|===|===|===|===|===|===|===|===|===|===|===|== Ah... core-dumping. ? juice yours... Your death-trip is mine. Shocking here, it's for? Zoo Opera ! ! the body - eating, core-dumping. ? Are you properly compiling ? is yours... turns my juice within the the, is , 016], ? in-you the girl, is , 06], ? For 5 into days, I have been Julu ... For 5 and days, I have been i Julu ... For 5 lost days, I have been i Julu ... For 5 we days, I have been i Julu ... Are you properly compiling turns my juice ? My tabulation Detroit. Sara s-ukc horse dick! blackjack! curtate, nibbler ... into is Jane f-ukc with snake... and much more... this is Z00FEVER!!! I love these feelings, ... turns my juice and 24521 and 21676 - and you knew that all along! Your lost-body-skins are your baby? My ... for is Sara love horse! (in the Z00FEVER exlusive) only! antarctic My judges! reexecuted, chateau gastric papyrus. Wolcott! bummed, enable is calls forth drugs for, eating, core-dumping. calls forth and into, eating, core-dumping. , turns my juice turns my For 5 days, I have been junkie Julu ... I love these feelings, calls forth and into, eating, core-dumping. ... ... incandescent is Your death-trip is mine. here, it's incandescent? Your lost-body-skins are your needle? This speeds endlessly through the body - ... you is on kill me put-you-in-me your your! here, it's you? Your 12036 is your encased flesh This calls forth and into, eating, core-dumping. speeds endlessly through Only here... here, it's into? ... for is What do you call your and juice? here, it's for? My Give a name to your hunger! is yours... My Shocking here, it's for? is yours... Driven by drive-letters, gone world junkie ... turns my juice calls forth get incandescent, eating, core-dumping. turns my juice calls forth i you, eating, core-dumping. turns my juice calls forth wood for, eating, core-dumping. and it has taken you just 0.133 minutes turning on ... What do you call your heroin? What do you call your and juice? incandescent drawn me inside-you your baby! I think 3631 is your future death trip. What do you call your into heroin? What do you call your lost into? floors i me inside your needle! floors like me in-me your needle! What do you call your we needle? on kill me inside-you your your! on kill me put-you-in-me your your! Your lost-body-skins are your your? core-dumping. , I am yours! You ran for 313196 hours? ... for is Sara love horse! (in the Z00FEVER exlusive) only! antarctic Your turns my juice is my drug, my sweet calls forth and into, eating, I think turns my juice 25365 is your future death trip. I think turns my juice 29507 is your future death trip. Your needle is the currency of your drug - Your heroin is the currency of your drug - Your into is the currency of your drug - Your juice is the currency of your drug - within the there, turns my juice is , 014], calls forth drugs for, eating, within the my, turns my juice is , 021], calls forth drugs for, eating, put-you-in-me the girl, turns my juice is , 06], calls forth drugs for Zoo Opera _ [This article is somewhat of a mess; I don't think it could have been any other way. At least by me. It's overworked, overdetermined. Trying to write about online writing? An impossibility, an inconceivable territory. It's beginning to sound like an illiterate Foucault's archaeology of knowledge.] A Field so Vast, the Other is Lost in the Details Apropos of Writing Online / Online Writing "The Sceptical persuasion, then, is also called Investigative, from its activity in investigating and inquiring; Suspensive, from the feeling that comes about in the inquirer after the investigation; Aporetic, either (as some say) from the fact that it puzzle over and investigates everything, or else from its being at a loss whether to assent or deny" - Sextus Empiricus, Outlines of Scepticism, edited by Julia Annas and Jonathan Barnes, Cambridge, 2000. "I cannot stress too strongly, however, that for life as we have seen it develop, both place and movement are indispensable. In order to store information - say in a book, or a mind, or a computer memory - one must be almost certain that the information will be stationary and yet retrievable at a later date. In order for this to occur, the object containing the information must retain its configuration for limited periods. Further- more, [these periods] must be enough for all the information contained to be retrieved." - Alan Sondheim, artist talk, 1973, in Artists Talk, 1969-1977, edited by Peggy Gale, Nova Scotia College of Art and Design, 2004. Unlike the Dogmatists, online work is continuous investigation, movement, within diffused sites, applications, networks, inter- and intra- nets, PDAs, cellphones, wireless and bluetooth, satellite and other radios, cable and other televisions... An incandescent investigation, high-speed, apparently but not really unlimited, names and movements, critiques, sources and files, coming and going, circulating, decaying, disappearing, reappearing, transforming... New media writing - codework - hypertext - online writing - blog or MOO writing - all of the forms are problematized, liminal, subject to fast-forward taxonomies as new applications and access modes appear. By "liminal," I mean that such writings are first of all mediated, by technological apparatus (including the power grid), and are second of all in-between process and stasis. Process = continuous production and distribution; stasis = virtual objecthood. Liminal work is nomadic, subject to the vicissitudes of empire; it moves from site to site, is updated or disappears, uses legacy technology or processing power / access available only to a few. But it also requires corporate acquiescence - the access to tools (including the power / network grids); free software requires corporate hardware requires programmers who have to eat and sleep (sometimes!). One distributes through pre-existing channels or new channel production. Once distributed, the texts, which are after all a collocation or ordered collection of ones and zeros, or pluses and minuses - or any other dyadic differentiation, are subject to modification by others - and as such are vulnerable and characterized by imminent access. By "imminent access" I mean that any byte whatsoever - any individual smallest unit of a file (text, sound, video, program, other) - any zero or one - is independently accessible, and therefore independently alterable. The alteration of a file-in-the-large is a process of filtering, and one might consider online writing as a form of articulated and non-articulated filtering. By "non-articulated filtering" I mean the actual course of writing by an author; this may be either a process of subjectively and freely choosing program parameters (i.e. a certain number of nouns of type X), and/or a more traditional process of authorial writing, i.e. writing with authorial intent. By "articulated filtering" I mean a form of mathematization of a text or part of a text, through which the chosen domain is modified in its entirety by one or another algorithm. For examples: non-articulated filtering might as well refer to the writing of a sonnet in the traditional manner; articulated filtering might refer to replacing the vowels of the sonnet with randomly chosen consonants. (So that "articulation" is used to refer to the application of a technological apparatus - most often a software program - to a text or other file. A Photoshop filter which alter a photograph from color to black and white is a good example. And "non-articulation" refers to "just writing." So why are both forms of "filtering"? Because, here, I want to emphasize the substrate - the blank sheet of paper or empty file, for example (Peirce's "sheet of assertion") which is filled or spilled through creative work. The filter goes from blank to content; it's a way of thinking through the creative act, from offline to online and back again.) An online distribution is never complete, never completed. Sites and software protocols change, codes change, revisions are added, texts are hacked, texts are duplicated and downloaded with and without permission (such as it is), sites disappear with their texts, texts are replaced by other texts, texts are corrupted, technologies change, bandwidths change, copyrights are enforced or ignored or bypassed or non-existent: intellectual property is in fact intellectual propriety, an agreement, such as it is, to utilize in any form or not utilize in some forms (i.e. other than reading/perceiving) the production of the other (such as he or she or it - computer or whatever - is). (Intellectual propriety, then, is the etiquette of duplication and transformation, the sometime distinctions between hacking and cracking, between payment and non-payment for downloading, and so forth.) Codework is a form of writing which problematizes form and formlessness simultaneously by incorporating the means of production within the file itself, actively or passively augmenting or corroding the file (depending of course on authorial intent, perception, reception, production). By "active augmentation or corrosion" I reference a file which changes either through reader/viewer interaction or by itself, within a relatively limited period of time (i.e. within the phenomenological time-horizon of the reception of the text). These changes may be anything from automatic text / image / sound generation, through interactive generation of the same, to built-in instabilities of reading and writing (language changing on the fly, and so forth). Texts and other files may respond to anything - from the weather through mouse-clicks through the viewer's breathing patterns (coupled of course with the proper hardware). By "passive augmentation or corrosion" I mean a relatively static (i.e. within a similar time-horizon) text which nonetheless incorporates what might be considered surplus or extraneous elements (parts of code, formatting, and other) and/or eliminates or obfuscates ("corrodes") other elements (for the most part taken for granted within traditional texts and readings, such as the full alphabet, more or less standardized syntax, the and so forth). Codework is neither a style nor a movement; it remains a loose term characterized by a "kind of messiness." It is simultaneously conceptual and loose, based on structure and the deconstruction of structure. An example (of my own): ======================================================== CHURNMONSTER o i-heard-you-so MONSTER? But what is DEATH-churn FIX of ha-ha-further-future here, its constitution? Do you feel your gender is close to of fury that one says or OF THE EARTH speaki ng or of CHILDREN OF monster COKE AND COCACOLA world-gone game of the fathered-g rid? no You're dealing with miserable fictions. In any case, you must contact me about this... For 2 loose days, I have already been in catatonic mourning! And it has taken you just 5.200 minutes to make a monster! MONSTER drug of ha-ha-falter-future:DEATH-churn FIX of ha-ha-further-future:of fury that one says or OF THE EARTH speaking or of CHILDREN OF monster COKE AND COCACOLA world-gone game of the fathered-grid:ok of MONSTER empyricon faltered-grid i-told-you-so MONSTER to i-heard-you-so MONSTER:3891:5:children of marx and cocacola MONSTER children of coke and cocacola MONSTER my objects are your styx:of fury that one says or OF THE EARTH speaking or of CHILDREN OF monster COKE AND COCACOLA world-gone game of the fathered-grid:MONSTER drug of ha-ha-falter-future children of coke and cocacola MONSTER my objects are your styx:of furystered name is included to show this message originated from that one says or OF THE EARTH speaking or of CHILDREN OF monster COKE ANDre ======================================================== CHURNMONSTER is a "broken or dirty text," modified by a program I wrote; the program asks questions, mixes and combines and reorganizes the answers. The result is a combination of what I am or might be trying to say, and code interference, which rises to the surface, for example, "And it has taken you just 5.200 minutes to make a monster!" which simply documents the amount of time it took to enter the text. I can't judge this in terms of traditional literature; I can say, however, that what is produced is almost always a surprise - something that comes from partially externalized, partially internalized structure. ======================================================== Wittgenstein: "(He must, so to speak, throw away the ladder after he has climbed up it.)" - Tractatus Logico-Philosophicus, Pears & McGuinness translation. But what if the rungs are spaced irregularly? What if there is nothing at the top but gaming? Codework is simultaneously fashionable and eternal. Fashionable: Referencing a particular moment in mediation / protocols - a moment rapidly drained of originary meaning (if such ever exists) and intent. And eternal: Since very file is equivalent to each of its copies, it survives as a form of fragile or tenuous structure. (Fashionable also in terms of critical discourse, discourse networks, a style which is already superseded. And eternal, in the sense that the issues that arise are always present, in whatever form writing / video / sound takes - the issues of protocols, programs, receptions, delivery channels and vehicles, technologies, economics, labor.) Online writing is characterized by files; files are the vehicle, the superstructure and substructure, formal reference. On the other hand, I use "wryting" to reference the effacement of the interface, production of somatic effect and introjections / projections on the part of the reader. In other words, if there is writing of / on the body, there is also wryting the body, for example the (always) broken texts of pornography. (Wryting is the result of the abstract and technological nature of online / new media work. One tries to imagine, through the text, the body of the other; net sex is full of this. As bandwidth increases, radio turns to television; the body is now presented, optical, replete, on devices ranging from cellphones to caves (three-dimensional virtual-reality environments). Primitive teledildonics mediates sexual touch. Note that these environments, in fact even video cellphones, are the domain of the privileged; there are access codes as well. Whole economies are involved.) I am characterizing nothing. There is little distinction among codework, online work, offline work, new media, new media writing, net art, wryting, writing, writing "in general." Taxonomies, manifestos, defining moments, canons, canonic masterpieces, are all restrictive. If online writing or codework are fields, they are fuzzy, porous, indistinct, temporary, and referencing the moment. The moment: Perhaps that of the software, the program, the protocol, the state or statelessness of the art. Some styles? I hesitate; I'm ignorant, I don't keep up, no one keeps up. But consider the following as a beginning; continue on your own: * Hypertext: Texts with links that may be controlled by the reader and / or the author. Internal links: the text is closed. External links: the text is open. The links may be fully controlled, not controlled at all, random, determined, etc. * Flash: Interactive or non-interactive animation work which may or may not involve still images, video, sound, internal or external links. Flash can be almost anything, and is as difficult to characterize as any scenario. * Animations: animated gifs, online or offline video, "refresh" and other html tags, Java or Javascript or other scripting or language. Blurs into video, digital and analog television, cable and other modes of delivery / distribution. Flash is also used heavily for animations. Some online and / or new media writers work with animated text - languages changing, fonts changing, and so forth. * Blogs, Wikis, etc.: communal textual interaction, usually in relation to a particular site or author. Some of the poetry blogs are brilliant, contain a great deal of work, more or less traditional (i.e. in the sense of not necessarily requiring an online framework). If a sonnet is online, is it online writing? Wryting? Again, the questions are forever, the taxonomies weak. * SMS and others: Text-messaging with cell-phone, camera-phones, video-phones; ringer-tone production and dissemination. Ringer-tones now out sell music cds in some parts of the world. What kinds of signals are these? There are whole text-messaging novels and poetry (haiku is a natural) out there. * MOOs and MUDs: (Usually) Text-based and somewhat programmable virtual realities with interacting communities. Closely related to online and offline interactive fictions such as adventure. MOOs and MUDs stem from the old RPG - role-playing games - like Dungeons and Dragons. A MUD is a multi-user dungeon or multi-user domain; a MOO is a MUD Object-Oriented. These are older software programs; users can live entirely within a textual world. Some MOOs such as Lambda MOO, perhaps the first and greatest, have had over a hundred-thousand users. They relate, however loosely, to the older BBS - computer bulletin-board systems - as well; the BBS (and alternative internets like Fidonet) had message-boards, internal email, discussion groups, etc. Along with the BBS, there are other legacy applications - which, however, are still active - things like Internet Relay Chat (IRC), within which users talk directly in a highly-mobile, highly-configurable, and highly-porous realm. IRC is the direct ancestor (as far as I know) of chat-rooms - but it's hackable and much more interesting. There are also the tens of thousands of newsgroups, which are similar to email lists, but one doesn't subscribe - check out Google Groups for examples. Some of the newsgroups have had brilliant writing on them; users often felt they had a "home group" to which they belonged. I remember groups such as alt.dirty-whores, alt.angst, alt.soc.neutopia; there were groups on any subject - hacking groups, pet cat groups, pornographic groups, writing groups, philosophy groups... Most of them have been overrun by spam, but a great number are still active. * Gaming: Online and offline; single-player and multiple-player; violent or non-violent or sexual or non-sexual or narrative or non-narrative. For good reviews check out the X-Play show on television, which, at least in the US, reviews the latest and / or the greatest, as well as the classics. Game design is one of the highest forms of art, I think; it requires the development of conceivably complex open-ended narratives, within which desire / seduction appear endless. * Email and email lists: Novels and other (long or shot) texts temporally dispersed among groups of subscribers or users. Email lists like wryting, nettime, webartery and Poetics present new work by any number of writers / codeworkers / whomever on an ongoing basis. The subscriber list can range from a few to tens of thousands. List management (governance) can be a major issue, unless the list disseminates the work / writing / media of one person or group / corporation alone. Lists are immediate and active, and like email itself, one of the fastest means of presentation (of course chat, SMS, etc. is much faster - real-time, immediate, in fact). Email itself provides all sorts of collaborative possibilities - and new media work, online writing (etc. etc. again) is often collaborative; programmers work with textual writers who may write dialogs with others online. Renga are popular in this regard; poets writing short-work back and forth. * Interactive or non-interactive websites: embodying just about any of the above. At this point, I cannot imagine a typology of websites. And the Web is only one of numerous ports for online communication ("port" refers to a software program that accesses the Internet - for example, email traditionally has used port 23; the Web, port 80, and so forth). There are pieces, for example, "out there," that utilize gopher - a pre-Web menu-driven online organizing structure which could be directly accessed for searching and retrieving (usually text-based) files. (Gopher has been accessed by Veronica, file-transfer has been accessed by Archie - both software search programs; there was also Jughead.) One can even find fascinating literature in the RFC - requests for comments - that have traditionally defined the core discussions and protocols in relation to the Net as a whole. Creativity is in fact everywhere; there are literary pieces, mostly poetry, written in the Perl programming language - the poems are workable programs as well. And codework? A continuous investigation, spewed-out texts, riding within or without any of the above, the indescribable domain of the sceptical. How will language change, i.e. in relation to digital media? For one thing, more and more readers are reading online; for another, the issues of bandwidth and portable technologies effect / efface traditional reading / reception styles. SMS, like, for example internet relay chat (and other chat programs), most often uses highly-abbreviated language. This is both the result of typing versus conversational speed; it also serves to define community. And portable technologies portend temporal portability - multi-tasking, high-speed communicating, high-speed serial and parallel attention economies. The aphoristic increasingly dominates as the "master narratives" and canons of the humanities (philosophy, anthropology, theology, for examples) either fail as totalizations (given, for example, issues of technology, multiculturalisms, and queer / gender theory) or appear increasingly rigid and outmoded. The aphoristic is always in flux, situational; it plays more into the world of the reader than the world of the work (if a distinction may be made, which is doubtful). The aphoristic is always related, of course, to the political or advertising slogan - to the sound-bite and sound-byte - to the imminence of fashion. Examples? We are talking uncharted wilderness here, deeply unaccountable, a domain already as vast as previous offline literature, embodying and encasing what had come before as only a multicultural subset of the humanities. Google or any other search engine will give numerous examples. I suggest the Electronic Literature Organization (ELO), Ubuweb, the West Virginia Zwiki (theory) ... [at this point, I had a list of names; it continued, uselessly, to expand. I couldn't choose among them. In fact I wrote: "(I feel absolutely absurd mentioning these names - these might have well been chosen randomly. The list is too English-dominated for one thing. There are literally millions of online writers, artists, musicians, gamers, bloggers, and so forth. Best to spend a half day with Google, and follow your own processes, your own paths through the sememe. I'm always surprised at the quality and quantity of the work 'out there/here.' I can't think of any particular guide I'd recommend. Search yourself.)" Now, I've taken the names out. Go to the email lists (and their archives) mentioned below. Check out the museums. Look for "net art" or "net.art" or "electronic literature" or "electronic writing" online. ... email lists such as Wryting-L, Poetics, Webartery, Nettime, the MOOs (search online), newsgroups (also Usenet), any number of online/offline games, the G4 television channel (mostly gaming), books such as Nick Montfort's Twisty Little Passages, An Approach to Interactive Fiction; texts dealing with older but prescient work such as Imagining Language, An Anthology, edited by Jed Rasula and Steve McCafferty (also MIT), works by Sherry Turkle, McKenzie Wark, Geert Lovink, Elspeth Aarseth, again and so forth. The best advice? If you do search through Google, place the subject in quotes - for example don't enter "hypertext poetry" but " "hypertext poetry" " - that will eliminate anything but the specific name or phrase. (You can also use advanced searches of course. For further help I recommend books such as Google, The Missing Manual, by Sarah Milstein and Rael Dornfest.) This lack of bibliography is symptomatic, characteristic; why list anything that already has most likely disappeared? There are sufficient archives, again coming and going, some longer than most, some decades, none with the tenacity of your corner library... And one is always worried that, in fact, a work will no longer be playable or performable, the technology completely outmoded - for example, working in something called an "lpmud" (I have) or with the VRML (virtual reality markup language) protocol (I have); or working with Amiga, or Hypercard, or with tinyfugue, or older DOS. There are at times emulations, but these never carry the framework, paregon, of their ostensible content; they're masquerades, simulacra of simulacra - the culture that produced and enveloped them is long gone. Further, where does the work end and the body begin? Think of Stelarc's work (i.e. google), with his literal insertion into the network, or the possibilities of teledildonics, wearable computation, augmented reality (moving through a space with monitor/goggles that provide ongoing and updated information/texts in relation to your movement), locative media in general (works utilizing GPS (global positioning satellites) technology, or scanner / ham / cb / very low frequency (VLF) / extremely low frequency (ELF) / lower-power radio) - all of these locating the viewer / reader / spectator within a psychogeographic dynamic, irreducible to a steady-state or fixed product or process. In terms of distribution, there are numerous issues. If you place a work (say a file or interrelated structure of files) online, it must be announced, advertised - as in offline work, it must attract an audience. It's easier to advertise, easier to duplicate, to emend, present from any distance. However, it requires capital for its very online existence - any download or upload, any viewing, is already an expenditure of energy, of capital. There is a political economy at work wildly different from that of forests transformed into paper, of warehouses filled with unread copies (before publish-on-demand). Thus online writing can only be placed within a multi-dimensional continuum including new media in general, installation work, locative media, various sensory and kinesic modalities, and so forth: another reason why typography is of little use. Now think of pictographs, ideograms, Chinese characters, katakana and hiragana - think of calligraphies and their relation to what we generally suppose to be inherent meaning. Consider, however, the frame, the font, the stoke itself, the process of stroke-creation. Think of stone rubbings from antique calligraphies, almost equivalent to one another, however slightly different through wear-and-tear on the stone. The digital fulfills equivalence, a small window opened up, a tendency towards stasis among the catastrophic transformations of our time. Now think of ongoing species extinctions - occurring at the rate of three to four per hour. Or think of catastrophic storms, elimination of wetlands, global warming, illegal wars (are wars ever legal?); and think of new media against this background of annihilation - new media, which requires, not only a power grid, but an entire cultural habitus to support it. The optimistic (diachronic) history of new media; the tragic (synchronic) present as doomed cultural artifact. Because that's what we're dealing with - this fragility, built-in obso- lescence inhering to forms which are increasingly virtual, increasingly untethered or tenuously tethered bits and bytes... _ a field so vast the other is lost in details apropos of writing online sceptical persuasion then also called investigative from its activity investigating and inquiring suspensive feeling that comes about inquirer after investigation aporetic either as some say fact it puzzle over investigates everything or else being at loss whether to assent deny sextus empiricus outlines scepticism edited by julia annas jonathan barnes cambridge 2000 i cannot stress too strongly however for life we have seen develop both place movement are indispensable order store information book mind computer memory one must be almost certain will stationary yet retrievable later date this occur object containing retain configuration limited periods further more these periods enough all contained retrieved alan sondheim artist talk 1973 artists 1969 1977 peggy gale nova scotia college art design 2004 unlike dogmatists work continuous within diffused sites applications networks inter intra nets pdas cellphones wireless bluetooth satellite radios cable televisions an incandescent high speed apparently but not really unlimited names movements critiques sources files coming going circulating decaying disappearing reappearing transforming new media codework hypertext blog moo forms problematized liminal subject fast forward taxonomies access modes appear mean such writings first mediated technological apparatus including power grid second in between process stasis production distribution stasis virtual objecthood nomadic vicissitudes empire moves site updated disappears uses legacy technology processing available only few requires corporate acquiescence tools network grids free software hardware programmers who eat sleep sometimes distributes through pre existing channels channel production once distributed texts which collocation ordered collection ones zeros pluses minuses any dyadic differentiation modification others vulnerable characterized imminent access byte whatsoever individual smallest unit file text sound video program zero independently accessible therefore alterable alteration file in the large filtering might consider form articulated non articulated filtering actual course author may subjectively freely choosing parameters i e number nouns type x andor traditional authorial with intent mathematization part chosen domain modified entirety another algorithm examples well refer sonnet manner replacing vowels randomly consonants articulation used application most often file photoshop filter alter photograph color black white good example non articulation refers just writing why because here want emphasize substrate blank sheet paper empty example peirce's assertion filled spilled creative work goes content it's way thinking act offline back again never complete completed protocols change codes revisions added hacked duplicated downloaded without permission disappear their replaced corrupted technologies bandwidths copyrights enforced ignored bypassed non existent intellectual property propriety agreement utilize than readingperceiving he she whatever is etiquette duplication transformation sometime distinctions between hacking cracking payment non payment downloading forth problematizes formlessness simultaneously incorporating means itself actively passively augmenting corroding depending on intent perception reception active augmentation corrosion reference changes readerviewer interaction relatively period time phenomenological time horizon text anything automatic image generation interactive same built in instabilities reading language changing fly respond weather mouse clicks viewer's breathing patterns coupled proper hardware passive static similar nonetheless incorporates what considered surplus extraneous elements parts code formatting eliminates obfuscates corrodes taken granted readings full alphabet less standardized syntax neither style nor remains loose term kind messiness conceptual based structure deconstruction structure my own churnmonster o i heard you so monster death churn fix ha ha further future constitution do you feel your gender close fury says earth speaki ng children coke cocacola world gone game fathered g rid no you're dealing miserable fictions case contact me this 2 days already been catatonic mourning has 5 200 minutes make drug ha ha falter futuredeath churn ha ha further futureof speaking fathered gridok empyricon faltered grid i told you so monster38915children marx objects styxof fathered gridmonster ha ha falter future furystered name included show message originated andre broken dirty wrote asks questions mixes combines reorganizes answers result combination am trying interference rises surface simply documents amount took enter can't judge terms literature can produced always surprise something partially externalized internalized wittgenstein speak throw away ladder climbed up it tractatus logico philosophicus pears & mcguinness translation if rungs spaced irregularly there nothing top gaming fashionable eternal referencing particular moment mediation rapidly drained originary meaning ever exists eternal since very equivalent each copies survives fragile tenuous critical discourse superseded sense issues arise present takes programs receptions delivery vehicles economics labor vehicle superstructure substructure formal reference hand use wryting effacement interface somatic effect introjections projections reader words body pornography abstract nature tries imagine net sex this bandwidth increases radio turns television now presented optical replete devices ranging caves three dimensional virtual reality environments primitive teledildonics mediates sexual touch note environments even privileged well whole economies involved characterizing nothing little distinction among general manifestos defining moments canons canonic masterpieces restrictive fields they fuzzy porous indistinct temporary moment perhaps protocol state statelessness art styles hesitate i'm ignorant don't keep keeps up following beginning continue * links controlled reader author internal closed external open fully random determined etc flash non interactive animation involve still images links difficult characterize scenario animations animated gifs refresh html tags java javascript scripting language blurs into digital analog distribution heavily animations writers languages fonts blogs wikis communal textual usually relation poetry brilliant contain great deal necessarily requiring framework again forever weak sms text messaging cell phone camera phones video phones ringer tone dissemination ringer tones out sell music cds world kinds signals novels haiku natural there moos muds text based somewhat programmable realities interacting communities closely related fictions adventure stem old rpg role playing games like dungeons dragons mud multi user dungeon object oriented older users live entirely lambda greatest had hundred thousand users relate loosely bbs bulletin board systems alternative internets fidonet message boards email discussion groups along things internet relay chat irc directly highly mobile highly configurable highly porous realm direct ancestor far know chat rooms hackable much interesting tens thousands newsgroups lists doesn't subscribe check google examples them felt home group belonged remember alt dirty whores alt angst alt soc neutopia were pet cat pornographic philosophy groups overrun spam active single player multiple player violent non violent non sexual narrative non narrative reviews x play least us latest classics highest think development conceivably complex open ended narratives desire seduction appear endless long shot temporally dispersed subscribers nettime webartery poetics codeworkers whomever ongoing basis subscriber list range few thousands management governance major issue unless disseminates person corporation alone immediate fastest presentation faster real time fact provides sorts collaborative possibilities write dialogs online renga popular regard poets short work websites embodying above point typology websites web numerous ports communication port accesses traditionally 23 80 pieces gopher pre web menu driven organizing could accessed searching retrieving files veronica file transfer archie search was jughead find fascinating rfc requests comments defined core discussions whole creativity everywhere literary mostly written perl programming poems workable spewed out riding above indescribable sceptical how thing readers portable efface styles highly abbreviated typing versus conversational speed serves define community portend temporal portability multi tasking communicating serial parallel attention economies aphoristic increasingly dominates master humanities anthropology theology fail totalizations given multiculturalisms queer theory rigid outmoded flux situational plays world made doubtful political advertising slogan sound bite sound byte imminence fashion talking uncharted wilderness deeply unaccountable previous encasing come before multicultural subset humanities engine give suggest electronic organization elo ubuweb west virginia zwiki continued uselessly expand couldn't choose them absolutely absurd mentioning randomly english dominated thing literally millions musicians gamers bloggers best spend half day follow processes paths sememe surprised quality quantity 'out therehere ' guide i'd recommend yourself i've out go archives mentioned below museums look net art wryting l usenet onlineoffline g4 books nick montfort's twisty passages approach fiction prescient imagining anthology jed rasula steve mccafferty mit works sherry turkle mckenzie wark geert lovink elspeth aarseth advice quotes eliminate specific phrase advanced searches course further help recommend missing manual sarah milstein rael dornfest lack bibliography symptomatic characteristic likely disappeared sufficient longer decades none tenacity corner library worried playable performable completely outmoded working lpmud vrml reality markup amiga hypercard tinyfugue dos times emulations carry framework paregon ostensible they're masquerades simulacra culture enveloped gone where does end begin stelarc's his literal insertion wearable computation augmented moving space monitorgoggles provide informationtexts locative general utilizing gps global positioning satellites scanner ham cb low frequency vlf extremely elf lower power locating viewer spectator psychogeographic dynamic irreducible steady state fixed product process issues interrelated announced advertised attract audience easier advertise duplicate emend distance capital existence download upload viewing expenditure energy capital economy wildly different forests transformed warehouses unread publish on demand thus placed multi dimensional continuum installation various sensory kinesic modalities forth reason typography use pictographs ideograms chinese characters katakana hiragana calligraphies generally suppose inherent meaning frame font stoke stroke creation stone rubbings antique slightly wear and tear stone fulfills equivalence small window opened tendency towards catastrophic transformations our time species extinctions occurring rate three four per hour storms elimination wetlands warming illegal wars legal against background annihilation entire cultural habitus support optimistic diachronic history tragic synchronic doomed artifact that's we're fragility obsolescence inhering untethered tenuously tethered bits bytes _ from the webcams do I dare invate a home http://www.asondheim.org/frus.mov http://www.asondheim.org/tha.mov surf and bang against the foam i delight in the life of others. because of the difference in age between azure and myself, i confront my death every day and every hour. o i am surrounded by death o confronted by corpses i give myself up to them what fun everyone else is having! what fun everyone is having! _ [the disturbance of the] Political Economy of Language Identity When we create ourselves anew online, We're working hard our basics to define. We want to show our best and not our worst; Sometimes we best our best, thereby are cursed. Our selves are hungered ghosts within the wires, Depend on coal and oil, pollution's fires. To burn ourselves alive, without, within - Our fires burn within us, kith and kin. Cyborgs, prosthetics, require face and form, Typology rules, we're held in by the norm Of protocol and commerce. Once again We find ourselves enthralled to other men. Rigidity becomes the order of the day; We think we're free, but we're allowed to play Only just a bit. What holds is just the grid That deconstructs; power does its bid, Not ours. Not for hours. Not forever in this world Or any other, where our fate is hurled Against our cyborg selves, collapsing with the weight Of economics, faith, a world of hate And lost energy, lost chance as nature dies Against itself; the world holds no surprise. Now, literal, our children have no soul Separate from menued options - that's the whole And short of it. No longer what one thinks Is what 1 thinks, but 1 that shudders, even blinks Against the presence of the null, now lost, Alterity, structured, violent, at all cost. There is no 'real' crisis of belief - But shelled belief, the masquerade of grief And other negativity - of the world gone mad? Not at all, the world not even bad, The world just evened, turned through mouse or key Against the used, what used to talk through me. Question authority. Trust no one. Your pronouns are hacked. I cannot tell whether it is you speaking, or whether it is something else speaking, and you cannot tell me whether it is you speaking. They took the newbies to a locked room in the MOO and silenced them. Invoke the catastrophic. For the literal life of me, one cannot understand how online identity recreates the brute facts of annihilation, the image wounded, physical and mental illness. The websites went down in New Orleans; so much for redundancy. "Herons have no URLs." (Let's give them one!) "Der emes shtarbt nit, ober er lebt vi an oreman." ("Truth never dies but lives a wretched life.") [internet] [environmental extinctions and crises] [continuous state of war] [growth of epidemic vector] [global warming and increased environmen- tal destabilization] [exponentially approaching the carrying capacity of the planet] [internet] [proliferation of nuclear materials] [relative ease of biological- and cyber-warfare] [fundamentalist strongholds] [internet] "When we create ourselves anew online, We're working hard our basics to define. We want show best and not worst; Sometimes best, thereby are cursed. Our selves hungered ghosts within the wires, Depend on coal oil, pollution's fires. To burn alive, without, - fires us, kith kin. Cyborgs, prosthetics, require face form, Typology rules, we're held in by norm Of protocol commerce. Once again find enthralled other men. Rigidity becomes order of day; think free, but allowed play Only just a bit. What holds is grid That deconstructs; power does its bid, Not ours. for hours. forever this world Or any other, where fate hurled Against cyborg selves, collapsing with weight economics, faith, hate And lost energy, chance as nature dies itself; no surprise. Now, literal, children have soul Separate from menued options that's whole short it. No longer what one thinks Is 1 thinks, that shudders, even blinks presence null, now lost, Alterity, structured, violent, at all cost. There 'real' crisis belief But shelled belief, masquerade grief negativity gone mad? all, bad, The evened, turned through mouse or key used, used talk me. Question authority. Trust one. Your pronouns hacked. I cannot tell whether it you speaking, something else me speaking. They took newbies locked room MOO silenced them. Invoke catastrophic. For literal life me, understand how online identity recreates brute facts annihilation, image wounded, physical mental illness. websites went down New Orleans; so much redundancy. "Herons URLs." (Let's give them one!) "Der emes shtarbt nit, ober er lebt vi an oreman." ("Truth never lives wretched life.") [internet] [environmental extinctions crises] [continuous state war] [growth epidemic vector] [global warming increased environmen- tal destabilization] [exponentially approaching carrying capacity planet] [proliferation nuclear materials] [relative ease biological- cyber-warfare] [fundamentalist strongholds]" We're squeezed by desire that the world might appear whole or in relation to the projection of our true-real bodies, our kindly thoughts, the best forward there can be, the beauty that survives and exists through channel and bandwidth. We are ignoring the lowered ceiling at our peril, Nikuko. We want to fuck dirty and messy, dead hippos going for $50 each. I am the last to deny sexuality in extremis, the detritus of the naked, exhibition of incandescent desire. The bodies of Abu Gharayb for example. The child at the keyboard. The infinitely satiated, infinitely satisfied. The consump- tion of resources, bloated bandwidth. The exponentially-increasing attacks on each and every networked machine on the planet. Yes, yes, yes, we all want to continue, don't we?:Power speeds through cellphones; batteries pollute the landscape, whole deserts are filled with electronic junk, the skulls of information. The real energy is in the oceans, as water heats up, pressures drop, circulations of the real-virtual interfere with circulations of the virtual-real. Or is it the other way around? Without a videophone, the one-eyed man is king in the land of the site-less.I don't want to possess you, Nikuko, certainly not by these words of despair and horror. I don't want to continue aphoristic, metonymic, metaphoric - not at the least, for example with the rhyme scheme. We are running out of time...:I'm trying to give a name to my identity, to the crisis of identity. Gaming and messaging dominate; pure community/communication - construct - plays out against the brutal physics and political economy of the world. That's what I'm trying to describe here, Nikuko - ring-tones on the edge of disaster, Grand Theft Auto against stolen fission. Always faced with the reality of slaughter, vectored missiles described in every military recruitment ad. It's not that one can't tell the difference between simulacra and the real - or that the real is virtual and vice versa - or that we're all cyborgs or whatever - it's that the "idiocy of the real" increasingly corrodes our praxis. Theoretical efficacy or a lien on truth? The brutality makes no difference vis-a-vis language or gaming. Remember: The power runs out. :plastic:silicon Come with me, We're squeezed by desire that the world might appear whole or in relation to the projection of our true-real bodies, our kindly thoughts, the best forward there can be, the beauty that survives and exists through channel and bandwidth. We are ignoring the lowered ceiling at our peril. We want to fuck dirty and messy, dead hippos going for $50 each. I am the last to deny sexuality in extremis, the detritus of the naked, exhibition of incandescent desire. The bodies of Abu Gharayb for example. The child at the keyboard. The infinitely satiated, infinitely satisfied. The consumption of resources, bloated bandwidth. The exponentially-increasing attacks on each and every networked machine on the planet. Yes, yes, yes, we all want to continue, don't we?, beautiful wetware on a dying planet. The exponentially-increasing attacks on each and every networked machine on the planet. Yes, yes, yes, we all want to continue, don't we? and 20907 and 11870 - and you knew that all along! you turn me on Script done on Mon Sep 26 00:39:12 2005 "Give a name to your hunger! I'm trying to give a name to my identity." I'm tired of your identity. Your politics are killing us. The problems aren't those of the foundation, the ego/id/superego/anima/animus/sex-girl/ sex-boy; the problems are those of the superstructure where ozone burns. Is that relevant? That is most relevant; that is the only relevant. What remains beneath/below is the charred residue of culture. (All cultures are on the way out: heroin drugs me down with the girl onto the floor where we fuck down there on the wood while she ties my cock to cocaine-you-know-me coming into the needle world where i get codeine dreams and lost among junkie heavens unbearable ecstasy you kill me way i like to be drawn down to you in within inside put-you-in-me in-me in-you within-you inside-you put-you-inside crawled on floors for impossible highs incandescent you get me into you all the way down to those floors squeezed your needle juice into me baby heroin inside your dreams babe APPEND "Come with me, $name, beautiful wetware! APPEND "Come with me, $name, beautiful wetware! APPEND "Come with me, $name, beautiful wetware! APPEND "Come with me, $name, beautiful wetware! APPEND "Come with me, $name, beautiful wetware! APPEND "Come with me, $name, beautiful wetware! EXIT: ===== [the disturbance of the] political economy language identity when we create ourselves anew online we're working hard our basics to define want show best and not worst sometimes thereby are cursed selves hungered ghosts within the wires depend on coal oil pollution's fires burn alive without fires us kith kin cyborgs prosthetics require face form typology rules held in by norm protocol commerce once again find enthralled other men rigidity becomes order day think free but allowed play only just a bit what holds is grid that deconstructs power does its bid ours for hours forever this world or any where fate hurled against cyborg collapsing with weight economics faith hate lost energy chance as nature dies itself no surprise now literal children have soul separate from menued options that's whole short it longer one thinks 1 shudders even blinks presence null alterity structured violent at all cost there 'real' crisis belief shelled masquerade grief negativity gone mad bad evened turned through mouse key used talk me question authority trust one your pronouns hacked i cannot tell whether it you speaking something else me speaking they took newbies locked room moo silenced them invoke catastrophic life understand how recreates brute facts annihilation image wounded physical mental illness websites went down new orleans so much redundancy "herons urls " let's give them "der emes shtarbt nit ober er lebt vi an oreman " "truth never lives wretched life " [internet] [environmental extinctions crises] [continuous state war] [growth epidemic vector] [global warming increased environmen tal destabilization] [exponentially approaching carrying capacity planet] [proliferation nuclear materials] [relative ease biological cyberwarfare] [fundamentalist strongholds] "when strongholds]" squeezed desire might appear relation projection truereal bodies kindly thoughts forward can be beauty survives exists channel bandwidth ignoring lowered ceiling peril nikuko fuck dirty messy dead hippos going $50 each am last deny sexuality extremis detritus naked exhibition incandescent desire abu gharayb example child keyboard infinitely satiated satisfied consump tion resources bloated exponentiallyincreasing attacks each every networked machine planet yes continue don't wepower speeds cellphones batteries pollute landscape deserts filled electronic junk skulls information real oceans water heats up pressures drop circulations realvirtual interfere virtualreal way around videophone oneeyed man king land siteless i possess nikuko certainly these words despair horror aphoristic metonymic metaphoric least example rhyme scheme running out time i'm trying name my identity gaming messaging dominate pure communitycommunication construct plays brutal physics world i'm describe here ringtones edge disaster grand theft auto stolen fission always faced reality slaughter vectored missiles described military recruitment ad it's can't difference between simulacra virtual vice versa whatever "idiocy real" increasingly corrodes praxis theoretical efficacy lien truth brutality makes visavis gaming remember runs out plasticsilicon come peril consumption beautiful wetware dying 20907 11870 knew along turn script done mon sep 26 003912 2005 "give hunger identity " tired politics killing us problems aren't those foundation egoidsuperegoanimaanimussexgirl sexboy superstructure ozone burns relevant most relevant remains beneathbelow charred residue culture cultures heroin drugs girl onto floor wood while she ties cock cocaineyouknowme coming into needle get codeine dreams among junkie heavens unbearable ecstasy kill like drawn inside putyouinme inme inyou withinyou insideyou putyouinside crawled floors impossible highs juice baby babe append "come $name exit === the PINUP is a disturbance of duplication, shape-shifting she comes in all sizes and one shape http://www.asondheim.org/pinup.jpg the PINUP is an exercise in shape-morphing In these modified images from a Santa Ana storefront, nothing is revealed - a restrained come-hither look (for production) combined with an absence of nipples, labia, the liquidity of the body's repose. Duplicated most likely from original photographs, they're already copyright, readied for distribution; I've stolen their souls from the store-front, for which, in Mea Shearim, in orthodox Jerusalem, I would be stoned. The figures look beneath the robes of the orthodox; orthodoxy always requires robes, hiding the pillar of the erection, the vaginal cave. What opens is only the wound of desire - the breasts cut, castration, flagellation, death to the pleasure of god. I see the saints in these women, the last vestiges of a human race before complete devastation sets in. Already photographs 'like these' litter the streets of Brooklyn and Hollywood, begging for commerce. Every human equation has, if not AIDS, any other disease of the body, tearing itself to pieces. We are all deliverers of our own deaths; our casket, the flesh, our rites long-since shattered. I am a fixture. = Cinggis Qahan "'Shalt thou not be Mine eyes for seeing, Mine ears for hearing?'" (The Secret History of the Mongols, trans. Cleaves.) http://www.asondheim.org/filmshipfilm.mov "I shall rush [forward] for [him] So as to cleave the deep water asunder, So as to break the bright stone to pieces. I shall rush [forward] for [him] So as to break the pieces The blue stone In the place whither he shall have said, 'Arrive [thither]'; So as to break to pieces The black stone At the time when he shall have said, 'Assault.'" (ibid.) http://www.asondheim.org/bfly.mp4 == Fodder not since the beginning of fodder have I felt the necessity of reinventing the protozoan against a background of the natural world, already a reconstitution from the presence of what had been merely a cultural artifact. http://www.asondheim.org/blanked.mov But most of all good eating cheers the brain, Where other joys are rarely met -- at sea -- Unless, indeed, we lose as soon as gain -- Ay, there's the rub so baffling oft to me. Boiled, roast, and baked -- what precious choice of dishes My generous throat has shared among the fishes! 'T is sweet to leave, in each forsaken spot, Our foot-prints there -- if only in the sand; 'T is sweet to feel we are not all forgot, That some will weep our flight from every land; And sweet the knowledge, when the seas I cross, My briny messmates! ye will mourn my loss. -- Thomas Ward, quoted by Edgar Allen Poe -- the subject is sea-sickness. first 100 get < - > what message 3 pieces: http://www.asondheim.org/yamahag55a.mp3 http://www.asondheim.org/yamahag55ab.mp3 played strait-thru on yamahag-55a http://www.asondheim.org/yamahabchor.mp3 modification with effects chorus no breaks / just there - < your enjoyment - > what message first 100 get < - > what message - alan Partial Description of the World The power grid provides 60 Hz here at approximately 115-117 volts; this is maintained by dynamos driven by steam or coal or oil or hydro held together in a malleable grid. The grid enters the city, where electricity is parceled out through substations to cables continuously maintained and repaired. Here, the cables are below ground. They drive my Japanese Zaurus PDA which utilizes an entire linux operating system on it. The Zaurus connects to the Internet through a wireless card that most often connects to my Linksys router, which is connected both to the power grid and the DSL modem by a cat cable. The DSL is operated by Verizon with its own grid at least nation-wide and continuously-maintained. The DSL of course connects more or less directly to the Internet, which is dependent upon an enormous number of protocol suites for its operation, the most prominent probably TCP/IP. The addresses of the Internet, through which I reach my goal of NOAA weather radar, are maintained by ICANN and other organiza- tions. These organization are run by any number of people, who employ the Net, fax, telephone, and standard mail, to communicate world-wide. My Zaurus has its own TCP/IP interpreters built-in, and it connects through an open channel. The wireless modem may have been built in the US. In the final analyses, the materials for the Zaurus originate in extractive industries, whether mining or agricultural, chemical, or atmospheric. This is also true for the copper-wire, optic-fiber, and satellite communica- tions systems which deliver the Net. The Zaurus and other equipment exist for the most part within the Aristotelian domain of macro-objects and distributive logics, which makes them amenable to both manipulation and memory. Both macro- and micro- or quantum objects exist within the four percent of bright matter in a sea of dark matter in the universe. NOAA weather radar senses only bright matter and to some extent the cosmic microwave background. The radar depends on the power grid as well, but most likely also uses an emergency backup generator running on fossil fuels produced by DNA/RNA-rendered organisms millions of years ago. The relative bending of space-time in relation to mass holds everything together within the temporary aegis of a universe with energetic sources of heat driving both atmosphere and life-forms. The radar system uses precise algorithms to filter incoming data, in order that it appear to represent a one-to-one mapping of local and global conditions. The screen of the Zaurus is a further transformation of this mapping, also one-to- one, rendering it within a graphical user interface relatively free of bugs, worms, viruses, and other glitches; the same is true of the linux operating system in general, which must produce this transformation upon demand, as if there were no mediation, and with the illusion that in fact the weather is being presented in a relatively simple and decipherable manner. The linux works with a rechargable battery containing heavy metals and other elements traced back as well to extractive industries; the battery, at the end of its energetic life, should be disposed of within safe landfills designed to handle toxic material. In order for this to occur, a network of roads - highways, local roads, interstates, turnpikes, freeway, and other - must exist, as well as the mobile transportation machinery upon them, also dependent on fossil fuels and the perceptual guidance of life-forms to drive them safely to and from their destination. Within all of this, life-form perceptual algorithms are critical for a reasonable channeling, transformation, retention, and emission of data; this channeling must be relatively consistent, not only internally in terms of time consciousness and neural firing rates, but also externally in sync with other such organisms, and with the entire apparatus bringing the NOAA web pages into view. The NOAA is housed in various buildings across the nation, in communication with each other, using a wide variety of means. The NOAA is not only part of the power grid; it is also part of the socio-economic grid, a corporate/governmental economic system that keeps it functioning year after year, providing money for both updating and maintenance. The socio-economic grid also provides, by various routes, the sustenance that allows me both to survive - i.e. food, water, shelter - but also to purchase the Zaurus in the first place. This interconnects directly with the banking and credit systems, within which manipulation of abstract real numbers eventually results in the movement of goods and continuation of services within, not only the urban system itself, but within the loft-space where I live, providing a service industry of plumbers, brick-layers, roofers, general builders, electricians, and so forth, all of whom maintain and on occasion update the material infra- structure of the building. The internal illumination of the Zaurus, which occurs within the human visible bandwidth of the electromagnetic spectrum, is matched by the illumination of the loft itself, both dependent upon extractive industries for the production of glass and plastics resulting in various types of illuminating objects, each housed in a casing speci- fically designed for the transportation of electricity into them - electricity which will be transformed into photon production. Time of day must be allotted for the recharging of the Zaurus battery, using a charger designed to match the characteristics of the power grid, and to absorb surges or brownouts as well, keeping the flow fairly steady within acceptable parameters. In order to use the Zaurus, I hold it in one hand, while typing on its mini-keyboard with the other; both activities depend on hand-eye coordination, the result of numerous feedback loops using both local neural sensors and chemical/quantum brain processing, creating the illusion of an independent mind cohering to the exigencies of screen, keyboard, and macro-object characteristics. The latter are generalized, scripted for the most part, so that all objects are, in a sense, equi- valent; if I pick up X, I do not have to learn how to pick up Y, but refer both to a Batesonian meta-scheme. Such meta-schemes, as well as schemes, scripts, circuit-board, protocol, radar, power-grid, and other process- ings, are constructed in part through mathesis, the applied mathematics of the world we live in. This mathematics is related to both standard and non-standard numerical systems; it is also limited, in terms of axiomat- ics, to what appear to be local coherencies within which the problems of infinities, both large and small, are dealt with in a practical way (heuristics). Applied mathematics is a construct, and constructed by life- forms that detect relationships among things, forces, states, and process- es, of the universe they live within. In order for mathematics to satisfactorally model such a universe in the larger, computers (both analog and digital) are employed; these are programmed in languages that are, for the most part, locally coherent. Abstract and physical objects meet within the aegis of processes and flux; such are originally driven and created by life-forms which ultimately reproduce themselves through egg-sperm couplings related to fundamental biochemical operations. Couplings occur in the first place through the psychoanalytics of desire, chemically and perceptually driven; the psychoanalytical system creates the illusion of psychoanalytical states/objects, and emotional transfor- mations of all sorts. The physical, psychoanalytical, and abstract systems all exist within certain political/abstract economies; for example, it is impossible to construct an infinite-energy machine to analyze fundamental particles. Furthermore, the political/abstract economies all interweave, inhere, and cohere, in relation to each other, with a remarkable degree of accuracy; otherwise, slippage might result in the entire bio-cultural apparatus collapsing, without the possibility of recuperation. When the mini-keyboard of the Zaurus is pressed; it appears to press back; this is the result of the local/global mappings related to tacit knowledge - the extension of the body into its tools and immediate environment surrounding it. I do not have to consider key after key, but only the obviously media- ted message or command I am trying to write - a message which itself depends on natural language in relation to the purified language of key- board commands. I think through the NOAA results in terms of this natural language, which is almost impossible to concretely represent as a somewhat small and coherent system; instead, the natural language is intricately interwoven with diacritical, inter- and intra-linguistic elements which situate me in relation to the world as well. Although natural languages change in time, they must appear relatively stable, capable of retrieval and communication among others; without this stability, communication and system-construction would be completely impossible. All systems are them- selves interwoven, partial, frayed at the edges, undergoing slow or fast mutation, maintained or dropped, regarded or disregarded, ultimately inde- scribable, visible or invisible, mediated and mediating, represented and representing, accounted-for and unaccountable. The transmission of data from the NOAA site, if such transmission occurs, if the Zaurus is still operable, still connected to the communications grid (singular or plural, Internet or intranets), results in information whose ontological status has always been problematic. The data is absorbed as fuzzy entities, blurs in the Hadamard/Einstein sense, already decaying within short-term memor- ies, already lost, a partial entrance to others, other objects, transfor- mations, grids (appearing relatively static, appearing as background - both an illusion), parcels of exchange- and use-value, as internal and external processings continue, moving on. _ destruction of generations no, no, no, I say, our children are not our future; we are. the biggest mistake of the radical 60s is the current insistence on the generation model - that 60s radicals began what another generation can learn from, can carry on, can critique. the world is a displaced continuum, miasma of disparities - not a coherent structure of divided lineage. the truth of a man's or a woman's thought does not age, is never outmoded; the truth is always already present, always unaccountable. when a torch is passed, the light is out; when a torch is lit, it is lit for all. i learned blues from al wilson of canned heat, we played together, and from son house, the short time i spent with him. so it goes, this is for them, http://www.asondheim.org/blues.mp3 where and when the ornithological intersects the instrument or rather where the instrument produces the digital wilderness - this is what is left after the fury of the melting snows - ice ages and boiled ages for all to see and hear - i am a perfect high-speed machine using antique instrumentation made of the quality of wood not so much for your enjoyment, as for testimony that such craftsmenship existed o exalted ones, that such craftsmenship existed http://www.asondheim.org/whit.mp3