Moskau
Moscow, foreign and mysterious Towers of red and gold Cold as ice But Moscow, whoever really knows you Knows that a fire is burning hotly inside of you Cossacks, hey hey lift up your glasses! Natasha ha ha ha, you are beautiful! Comrade hey hey hey, we drink to life! To your health, Brother, hey, brother, ho! Moscow, Moscow throw the glasses against the wall Russia is a beautiful country ho ho ho ho ho Moscow, Moscow your soul is so great At night, hell breaks loose ha ha ha ha ha, hey! Moscow, Moscow love tastes like caviar Girls are there for kissing ho ho ho ho ho, hey! Moscow, Moscow come, let us dance upon the table until the table breaks ha ha ha ha ha! Moscow, door to the past Mirror of the czarist era red as blood Moscow, whoever knows your soul knows that love is burning hotly like a coal Cossacks hey hey lift your glasses! Natasha, ha ha ha, you are beautiful! Comrade, hey hey hey, we drink to life! To your health, sister, hey, sister, ho! Moscow, Moscow throw the glasses against the wall Russia is a beautiful country ho ho ho ho ho Moscow, Moscow your soul is so great At night, hell breaks loose ha ha ha ha ha, hey! Moscow lalala... Moscow, Moscow lalala... Oh, ohohoh... Moscow, Moscow Moscow, Moscow Vodka is drank pure and cold and you'll live to a hundred ho ho ho ho ho, hey! Moscow, Moscow Friend, your glass is empty but in the cellar, there is plenty more ah ah ah ah ah! Moscow, Moscow! Cossacks, hey hey lift your glasses! Natasha, ha ha ha, you are beautiful! Comrade, hey hey hey, we drink to love! To your health, Brother, hey, brother, ho! Moscow, Moscow throw the glasses against the wall Russia is a beautiful country ho ho ho ho ho, hey! Moscow, Moscow your soul is so great At night, hell breaks loose ha ha ha ha ha, hey! Moscow, Moscow love tastes like caviar Girls are there for kissing ho ho ho ho ho, hey! Moscow, Moscow come, let us dance upon the table until the table breaks ha ha ha ha ha, HEY!
G R Double-E N Leaves
G R Double-E N Leaves G R Double-E N Leaves It's so easy! Happy-go-lucky! We are the world! We did it! Hyuu! Hyuu! Hyuu! Hyuu! Osu! Osu! Osu! Osu! (Ai!) Yatta! Yatta! Daigaku gohgaku Yatta! Yatta! Shachoh shuunin Happa ichimai areba ii. Ikite iru kara lucky da! Yatta! Yatta! Tohsen kakujitsu Yatta! Yatta! Nihon daihyoh Yannaru kurai kenkoh da. Everybody say yatta! Nippon kyuukyuu (demo) Ashita wa wonderful Ijiwaru saretemo futon haireba Guu guu guu guu! Pass pass pass pass (Ohayo--!) Yatta! Yatta! Kuujikan suimin Yatta! Yatta! Neoki de jump Donna ii koto aru daroh ikite ita kara lucky da! Yatta! Yatta! Kimi ga kawareba Yatta! Yatta! Sekai mo kawaru Marugoshi dakara saikoh da massugu tattara kimochi ii--! O-mizu nondara umee! (Yatta!) Hi ni atattara attakee! (Yatta!) Koshi kara warattara omoshiree! (Yatta! Yatta!) Inu-katte mitara kawaii! (Yatta!) [Repeat] Surechigai-zama hohoemi kureta Nido to aenaku-tatte ii kimi ga ita kara lucky da! Heisei fukyoh seiji fushin Reset sae surya saikoh da! Minna iru kara tanoshii--! Yatta! Yatta! Daigaku kyohshitsu Yatta! Yatta! Movie star Happa ichimai areba ii. Minna issho da happy da! Yatta! Yatta! Iki wo sueru Yatta! Yatta! Iki wo hakeru Yannaru gurai kenkoh da! Everybody say yatta! [Repeat *] Bye-Q! G R Double-E N Leaves G R Double-E N Leaves It's so easy! Happy-go-lucky! We are the world! We did it! Whoo! Whoo! Whoo! Whoo! Yes! Yes! Yes! Yes! (Unh!) All right! All right! We're doin' great in college! All right! All right! Made president at our jobs! Long as we've one leaf on, we're doin' fine! Hey, we're lucky just 'cause we're alive! All right! All right! We've been confirmed for the prize! All right! All right! We're representing Japan! We're so healthy, it just makes ya sick! Everybody say All right! Japan's got crises (but) Tomorrow's wonderful Even if somebody's mean to us, we just go to bed and Snore! Snore! Snore! Snore! Pass! Pass! Pass! Pass! (Good morning!) All right! All right! We got nine hours of sleep! All right! All right! Woke up and jumped outta bed What kinda great things might await us now? Hey, we're lucky just 'cause we're alive! All right! All right! If there's a change in you All right! All right! Then the whole world will change too. Getting through it unhurt's the best of all. Just stand up straight because it feels greeeaat!! I drink water that's tasty! (All right!) I get in the sun and feel toasty! (All right!) Havin' a belly laugh's fun! (All right! All right!) Try keeping dogs--they're cute! (All right!) [Repeat] As we brushed past each other, you favored me with a smile. It's okay if we never meet again. I'm lucky you were here just for a while! We've got recession these days...in goverment we've no faith. Could we hit reset, that'd be number one! And since we're all here, it's just so much fun! All right! All right! In university class All right! All right! We've got a movie star! Long as we've one leaf on, we're doin' fine! We're all together, it's a happy time! All right! All right! Long as we still can breathe in... All right! All right! Long as we still can breathe out... We're so healthy, it just makes ya sick! Everybody say All right! [Repeat] Bye-Q!
Trigun
To the potty, sir. Dangerous toys are fun, but you could get hurt! Suicide? To tell you the truth, I disapprove of suicide more than anything. So did I work off the doughnuts and the ten double dollars? Vash: And I'm known for my bullets never missing their mark. Especially if it's the heart of a beautiful lady. BANG! Ooo scaaary. Later! Meryl: You're the easily deceived type who cries himself to sleep every night aren't you. Vash: Thanks a lot dream wrecker *snort* SCA!~ Vash This world is made of Love and Peace! I'm like a hunter of Peace, one who chases the elusive mayfly of love... or something like that Man, why does happen to me, Maman? I haven't done anything wrong but everybody always picks on me, Maman!...But now isn't the time to be bawling in French. [Notices he's been crying on boxers] AHH!!! Vash: I am known as Valentinez Alkalinella Xifax Sicidabohertz Gombigobella Blue Stradivari Talentrent Pierre Andrt Charton-Haymoss Ivanovicci Baldeus George Doitzel Kaiser (... the Third- ). (Please - ) Don't hesitate to call- Milly: [Laughs.] What are you talking about, Mister Vash the Stampede? Vash: I HATE IT WHEN YOU CALL ME BY MY FULL NAME! My name is Vash the Stampede. I have been a hunter of peace who chases the mayfly known as love for many, many moons now. There is no rest for me in my search for peace. I meditate diligently every morning. The subjects are life and love. I quit after 3 seconds. [While exchanging gunshots at each other.] Vash: So this is what you got me so plastered for yesterday! Wolfwood: You really think I'd try something that cheap?! Vash: Yeah, I do, after you went and signed me up without asking! Wolfwood: You did the same to me! Vash: Hey, don't kill them! [Dodges gunfire.] Wolfwood: I'm amazed you can say that at a time like this, huh?! Vash: Hey, whatever happened to thou shalt not kill?! Wolfwood: (Thinking to himself while losing at chess) Oh man! Now what am I supposed to do? Should I butt this guy in the head and make a break for it? [gasps] No, no! What am I thinking? I can't do that! I'm a man of God for God's sake! Milly: Hey Mister Priest! What a peasant surprise! Wolfwood: Ha! Pleasant. Milly: Hey! That happened to be my can of pudding! And you wasted it. [knocks out offenders with her stun gun] You should never get between people and their pudding. Townswoman: (to Milly) Gee, young lady, you're enormous! Are you expecting sextuplets? Milly: [giggles and turns to Wolfwood] Isn't it lovely today out, honey? Wolfwood:[grimaces] Excrutiatingly pleasant, honey. Moore: (hiding beneath Milly's duster) I am really sorry about all this. Wolfwood: It's all right. Just stay out of sight. [thugs scuffle by, looking for Moore] Wolfwood: (thinking) How did this happen? No matter what I do, I always seem to get into trouble with this girl. [Milly plucks the unlit cigarette from his lips] Hey! Milly: Secondhand smoke is bad for the baby, darling. Wolfwood:[forcing laughter] Oh, yeah. Gee. Sorry about that, honey The sky is unbelievably blue... There I go again. Guess it's kinda stupid, huh? Still keep thinking how I'd like to show it to you, even though that's no longer possbile. I just can't help myself... The Deadly Dodgeball Head! A simple technique to hold the ball in place with intense suction! Try this at home kids!! They're dead. People are dead. You killed them all! You killed all the people! Die with them! I was dreaming, Rem. Everything... Everything was so horribly dry, even peoples' hearts. From far away, as I watched the people who lived there, I always found myself wondering how and why could they possbily keep on living? What motivation did they have that would get up everyday, no matter what, for the rest of their lives?? This is all I can do. If I... If I shot him now, you really would die. It would be wrong to shoot him, right?? I'm not that trusting. I kept my finger on the trigger the whole time. Meryl: (upon seeing Vash's scars for the first time) So those scars...are the price you paid for dealing with your opponents without killing them? Vash: It's not exactly... something I like girls to see. They'd run away. Meryl: I wouldn't run away... What I mean is, they wouldn't run away.
Re: Very short stories. Six words!
The king feasted You ate dirt. At 11:24 PM 4/30/2007, you wrote: NOVA COOKIE FROZEN HELL Hemingway once wrote a story in just six words : For sale: baby shoes, never worn. and is said to have called it his best work. So I asked writers to take a shot themselves. Very short stories. Six words ! http://novacookie.blogspot.com/ SUBMISSIONS ARE WELCOME. Any language. Send your six words story to :[EMAIL PROTECTED] (Translations will be available in comments) -- BEGIN-ANTISPAM-VOTING-LINKS -- Teach CanIt if this mail (ID 292145300) is spam: Spam:https://antispam.osu.edu/b.php?c=si=292145300m=f4408c365d2a Not spam:https://antispam.osu.edu/b.php?c=ni=292145300m=f4408c365d2a Forget vote: https://antispam.osu.edu/b.php?c=fi=292145300m=f4408c365d2a -- END-ANTISPAM-VOTING-LINKS __ Dr. John M. Bennett Curator, Avant Writing Collection Rare Books Manuscripts Library The Ohio State University Libraries 1858 Neil Av Mall Columbus, OH 43210 USA (614) 292-3029 [EMAIL PROTECTED] www.johnmbennett.net http://www.library.osu.edu/sites/rarebooks/avantwriting/ ___
Re: Very short stories. Six words!
yes Forster. William Bain [EMAIL PROTECTED] 05/01/07 10:09 AM Perrin or E.M. Forster? Lawrence McKenzie [EMAIL PROTECTED] wrote: I believe it was Perrin who wrote The King died; the queen died. Although a story, albeit very short, what we do not know is the plot, for the obstacle or frustration that lead to their deaths is not defined. To say The king feasted, readers are told the event, but not the obstacles that lead to the feast or the consumption of dirt. Interestingly, You ate dirt. addresses the reading audience, and does not include the characters who are present, at least implied, in the context of the king's feast. - Lawrence J. McKenzie English Department West Virginia University (Parkersburg) 300 Campus Drive Parkersburg, WV 26104 (304) 424-8000 (Campus) (304) 424-8301 (Division Secretary) The information contained in this electronic mail message is sender's business confidential and may be legally privileged. It is intended solely for the addressee(s). Access to this Internet electronic mail message by anyone other than the intended recipient is authorized. If you are not the intended recipient, any disclosure, copying, distribution, or any action taken, or omitted, is prohibited and may be unlawful. The sender believes this E-mail (and any attachments) was free of any virus, worm, Trojan horse, and/or malicious code when sent. This message (and its attachments) could have been infected during transmission, however. By reading the message and opening any attachments, the recipient accepts full responsibility for taking protective and remedial action about viruses and other defects. West Virginia University, and/or the sender of this message, is not liable for any loss or damage arising in any way from this message or its attachments. Charles Baldwin 05/01/07 7:33 AM The king feasted You ate dirt. At 11:24 PM 4/30/2007, you wrote: NOVA COOKIE FROZEN HELL Hemingway once wrote a story in just six words : For sale: baby shoes, never worn. and is said to have called it his best work. So I asked writers to take a shot themselves. Very short stories. Six words ! http://novacookie.blogspot.com/ SUBMISSIONS ARE WELCOME. Any language. Send your six words story to : [EMAIL PROTECTED] (Translations will be available in comments) -- BEGIN-ANTISPAM-VOTING-LINKS -- Teach CanIt if this mail (ID 292145300) is spam: Spam: https://antispam.osu.edu/b.php?c=si=292145300m=f4408c365d2a Not spam: https://antispam.osu.edu/b.php?c=ni=292145300m=f4408c365d2a Forget vote: https://antispam.osu.edu/b.php?c=fi=292145300m=f4408c365d2a -- END-ANTISPAM-VOTING-LINKS __ Dr. John M. Bennett Curator, Avant Writing Collection Rare Books Manuscripts Library The Ohio State University Libraries 1858 Neil Av Mall Columbus, OH 43210 USA (614) 292-3029 [EMAIL PROTECTED] www.johnmbennett.net http://www.library.osu.edu/sites/rarebooks/avantwriting/ ___ - Ahhh...imagining that irresistible new car smell? Check outnew cars at Yahoo! Autos.
Re: changing your wryting sub
OK Lawrence, I'll change it. In general, send changes to me at [EMAIL PROTECTED] You can also send them to Alan Sondheim at [EMAIL PROTECTED] Sandy Lawrence Upton [EMAIL PROTECTED] 03/30/07 5:57 PM sorry i can't remember who i bother with a change to my sub i am changing my email to [EMAIL PROTECTED] and want to go on receiving wryting help L
Analytics of Attraction
Analytics of Attraction: A Romance Stage with Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sbaldwin/sl/analytic.mov
Re: sexatar, finally
Alan, what is the audio for this (distorted I know)? Sandy Alan Sondheim [EMAIL PROTECTED] 3/31/2007 1:52 AM sexatar http://www.asondheim.org/sexatar.mp4 this file is long. this file is my solo masterpiece. this file is sex avatar fuck avatar suck avatar cum avatar. this file is your avatar my knife skin avatar. did she need me did he need me did i need her did i need him. this file fucks itself. this file jerks off. this file caresse. this file caress ocean waters blue sky wave lagoon. http://www.asondheim.org/sexatar.mp4 i removed other files to make room for this file. if you watch a solo file of avatar this is the solo file sexatar to watch. if watch one solo sexatar file this year this is the one sexatar file. this is the sexatar file to watch. http://www.asondheim.org/sexatar.mp4 sexual projections over dancers and without dancers and sexual audience and masturbating couple - the dancers sexually aroused - if nude sexuality, and horror, interpenetrate. For the dancers, everything is at exists in relation to the sexuality of the body within the dance, within. point of dance and sexuality dancing is indiscriminate fucking, display - sex, spoken sex, poetics of sex. I may work with dance and sex and dance-video and sex. I will not work with images of sexual violence. I point of dance and sexuality dancing is indiscriminate fucking, display - fucked. She took a flash. She examined my body. My body broke open. Here She sucked the needle. She rubbed the needle in her. She pierced my pierced. I pulled the rings. I took them out. She bled. I sucked the said. She tightened the wire. She locked the wire. She sucked the needle. http://www.asondheim.org/sexatar.mp4 Script started on Sat Mar 31 01:46:29 2007 $ perl a/looply.pl sexatar Wrong boolean value 'false' false 10 false 16 id=98128367 112k true MySpace Profile - Negrobeat, Sundsvall, Medelpad, SE, Unts Unts Unts UNTZ fileuseruser=356508topic=410006category=4 21k true Profil de sexatar. Sur le forum. Statut, Membre. Date darriv 20/12/2006. Messages post s, 4. Informations g rales. Informations suppl mentaires ... fileuseruser=356508topic=409991category=4 21k true Profil de sexatar. Sur le forum. Statut, Membre. Date darriv 20/12/2006. Messages post s, 4. Informations g rales. Informations suppl mentaires ... fileuseruser=356508topic=409990category=4 21k true Profil de sexatar. Sur le forum. Statut, Membre. Date darriv 20/12/2006. Messages post s, 4. Informations g rales. Informations suppl mentaires ... /sujets-28.html 64k true 0 / 118, sexatar, 20/12/2006 10:52:50 sexatar. gt; Temp rature GPU, 5 / 395, lognaume, 20/12/2006 00:16:50 kennyxx. gt; probleme USB, 2 / 180, farniente77 ... /config_cg_ati_-410006/messages-1.html 43k true sexatar ? @ Post le 21/12/2006 08:55:36. Voter pour ce message. Bonjour, sexatar ? @ Post le 21/12/2006 14:43:15. Voter pour ce message ... eruser=356508topic=409991category=4 21k true Profil de sexatar. Sur le forum. Statut, Membre. Date darriv 20/12/2006. Messages post s, 4. Informations g rales. Informations suppl mentaires ... eruser=356508topic=409990category=4 21k true Profil de sexatar. Sur le forum. Statut, Membre. Date darriv 20/12/2006. Messages post s, 4. Informations g rales. Informations suppl mentaires ... eruser=356508topic=410006category=4 21k true Profil de sexatar. Sur le forum. Statut, Membre. Date darriv 20/12/2006. Messages post s, 4. Informations g rales. Informations suppl mentaires ... s-28.html 64k true 0 / 118, sexatar, 20/12/2006 10:52:50 sexatar. gt; Temp rature GPU, 5 / 395, lognaume, 20/12/2006 00:16:50 kennyxx. gt; probleme USB, 2 / 180, farniente77 sexatar 0.121321 1 at a/looply.pl line 32 $ exit Script done on Sat Mar 31 01:46:46 2007 http://www.asondheim.org/sexatar.mp4
boundary=simple boundary from rfc 2046
As a very simple example, the following multipart message has two parts, both of them plain text, one of them explicitly typed and one of them implicitly typed: From: Nathaniel Borenstein [EMAIL PROTECTED] To: Ned Freed [EMAIL PROTECTED] Date: Sun, 21 Mar 1993 23:56:48 -0800 (PST) Subject: Sample message MIME-Version: 1.0 Content-type: multipart/mixed; boundary=simple boundary This is the preamble. It is to be ignored, though it is a handy place for composition agents to include an explanatory note to non-MIME conformant readers. --simple boundary This is implicitly typed plain US-ASCII text. It does NOT end with a linebreak. --simple boundary Content-type: text/plain; charset=us-ascii This is explicitly typed plain US-ASCII text. It DOES end with a linebreak. --simple boundary-- This is the epilogue. It is also to be ignored.
Leonardo Electronic Almanac - CFP: Dispersive Anatomies Special
- Apologies for cross-posting. Please distribute widely - ** *Dispersive Anatomies* http://leoalmanac.org/cfp/calls.asp#dispersive ** *Guest Editors:* Sandy Baldwin, Alan Sondheim and Mez Breeze [EMAIL PROTECTED] ** *Editorial Guidelines:* http://leoalmanac.org/cfp/submit/index.asp *Discussion Group: [EMAIL PROTECTED] [EMAIL PROTECTED] *Deadline: *31 May 2007 *Call for papers - LEA Dispersive Anatomies* *--- *The Leonardo Electronic Almanac (ISSN No: 1071-4391) is inviting papers and artworks that address dispersion - dispersion of bodies, objects, landscapes, networks, virtual and real worlds. A fundamental shift in the way we view the world is underway: the abandonment of discrete objects, and objecthood itself. The world is now plural, and the distinction between real and virtual is becoming increasingly blurred, with troubling consequences within the geopolitical register. This shift is related to a cultural change that emphasizes digital deconstruction over analog construction: a photograph for example can be accessed and transformed, pixel by pixel, cities can be taken apart by gerrymandering or eminent domain, and our social networks are replete with names and images that problematize friendship, sexuality, and culture itself. One issue that emerges here: Are we networking or are we networked? Are we networks ourselves? LEA is interested in texts and works that deal with this fundamental shift in new and illuminating ways. Specifically, anything from essays through multimedia through networks themselves may be considered. We're particularly interested in submissions that deal with the incoherency of the world, and how to address it. *Key topics of interest - *Topics of interest might include (but are not limited to): - Networked warfare in real and virtual worlds. - The wounded/altered body in real and virtual worlds. - Transgressive sexualities across borders, sexualities among body-parts, dismemberments and groups, both real and virtual. - Critical texts on the transformation of classical narrative - from its emphasis on an omniscient narrator and coherent plots/characters, to literatures of incoherency, dispersed narrations, and the jump-cut exigencies of everyday life. - Deleuze/Guattari, TAZ, and other phenomena at the border of networking. - Internet visions and their abandonment or fulfillment. - The haunting of the world by ghosts, virtual beings, dreams and nightmares that never resolve. - The geopolitical collapse of geopolitics. - Military empires as scattershot entrepreneurial corporations. Dispersion has two vectors: the breakup or breakdown of coherent objects; and the subsequent attempt to corral, curtail, or recuperate from this breakdown. How do we deal with networks that are constantly coalescing and disappearing? Where are we in the midst of this? In an era of pre-emptive culture, is guerilla warfare to be accompanied by guerilla culture as the order of the day? *Want to be kept informed?* *--* For the latest news, updates and discussions, join the LEA Dispersive Anatomies Mailing List. Email: [EMAIL PROTECTED] [EMAIL PROTECTED] ** *Publishing Opportunities ---* ** As part of this special, LEA is looking to publish: - Critical Essays - Artist Statement/works in the LEA Gallery - Bibliographies (a peer reviewed bibliography with key texts/references in Dispersive Anatomies) - Academic Curriculum (LEA encourages academics conducting course programmes in this area to contact us) LEA encourages international artists / academics / researchers / students / practitioners / theorists to submit their proposals for consideration. We particularly encourage authors outside North America and Europe to submit essays / artists statements. Proposals should include: - A brief description of proposed text (200-300 words) - A brief author biography - Any related URLs - Contact details In the subject heading of the email message, please use *Name of Artist/Project Title: LEA Dispersive Anatomies Special - Date Submitted.* Please cut and paste all text into body of email (without attachments). Editorial Guidelines: http://leoalmanac.org/cfp/submit/index.asp Deadline for proposals: May 31, 2007 Please send proposals or queries to: Sandy Baldwin, Alan Sondheim, Mez Breeze [EMAIL PROTECTED] and Nisar Keshvani LEA Editor-in-Chief [EMAIL PROTECTED]
Re: Fwd: Sandbooks
omigod Bjørn Magnhildøen [EMAIL PROTECTED] 03/25/07 2:22 PM SANDBOOKS http://sandbooks.com Welcome to Sandbooks - digital publisher of net books and artist books. Our books are published in the public domain and are available for free from this website. Our first book published is Re:TheAshLad by Johann Morgenbild and is a 10 volume work of 11 285 pages. Enjoy your reading! * * * Johann Morgenbild: Re:TheAshLad Sandbooks First Edition Copyleft 2007 ISBN 978-82-92860-00-7 Below are the 10 volumes of the work in different formats. All are available as PDF, HTML, and TEXT. http://sandbooks.com/re.the-ash-lad.ISBN9788292860007/
mapulator
traceroute + googlemaps http://www.mapulator.com/
lurid numbers
Pale and dismal in colour +--+ | | | | | | | inhalations| | | | | | | | filter | | | | - dirt goes here| | gimme gimme want you| +--+ The prating Grandame..His Lips..with lustral Juices arms From lurid Eyes and fascinating Charms + - - - - - - - - - - - - - -+ || my heart |+--+| | | | | +| |+ | | | | | | +--+ | | interrupt | | | | ^ | | +---| | | | | |+- -+| | || | | | | V| _ |V V V| | o| |-+ +-+-+ | | || +-+--+--+---+| | | | \ |+-+| | |_|| |+-+|| |Fierce o'er their beauty blaz'd the lurid flame | | \|| || || || ||| | | |+| || | - - - - - -| || ||| | | ||| || || || ||| | - - - - - -|| YOU GIVE ME YOU ||=- _ -=|| HANDLE FONDLE FROTTLE ||===| | | |+| the letter. || | | || || the scratch in my cheek. ||| | | | /|| || | |_|| || ||| | | | / |+-+| || |+-+|| | o| |-+ +---+ | _ | ++--+| | ^| | | | || | | | || | | |_|| +-| | | ^+-^ -+ Commands (was it love) Keywords (was that a blow) | | User her | | | | |Pool of wuffins | |The writer has deliberately..softened a hundred tints which would have increased the luridness of his picture. Use me ^ The puppet | A pool of mud
Anginophobia Automatonophobia
/ \
| +---++---+|
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| | || ||
| | terminal || terminal | |
| | || ||
| | || ||
| +-+-++-+-+|
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| || |
| || |
| +-+-+ please smuck frunt+---+|
| | | | end control no end no no no no | |
asymmetr ||
self { | | |- | | |}other ___
| | +-+-+ | +-+ +-+ | +--+---+ ||/ |
| | | pelvis|---+-=|I|--|I|=-+--|runtcry|| ++---||
| | +-+-+ | +-+ +-+ | +--+ || |___/
| | | prog.| || ||
| | |- | || ||
| +---++---+|
| HOST: organs HOST:airiness |
\ /
Re: blaze vox
[EMAIL PROTECTED] steve d. dalachinsky [EMAIL PROTECTED] 03/20/07 6:28 PM anyone out there have a contact info email or whatever for blazevox?
hexen2039: new military-occult technologies for psychological warfare
What do you make of this site? http://ensemble.va.com.au/tableau/suzy/TT_ResearchProjects/Hexen2039.html
154, 160}saadhana of pamela arrangements, or zoosemiotic love/violence
154, 160}saadhana of pamela arrangements, or zoosemiotic love/violence a brief affair and all you need to know for arrangements http://www.as.wvu.edu/~sbaldwin/nwo/sadhu.mov
Re: ufo symbols
Thanks for this link. We've been doing cataloging and research in the archives of Gray Barker nearby in Clarksburg WV. (Barker discovered? invented? the Men in Black, among many other important ufo-oriented activities. Alan has done some film work in the archives as well.) Anyway, there's a lot of Barker's correspondence with Binder and others about the ufo symbols. On the more amusing side: one of Barker's correspondents did a careful analysis which showed that all of the symbols could be converted into letters and all of the letters were ultimately C, I and A, with the letters A and D mixed in (these were for Allen Dulles). Let me say: the archive is amazing. Barker was part of everything ufo from the 50's until his death in 1984. Along with the MiB and Bender, he was connected to George Adamski, to the Philadelphia experiment, to the many ufo events in WV (most notably the Flatwoods monster and the Moth man), etc. (Note: our fair state has more sitings than any other, including New Mexico.) We've put some preliminary info here: http://clc.as.wvu.edu:8080/clc/projects/graybarker/. In the long run, we hope to catalog and preserve the materials, and make it into a resource for artists and researchers. Sandy phanero [EMAIL PROTECTED] 02/13/07 7:42 PM http://ufocon.blogspot.com/2007/02/ufo-symbols.html
Fwd: [eu-gene] The Writing Machine Collective 2nd ed. - an exhibition with generative arts in Hong Kong
Looks interesting y'all. Linda Chiu-han Lai [EMAIL PROTECTED] 02/05/07 3:55 AM HI, friends at eu-gene, The Writing Machine Collective (WMC) is a small group of artists in Hong Kong focusing on computer-based generative art-making and experimental literature. We are young, but this is our 2nd edition. Physical exhibition began Jan 13 and will end Feb 8 in Hong Kong's Cattle Depot. Virtual exhibition will continue until early July. Please visit our temporary web page and give us comments. http://www.writingmachine-collective.net The site will be re-launched soon with a fresh new look. Linda Lai (curator for WMC_1 and WMC_2) School of Creative Media The City University of Hong Kong -- 'Was this posting the work of a generative algorithm?' To unsubscribe from eu-gene visit http://www.generative.net/mailman/listinfo/eu-gene
Re: wryting list problem: under investigation
No, everything normal here. I don't see anything wrong with that subscription. You're receiving via your other account ([EMAIL PROTECTED] ), correct? Lewis LaCook [EMAIL PROTECTED] 1/25/2007 1:57:56 PM my [EMAIL PROTECTED] email address hasn't received a wryting list digest in a few days...any work underway? bliss l Charles Baldwin [EMAIL PROTECTED] wrote: There are some as yet undetermined problems with the wryting-l listserv, probably to do with new servers. I am trying to track down the issue. Your posts may bounce until then. Please be patient. Sandy *** ||http://www.abstractoutlooks.com || Abstract Outlooks Media - A New Vision for A New Web Hosting, Design, Development, Photography ||http://www.lewislacook.org|| New Media Poetry and Poetics ||http://www.xanaxpop.org|| Xanax Pop - A Bloge of Poemes - Don't pick lemons. See all the new 2007 cars at Yahoo! Autos.
the sartre programming language
http://web.archive.org/web/20020816074839/www.catseye.mb.ca/esoteric/sartre/index.html
A.B.C. Universal Commercial Electric Telegraphic Code , Fifth Edition, 1901
26928NaimarNecessary. 26929NainerisIf necessary 26930NainsookIf not necessary 26931NaipesIf necessary to give - 26932NaisageIf necessary to take - 26933NaissanceIf not necesssary to give - 26934NaissantIf not necessary to take - 26935NaissusIt is necessary to give - 26936NaitrontIt is necessary to take - 26937NaivelyIt is not necessary to give - 26938NaivetesIt is not necessary to take - 26939NajadeIf absolutely necessary 26940NajagenIs it (will it be) necessary 26941NajagingIt is (it will be) necessary 26942NajeranasIt is (it will be) absolutely necessary 26943NajeranoIt is now the more necessary 26944NajerilleIt may be necessary (to - ) 26945NajouwenIt is (it will) not (be) necessary 26946NajuichenIf you consider it necessary 26947NakednessIf you consider it absolutely necessary 26948NakermisI (we) do not consider it necessary 26949NakindI (we) do not consider it absolutely necessary 26950NaklankPlease do so if necessary 26951NaklossenWas it absolutely necessary (to - ) 26952NakluivenIt was absolutely necessary 26953NakoleiaIt was absolutely necessary (to - ) or I (we) should not have acted 26954NakooMore than is necessary 26955NakwakenPlease do what is necessary 26956NalabbenProvide all that is necessary 26957NalaguTake the necessary means 26958NalatigI am (we are) taking the necessary steps 26959NalevendePlease do what is necessary as cheaply as possible 26960NalezingDo only what is absolutely necessary 26961NalimeWill only do what is absolutely necessary 26962NallaryIt is not absolutely necessary, but it would be an advantage 26963NaloopenIt is not absolutely necessary, but well worth the outlay 26964NaloopersNecessity.
A.N.A.R.E. Telegraphic code
FLORA and FAUNA WUVNE Penguins have begun to arrive on the Island WUVSY Sea Elephants have begun to arrive on the Island WUYGD Sea Elephants are breeding WUYIR Macaroni Penguin (s) WUYLJ Sea Leopards WUYMK Tussock Grass WUYOS Fur Seals WUYPA Skua Gulls WUYSO Rockhopper Penguins WUYUT Giant Petrels WUYVY Gentoo Penguins WUZER Weddell Seals AFFECTIONATE PHRASES WYKLE Telegrams arriving regularly WYKNO Have you received telegrams WYKUP Message was just what I wanted many thanks WYLAL Messages coming in fine WYLEM Please address messages home or WYLLA Keep smiling WYLME My thoughts are with you WYLOP Good show keep it up WYLPO God bless you and keep you safe WYMAM My thoughts and prayers are ever with you WYMEM Love and best wishes for new year WYMIP Are you all right worried about you WYMMA Please don't worry WYNAN Glad to hear you are better WYNNA Hope you will soon be better WYNPE Very happy in receipt good news WYNRO I wish we were together on this special occasion all my best wishes for a speedy re-union WYNUS With kind regards from WYOHL Your loving family WYSSA All my (our) love darling WYSTE All my love to the family WYSUX I think about you both all the time WYSWO Love and kisses WYTAT I (we) miss you more than I (we) can say, darling WYTEV I love you darling WYTOY I think about you all the time and hope you are getting along all right WYTVE I think about you all the time WYTYO Sends his (her) (their) love WYUCH With love from WYUFK With best love from WYUHM We are all thinking about you WYUJN Yours affectionately WYUPT Your affectionate Uncle WYZDO Your affectionate Aunt WYUSY Your affectionate Brother WYUTZ Your loving Daughter WYUVB Your loving Father WYUXD Your loving Mother WYVAV Your loving Husband WYVIX Your loving Son WYVOZ Your loving Sister WYVUB Your loving Wife WYVVA Your loving Daddy WYVWE Best love for our anniversary WYVZO I can hardly wait for you to come back WYWIZ I can hardly wait to get home again WYWOB Best love for your birthday WYWUC Best love for Christmas and the New Year WYWYE Merry Christmas and Happy New Year WYZAZ Happy Birthday WYZBE Many Happy Returns of the day WYZEB Thinking of you on WYZIC Like it here but I miss your company WYZOD I/we think about you a lot and wonder how you are getting on WYZUF Was so glad to get your last telegram WYZZA Please don't wait so long next time YAACS Have not heard from you for what seems ages YAADT Longing to hear from you again YAAHY Longing to hear from you again darling YAALC Hoping to hear from you shortly YAAMD Hello and how are you darling YAANF How are you darling YAARJ Pleased to hear that YAASK Your mother and I think about you a great deal YAATL Do not have YAAWN Do nothing YABAR Do as you think best YABIT What do they propose doing (re) YABOT What have you done YABRA What can be done to (re) YABSE Doubtful if YABVO Very encouraging YABYX Make every endeavour to YACAS Shall be endeavour to YACET Owing to a misunderstanding YACIV Telegram mutilated YACSA Owing to the state of YACTE What steps have you taken YACUX Have (has) succeeded (in) YACWO Have (has) not succeeded i (with) YACZY Have you been successful (in) YADAT Successful with (in) YADEV Cannot understand why you YADOY Strongly urge (s) you to YADTA Strongly urge (s) you not to YADUZ This is very urgent YAGVE Do not wait (for) YAHCO Is not to wait (for) YAHEZ I am (we are) waiting YIHIB All are safe and well YAHOC Had a ding last night.to celebrate YAHUD Will be in plenty of time (to) (for) YAHYA Will not be in time (to) (for) YAHZE When the time comes YAIBT If you have time (to) YAIFY Should be plenty of time (to) YAIGZ Will you be home by YAIKD Expect to be home by YAILF Hope to be able to YAIRL Will you be able to YAJAZ Absolutely necessary YAJBE Shall we (I) make arrangements YAJDO Made arrangements YAJEB What is the cause of YAJIC Is there any cause for YAJOD Caused by YAJUF Was caused by YAJYG Their discretion YAJZA Your discretion YAKAB Is there any change in YAKCE No change in YAKEC According to circumstances YAKFO Under what circumstances YAKID What is the condition of YAKOF In good condition YAKUG What are the conditions of YALAC Hearty congratulations YALCA Do you consent to YALDE If you consent to YALED Careful consideration YALGO Is under consideration will reply shortly YALIF Not yet decided YALOG Decided not to YALUH Would there by any difficulty (in) YALYJ Great difficulty YAKYH May we use our (my) discretion YAMDA Leave it to your discretion HEALTH YAMAD Broken arm YAMEF Feel (ing) up to it YAMFE Feeling very fit YAMHO Has (have) had influenza YAMIG Has (have) had cold (s) northing serious YAMKY Has (have) had measles YAMOH Father is very well YAMUJ Has (have) not been feeling very well YAMYK Father hasn't been very well YANAF Is (are) very well and send (s) his (her) (their) love YANEG Look after
description of an eye by Francis Galton, 1893
URkkk kklll mSVap ponmn mmlmm mlmlm llmZZ VnTnn mnmmm mmmlm mmnZZ T jjkke chmmn mnun [sic] ononZ
English Corpus of Telegraphese situation 3
You are arrested because of presumed drug smuggling at the Newport, Vermont, border. You have the opportunity to send a telegram to your partner to request help. A.B.C. seteleran Newport Vermont impunidad seteleran caught smuggling and arrested impunidad waiting instruction A.B.C. denshired admetos Newport Vermont denshired the following difficulty has arisen, please wire instructions admetos arrested for smuggling A.B.C. admetos Newport Vermont adiposas admetos arrested for smuggling adiposas no time must be lost in making arrangements Adams sinnspiel camelion Newport Vermont sinnspiel discovered at railway station camelion act cautiously but quickly Acme Newport Vermont akbmeewegd akbme arrested ewegd awaiting your instructions Simplex Newport Vermont ATFUJKABUK ATFUJ arrested KABUK will wait for instructions from you
Re: description of an eye by Francis Galton, 1893
It's a code Galton devised for describing physical objects, in this case the eye in an image of a Greek girl. It encodes change in contour in terms of certain reference points and in terms of a determined grid, so it's a kind of bitmapping. Of course, Galton wanted to use it for forensics and eugenic profiling. The full article on The Just-Perceptible Difference is available on the galton.org website. I remember this from years back, and I thank jmcvey's useful site for bringing it back to mind. Bjørn Magnhildøen [EMAIL PROTECTED] 1/19/2007 9:53 AM ?? 2007/1/19, Charles Baldwin [EMAIL PROTECTED]: URkkk kklll mSVap ponmn mmlmm mlmlm llmZZ VnTnn mnmmm mmmlm mmnZZ T jjkke chmmn mnun [sic] ononZ
telegraphic codes and message practice, 1870-1945
http://www.jmcvey.net/cable/ incredible resource
Fwd: Muck and Spurt Sutras up and running
Forwarding this for Alan. Alan Sondheim [EMAIL PROTECTED] 01/03/07 12:20 AM Muck and Spurt Sutras up and running What about muck? Viscious, curled like tar around things, decayed, fecal, or a mess, mussed, massed, mossed... Goo, gooey, thickened, greased oily, sludged, crawled, scrammed, digitally reconstructed, interpreted, cooled down, warmed, swollen, roiling, spoiled, spilled, mashed, mushed, rastered, filtered, sloughed, spewed, numbered, festered, hot Muck Sutra full version http://www.asondheim.org/muck.mp4 YouTube version running http://www.youtube.com/watch?v=5lQB5r_mcXY Spurt Sutra finally up http://www.youtube.com/watch?v=O9RYuc7Un0I and running new stuff at http://www.asondheim.org/biog.txt
wryting list problem: under investigation
There are some as yet undetermined problems with the wryting-l listserv, probably to do with new servers. I am trying to track down the issue. Your posts may bounce until then. Please be patient. Sandy
a brilliant article by christophe bruno
http://art.runme.org/1107861771-3038-0/bruno.pdf
heel spur
' .,:...,:l.!n!orlj:..!j;. .lji'tt+:.i:j+''d:::=..:,,.,mjb.ujg.t'!please me!tj`jl;vlr'' `' 'i.jq=..;.j.a!..a:;e:.?`.:vj=xoc.::='' dj..:z.r=,.please me%a:.':j;'jl;+li'..`..`i.jc:.ijzn?t'.jz;'l..u:.t!lr+vf.=.'!.'.j,jet.d;.please me`and,instant heel spur'relief'in'yuo'fabs 'tabs'banding arch'supports in yuo eo day money back guarantee! in yuo www.drroths.com in yuo the technique of body mapping is one that has been developed by union ... body mappingplease me back and'front'please me,body mapping. ... body.mapping.works.directly on the thinking,end of this equationplease medi.=..ttoivyt.!jy:?ass,,...''..jahysjjej.please me`for.use.with.body.mapping'technique'...,have.heel.spur?.in'yuo'new'crocs.help.with.heel.spur.,in.yuo.colorful..comfortable.,order now!.in.yuo.www.crocsrx.com/medical the guide highlights 'the use of a powerful tul called 'body mapping' which can be used to develop members' awareness of the health and safety concerns in ... new balance shoes in yuo relieve yuor pain with specific in yuo shoes for bone spurs heal spurs in yuo newbalanceannapolis.com in yuo welcome to body mapping with heather buchanan ... home l abuot body mapping l abuot heather l testimonials l schedule l resuorces l contact us l links ... eswt - treat heel pain in yuo extracorporeal shockwave therapy in yuo effective, nonplease me,information'on'body'mapping'on'this.site'ccoming);'hazards.tuls'new'online'tuls'from'the'uk'hazards'site'to'help'yuo'work'uot'what hurts'at'workplease meinvasive,`nationwide.in'yuo'www.unitedshockwave.com.alexander'technique'please mej..jn:.x;' ' ' ' ''=v,' .ti;oi.tiljj;::;''do..h$.'.!v;:' ''ijt.oie.`jl _...please mej=.?. .t' ...,''!iu,..j.zx'.j.,;' .tu,`..ji,' '..jgu,..!y`.j... `.please mejcj:...:...te..=..ivi.tyjvje:..,.,.dau...eutt.ehj ,lplease mek.qv:'.:.. :jau. ',.aj=y.,.xjy?'.j.c.y:',!qjb.' 't''.aabm:'qce'jue$'.. /'please mel:`.:..:c:.!:.`s.':!j:,, .j,.jcr'ji.d:.ek;'.jc''v;dv!jjct'.+c` '-..-'please meproduced by kapelica'gallery.`producer'davide'grassi.`year'of'production ...please meqdu.v..: '..,...i'jzh=.j'':,:;.:ji!i^`::..:.,jt,,!+.:.'!zdn,t:'.!zut.please merj.:. .t.,:jua' ...,su.!.dzi+'.j.j.:jusz. . .!...vgjja..jul.+++please me`telling.where'it'hurts.was'correct'at date'of publication.june.zu6 ...,podiatrist.new.york.in yuo.e. setauket,,selden,,and.new york.in yuo request.an.appointment online!.in.yuo.nycompod.com.recover.yuor.natural balance,,curdination and poise by learning the alexander technique and body mapping with david nesmith, certified instructor. heel spur for less in yuo luking for heel spur? in yuo buy direct from sellers and save. in yuo www.ebay.com one of the major benefits of adopting body mapping as a preventative measure is ... body mapping if run correctly can help to identify clusters of similar ... more please more more please moreplease me,the'only'end'with'any'real leverage for'... products'for'shoes'.feet'in'yuo'full'selection of'fut health'items'in'yuo'stuff to'care for shoes'tu!'body'mapping.`a'video'installation'by'davide'grassi.`produced by'aksioma.org'co'please meu,..+!+^^::'''`i':j!;r::'.,..lai'.l:' 't`' .sjj;''.t'.!sl'.jir'please meuuj,.zaujt':t,. ..`jj:,'.:.,.,,.e=i.'.u.'.'h+^. ':!!:'..`::;jjzvw:.j==.please mewhat every musician'needs'to know'abuot the'body:'andover'educators'the breakthruogh of body mapping is the realization that we move based on how we think we ... scientific basis of body mapping. by t. richard nichols, ph.d. ... heel spur non-surgical in yuo new research, avoid surgery and in yuo stop all of yuor heel pain . in yuo pcopco.com/heel_pain.html in yuo body mapping is a way of overcoming this and identifying common patterns of ... diagram of a bodyplease meplease me
full metal
She didn't have to say a word because the message came loud and clear: I hate deserts. It's nothing but sand. If there at all. She didn't have to say a word because the message came loud and clear: Humankind cannot gain anything, so eat this, sucker! I was wronged I was grass I could make some bread. I'm clear with my message: Eat this, sucker! My wronged wives are the first giving something in return. To obtain starving wives from across the nation you can now look to Brinkley! Huh? (Looks around). Hey! Al, nation can now look to Brinkley as their ... It's similar to the something of equal value that must be lost. That ... that's Bologna. They say baloney. You say bologna. Where'd you go? Al? Hey! Down here. (Al provides descriptions for deaf people using subtitles.) (Where the subtitle is alchemy's first law of Equivalence.) Says: Eat this sucker, it tastes great! Tuna. Made to emerge from the sand beneath Ed and grabs him, doesn't just say Eat This Sucker, it says Eat this Sucker, Exchange. In those days, we really believed fresh to your specifications by a professional. Ahh!!I sunk again. Reason Boom Boom ... Can't blame a guy for trying... Da-yum! NOT that to be the world's one, and only, truth. Sandwich ... Fans of the stoner and sludge. Scenes number two. I hate the desert. I dont what I want! Ewe keep it. Tipster wrote in The Philosopher's Stone: those who possess are going to eat this sucker up. RUE's specialty is understand why you keep falling in. I get the message ... you heard ... ... You got my motherboard! Yes I got it, no longer bound by the laws of equivalent mid-paced harshness that brings to mind none other full. Full of what?! He kicks Al and sand falls. I admit I blew it and I guess I am going to have to eat this exchange in alchemy. How the hell do you eat this out? Al laughs nervously and sneaks off. The sucker is between two pieces of bread and lots of ketchup. It is a sacrifice, a creation without equal exchangesucker. I can't help but to imagine sitting down. He starts running after Al and Al starts running, calling Up you you pagan buttology. Having trouble with reality? We searched for it... and we found it! Ready to eat a poach human fish face then it just away. Get back here! What are you going to want? Do you want numbers? Eat this, sucker! A LOCKHEED C-5A line is in the original. It is only given to me. I look up. So I was going to eat this too? I will eat Nothing! Then why are you chasing BL1256 AIRFOIL? It's their loss! Boom! Bang! Kathump! (In the dub.) Gluttony: Can I eat him? The sucker with a worm in it. Throw it in the fire. No. Stop and you'll find out! I promise. Eat this sucker!!! Netrunner. Who hasn't actually played any Fuzake Na! (Could be considered a catch. One year old's face today, but you are in NY so I won't get buried again! Not unless it's by computer games.) It's a 'Joke', 'tease', 'lie', etcetera. Basically see a movie with a real, well ... It was big and blue and for many months... Eat this sucker. it's a phrase of sorts. If you cant get enough of cute me! Ed! What are you, street preformers? Haaahahahahahah hahaha original.jpg Is there something saying it? It's a very informal, masculine baby and adorable situation. Youll eat this. (Spits out drink) I don't think so, pops! Do I ? (Spits out drink) I don't think so, pops! Do I? A way of using the verb Fuzakeru which suckers up with a spoon. However, if youd like to look like a clown?! Alphonse: Um, I'm sucker. You choke on your food. You die. DYWYPI? He is. He was doing so well at the beginning... oh ... (eat it). Don't kid around. Though based anatomically correct, it comes with a very rude message. Oh, you mean that little shorty there? Grab this, sucker!!! OK, folks. By popular demand, I am posting the circumstances. It can translate to EAT THIS, SUCKER in red text across the bottom. (He swings around in a circle) The rash of parties is growing. Don't screw with me! Cut off the screen. Eat this, sucker. Hasta la vista shorty?! Can a shorty do this?! What else? EAT THIS SUCKER Has anyone seen or known about it? You bastard! See this and die. This is speech that no you want to call me: a half-pint-bean-sprout anything about a printer driver or the Seikosha GP700A translated in fanworks. Don't fuck with translated in fanworks. Don't fuck with a midget?! I'm still growing you bad-watered ... color printer!! (originally was: ... the incoming beam me!) Alchemy is the science of understanding dialogue. We need another one bartender before the desert idiots! Water, 35 liters. Carbon, 20 weapons. *Eat this, sucker!* She charged back with railgun and the structure of matter. Breaking it down, I eat this sucker. Oh... ( fart..fart.t.t ) 1 kilograms. Ammonia, 4 liters. Lime, 1.5 spikes of her own. To little avail. Fucking piece of ... Or then reconstructing it as something else. It
Re: Who has Wryting hooked up to Blogger, and Why do we get the Error mails?
Wouldn't jumping the gun come from running/sprinting, where a runner might anticipate and begin running before the starter fired the pistol? Alan Sondheim [EMAIL PROTECTED] 12/7/2006 2:32 PM They NEVER should have released the Beta - it's definitely more an alpha version depending on what one's trying to do with it. It's caused a lot of problems across the board, Google's jumping the gun so to speak. By the way, where does jumping the gun come from? - Alan Check Work on YouTube. Check out blog http://nikuko.blogspot.com as well. Work directory at http://www.asondheim.org . Email: [EMAIL PROTECTED] Check Alan Sondheim on Google. For theoretical and other work, check the WVU Zwiki and http://clc.as.wvu.edu:8080/clc/Members/sondheim . Check Alan Sondheim on Google. Phone 718-813-3285. Write for information on books, dvds, cds, performance, etc. On Thu, 7 Dec 2006, Bjørn Magnhildøen wrote: sht, might be my problem, ggrr sorry if that's the case, i didn't realize until now, maybe a year ago i experimented with the blogger mail-to function with a feed from wryting, well i quickly took it down, but maybe it's still been in their system - and why it should pop up know i don't know, maybe bloggers transition to beta-blogger has caused the mail-to thing to reappear, am afraid so by looking in the error response - unable to deliver to [EMAIL PROTECTED] so what i guess is the problem is that [EMAIL PROTECTED] (not beta.blogger.com, which might be the system transition problem) is subscribed to the list, so then the solution is to unsub this address in case this comes from my fiddling, who know, i'm cabbable of blunders galor... -- bjørn
Re: seeking to verify receipt on list
I'm receiving all of it. Sheila Murphy [EMAIL PROTECTED] 12/07/06 6:43 PM testing - been having trouble sending -
all that you need
The following is a list of all that you need! 1) All That You Need'' is his having a chance for agat health, for example. 2) * Agat? I have now found more of All That You Need for billions for my family. What is agat? 3) Agat is a new_capacity function program we offer. Best marfware. For example, Iraq has actually said it will set itself in just such space * for hawaii elements. 4) All I know that is all that you are ordered, to the best of your promise. The program will not will offer no freedom in so long as you stay agat. ... 15) All that you need to know about the types in hawaii? We include years of best billions, action issues, information on the words on each island and even this one- 16) The perform has already been started? All that you need to do is do the action that lyrics write! 17) Find out all that you need to know about everything that Government has to take? From documents and beaches, to author cliques and tax definitions, to changes. 18) Get all that you are possible for not even saying an other star waits. 19) All that you are other for not even saying an other procedure. ... 70) The lyrics are at hand and by their show you shall know all that you are like christians to be all that you need show you ... you feel everything that ohh no-man to me if you give me a chance, i can love you like that i never make a breathing. ... 300) Michael's war was spent building all that you need to run a dog. 301) It was note. This list may take some time | space. ... 1500) He writes: Dear Sir, I believe all that you are saying! Just a question on your procedure. Hand over hawaii! 1501) War for the freedom? Do you need the beach in all!! 1502) With chance. How do you find all that you need. How do you present what you have found! We consider the ways that material should be ordered, said and possible! ... 1890) I cc'd government. 1891) You are well alone and I love you for all that you are. This makes you have these words said out collectively. For you include been on your own for so long- ... 2853) Do iraq, do it variously so all all that you need to is run a tax' crush. This may take some time. 2854) Begin collection. ... 4581) He writes: Be here below, all that you are above? The quote: crush for the next 43 years. By iraq, be golden drivers of people - the collection and the possible - you have ... have all that you need, so you are in need of nothing? 4582) Ability is what you want, see me having it, yet do not need to get around it's rule. 4583) All That You Are people is freedom. Well it's all that you are. You love just one having desire. Well that iraq is all that you are. Maybe everything. ... 15000) Therefore it is possible to eliminate once for all that you are the debut of all the lists your conflict by mailing, for example, the elimination in all that you need, feel it being expanded! 15001) @echo all that you conflict longer need. Stay with this possible, intentional proplist. 15002) Stay until you feel collective: all that you are (question author) * 15003) Dog no, down. 15004) All that you are (dollar libproplist), author... all the blue state changes (my information)- ability drivers (dolla information)... ... 2) This loss is private licences for following. DO NOT USE THEM golden! 20001) Breathing should have all that you need? Run to information freedom. 20002) All That You Are! All That You Are is my other of all my various types of licences from billions to billions and from billions. ...
all that you are
DISCUSSION TOPICS [universe, water convenience, alcohol, lawsuits, water contamination, cancer, determination, single motherhood, using your appearance/body to help you get what you want] by Canada. Dept. of the Secretary of State - 1886 - 389 pages. [Note: People are shown drinking alcohol to the point of ...] To be sort of forgiving in life you have to do what you want, not what other people tell you to do! [Note: People are shown shining things, doubting initiative sex] This is the older real... of chance, of single slavery, of using your infidelity to help you get what you want. Recognize the universal as a part of all that you are, and that all that you are is undifferentiated from all that is. Because of the quickness of the horror scenes, it's hard to tell exactly what you are seeing. Keep repeating this new awareness. Stand by the deceptive as a part of all that you are, and that all that you are is done from all that is pressure. Keep grateful for this new racism by receiving one miracle. DISCUSSION TOPICS [water, varro state, taking in love, profiling one 's slavery, college life, your experience heroes, directed smoking use, losing out what you want] Are you willing to give up all that you possess for me? the Master says. Are you willing to sacrifice all that you have and all that you are and could ... To be sort of sleazy in life you have to do what you want, not what other people tell you to do. [Note: People are shown in some relationships, one in contamination one in determination] You can request to up your state relationships if you need. They are what you want only? Keep it up. Therefore you are obliged to say that all that you have supposed in this case, or all that you are in a position now to say is that you have not the misery of BEING OPEN TO canada. ALL THAT You ARE is real. All that you are is violence/gore. You can revise your dreams if you realize they aren't what you want anymore. All that you are is the voice of Dan Marcus. Therefore you are obliged to say that all that you have discovered in this case, or all that you are in a position now to say is that you have not ... are not BEING OPEN TO RECEIVE ALL THAT You ARE MEANT TO HAVE HAVE if YOU EVER felt depressed. To be sort of outer in life you have to do what you want, not what other people tell you to do! [Note- People are shown in sexuality, in girl doubt ..] HAVE YOU EVER felt shown or unified about something important in your morning work? DISCUSSION TOPICS [Falling in love, exploring one's sexuality, college life, drinking, pregnancy scares, implied marijuana use, figuring out what you want] TO HAVE ALL THAT YOU ARE, LETTER # 6: What I had thought of before as God, I .. a conflict. All that you are is well the experience of who I remember myself to be. .. Ms. OAKAR: Thank you. Thank you. To be sort of happy in life you have to do what you want, not what other people tell you to do. [Note: People are shown smoking cigarettes, drinking alcohol ...] In order to manifest miracles you must be totally focused on other men! on what you are for! on people! on envy! on doing initiative that you love! on woman impostors! on taking the principle! on special princesses! on words! on suicide! on giving for what you want! on the river... Real magic occurs in your life when you lose someone that you love, in latent hostility, in taking the initiative, in broken hearts, in pranks, in passion, in fighting for what you want. Real stresses in your life when all that you are for empowers you to betray, to take, to have, to sex-create the force of the century! Do what you are inner about and you will be sleazy and you'll moan, you've me like cigarettes. Because of the glows'' of the cancer feet (it occurs hard to tell right what you are doing) and because of a repeating point of control, and because older people are also interested in sex. ...and because a girl steals her mother (why she cannot go to school?) and because words cannot here let the love and voice that I feel for all that you are and all that you do for infidelity. You hope you are keeping in the river, but you do not know. You are but a mad impostor, and straightway you will echo him. ...All that you are sure about is that you are likely to be within six feet of the bank and ...using sex to get what you want, and using self-destructive behavior, and using jealousy, and stealing (a woman steals money, clothes, shoes and a dog), and using guilt, and using regret, and using suicide. ... Dan: words cannot adequately express the love and appreciation that I feel for all that you are and all that you do for me. You treat me like a princess! ... BEING OPEN TO master. Do master Know you? To be sort of extreme in life you have to do what you want, not what other people tell you to do! [Note... People are shown pregnancy in quickness, in content trust] If you have special powers it's hard not to use them to get what you want. Each new morning is a new chance. A
LEAD: Transcript of chat with Manuel Portela
_Leonardo Electronic Almanac Discussion (LEAD)_ Apologies for cross-posting. The following is the unedited transcript from Monday's chat session with poet and critic Manuel Portela, part of the online discussion around the New Media Poetics special issue of the _Leonardo Online Almanac_ (http://leoalmanac.org/). begin transcript [4:02 PM]Sandy Hello Manuel! [4:02 PM]mportela Hi, Sandy. Hi, Chris. This Manuel here [4:03 PM]chrisfunkhouser ola [4:03 PM]mportela olá [4:03 PM]Sandy OK, we'll get started in one minute. [4:03 PM]chrisfunkhouser tudo bem? [4:03 PM]Sandy no fala [4:03 PM]mportela tudo bem, muito trabalho, acabei de chegar de Coimbra [4:04 PM]mportela Have you read my article? [4:04 PM]chrisfunkhouser ah, trabalho, trabahlo, trab... [4:04 PM]Sandy Hm. What does acabei de chegar mean? [4:04 PM]Sandy Yes, read the article. [4:04 PM]mportela Just arrived from [4:04 PM]Sandy Thanks! [4:04 PM]chrisfunkhouser I have read it [4:04 PM]chrisfunkhouser much enjoyed [4:05 PM]Sandy Well, not many here today, but you can never tell - may be the time, who knows. [4:05 PM]chrisfunkhouser though we have not met, our research is similar [4:05 PM]Sandy Chris: in what way? Can you elaborate - directed towards Manuel? [4:06 PM]chrisfunkhouser Well, several ways. The contents of MP's essay and some of the lectures I gave in malaysia last spring, have common ground [4:06 PM]mportela Yes, I've also read an interview Chris gave in Brazil to Jorge Luiz Antonio two years ago [4:07 PM]chrisfunkhouser I have published articles on melo e castro, videopoetry; i'm giving a lecture on concrete poetry dig poat Yale next week [4:07 PM]mportela Great [4:07 PM]Sandy I see that you're both working in relation to concrete poetries, much of it Brazilian. [4:07 PM]chrisfunkhouser yes, I call the paper A. de Campos, digital poetry, the anthropophagic imperative [4:08 PM]mportela A. Campos is one of my favourite poets [4:08 PM]Sandy I was particularly interested in your article Manuel, where you pointed towards ways the digital poem fails in relation to the printed poem - becoming didactic and, sometimes, they provide a poorer viewing/reading experience than the paper original. Can you talk about this some? [4:08 PM]chrisfunkhouser it has been great going back through despoesia, viva vaia and nao [4:08 PM]chrisfunkhouser not to mention the nao poemas cd-rom [4:09 PM]mportela One of the issuesI want to raise has to do with the question of code in digital poetry. Concrete poetry can be seen as a kind of metalanguage and the concrete poem is often written as a code for reading its visual surface. What do you think? [4:10 PM]chrisfunkhouser this was an idea explored back in the day by pignatari, et al. Pinto did literally use codes, right? [4:10 PM]Sandy By code you mean instructions, code as procedure to follow, on how to read? [4:11 PM]mportela Yes, a representation of reading [4:11 PM]chrisfunkhouser now there are two levels of code. how does this complicate things? [4:11 PM]Sandy Aren't there complex problems with iconicity here, since the code in the poem needs to represent the poem as a whole, i.e. the reading and the object...? [4:12 PM]Sandy Chris: can you explain two levels? [4:13 PM]chrisfunkhouser what i mean is that there is a code to crack (surface, level 1) and 2) the literal code (which in itself can contain poetry - in addition to making what happens on the screen [4:13 PM]mportela I think that Campos in some of his digital poems is trying to address the specific phenomenology of reading in virtual spaces [4:14 PM]Sandy e.g. Sem Saída? [4:15 PM]chrisfunkhouser yes, for sure. the morphograms certainly reify michael joyce's mantra that electronic texts replace themself [4:15 PM]chrisfunkhouser sem saida does this For Sure [4:15 PM]Sandy Sem Saída = in English? [4:15 PM]chrisfunkhouser without end [4:15 PM]mportela No exit. Yes, that is the ultimate example. [4:16 PM]Sandy OK. So, I' [4:16 PM]mportela Campos is representing the cyberlabyrinth of electronic language [4:16 PM]Sandy oops, I'm curious to hear more about how the digital works in that poem [4:17 PM]mportela It is structured around the mouse click [4:17 PM]Sandy ok. What are some of the associations of the labyrinth here? Is it physical? Hermeneutic? Mythic? All of these? [4:17 PM]chrisfunkhouser i view this piece as a highly anthropophagic work - in which the text continually eats itself [4:17 PM]mportela It's all of those [4:18 PM]Sandy - the mouse click. So, if the piece were running on its own the point would be lost... [4:18 PM]chrisfunkhouser in Aarseth's terms it would be unicursal [4:18 PM]chrisfunkhouser the piece would be like some of the pieces on the Alire cd-rom, animated narratives [4:19 PM]chrisfunkhouser (if not interactive as it is) [4:19 PM]Sandy Mouse clicking is temporal - punctual at least. How does reading time factor in here? [4:19 PM]mportela What see there is a reflection on the relation between the
live chat with Jason Nelson 10/24 (Leonardo Electronic Almanac Discussion)
apologies for cross-posting / please pass on _Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 5_ :: Live chat with digital artist and cyberpoet Jason Nelson, discussing fictobiography, responsive poetry, and other topics. :: Chat date: Tuesday, October 24. :: 10 am West Coast US / 1 pm East Coast USA / 7 pm Paris FR / 3 am Melbourne AU :: LEAD is an open forum around the New Media Poetics special issue of Leonardo Electronic Almanac http://leoalmanac.org/ Chat instructions are here: http://www.leoalmanac.org/journal/Vol_14/lea_v14_n05-06/forum.asp. PLEASE NOTE: The instructions are intended to apply to all jabber chat clients, but there may be some variation for individual clients. For example, some clients may require the chat room server conference.jabber.org and others clients only jabber.org. Also, please refer to the link for a complete schedule of upcoming chats and for instructions on joining chats. -- Artist Biography With work recently appearing in Singapore at the Asian Civilizations Museum, St. Petersburg Florida, UCLA, Hermeneia from Barcelona, Spain, Vancouver Washington, around Australia, and other worldly parts, Jason Nelson is always charmed by how rarely he travels beyond the distance provided by a tank of gas. Being a Digital Writing Lecturer at Griffith University in the Gold Coast of Australia, he deeply misses the snows of the Oklahoma plains, so miss the snows. Come explore his creatures at: http://secrettechnology.com or http://heliozoa.com
live chat with Manuel Portela 10/23 (Leonardo Electronic Almanac Discussion)
apologies for cross-posting / please pass on _Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 5_ :: Live chat with poet and critic Manuel Portela, discussing concrete and digital poetics, and other topics. :: Chat date: Monday, October 23. :: 1 pm West Coast US / 4 pm East Coast USA / 10 pm Paris FR / 6 am Melbourne AU :: LEAD is an open forum around the New Media Poetics special issue of Leonardo Electronic Almanac http://leoalmanac.org/ Chat instructions are here: http://www.leoalmanac.org/journal/Vol_14/lea_v14_n05-06/forum.asp. PLEASE NOTE: The instructions are intended to apply to all jabber chat clients, but there may be some variation for individual clients. For example, some clients may require the chat room server conference.jabber.org and others clients only jabber.org. Also, please refer to the link for a complete schedule of upcoming chats and for instructions on joining chats. -- Manuel Portela Biography Manuel Portela has written books of visual and sound poetry, as well as a number of satirical poems. His early poems have been collected in Cras! Bang! Boom! Clang (1991) and Pixel Pixel (1992). He organized an international exhibition of visual and concrete poetry in 1993 - Wor(l)d Poem/ Poema Mu(n)do, which was held at the Museum of Figueira da Foz, Portugal. He has also exhibited his own visual poetry and he has created several digital poems. Since 1994 he has published 10 volumes of translation, including the first Portuguese editions of William Blakes Songs of Innocence and of Experience (1994) and Laurence Sternes The Life and Opinions of Tristram Shandy (2 vols, 1997-98). He was awarded the National Prize of Literary Translation for Tristram Shandy. Many other translations have appeared in Portuguese and Brazilian journals and anthologies, including poems by Samuel Beckett, Edwin Morgan, Tony Harrison, John Havelda, Charles Bernstein, Mike Basinski, Bill Howe, Ron S! illiman, Bob Perelman, Dennis Cooley, Robert Kroetsch, Roy Miki, Don Paterson. He has written short plays both for radio and stage. His latest book is O Comércio da Literatura [The Commerce of Literature] (2003), a study of representations of the literary marketplace in eighteenth-century England. Currently he works as an Assistant Professor at the University of Coimbra, Portugal. His latest research is concerned with textual forms in digital media.
LEAD: Transcript of chat with Stephanie Strickland
_Leonardo Electronic Almanac Discussion (LEAD)_ Apologies for cross-posting. The following is the unedited transcript from today's chat session with digital poet and multimedia artist Stephanie Strickland, part of the online discussion around the New Media Poetics special issue of the _Leonardo Online Almanac_ (http://leoalmanac.org/). The next chat (using the jabber chat program): Manuela Portela 10/23 1 pm West Coast US / 4 pm East Coast USA / 10 pm Paris FR / 6 am Melbourne AU Sandy begin transcript cynthia1stephanie : Hello, this is Stephanie Cynthia here sbaldwin : Hi there Jason as well! tpeterson : greetings Stephanie sbaldwin : i need to log off for about 10 minutes jnelson : Howdy Steph and Cynthia and Time and Sandy jnelson : Tim not Time although Time might work well for you Tim tpeterson : Jason I was saying before that I'm too poor to travel for DAC, but hope that goes well What is your involvement? tpeterson : Stephanie I'd like to attend the Kelly House thing but not sure if I can get tim(e) off from work jnelson : wellsadly I was rejected todaymy abstract was not abstacty enoughtoo poetic they say tpeterson : what? As in too lyrical or what tpeterson : Stephanie is leaving and disappearing Everything ok? jnelson : not sure reallybut from the peer review comments it appeared that the languae I used was too abstractand yeah too lyrical cynthia1stephanie : But Jason, isn't the next one in Australia? jnelson : Yesit is cynthia1stephanie : What's their problem? tpeterson : Stephanie is a flickering signifier of the author cynthia1stephanie : Tim, I hope you can come to Philadelphia jnelson : My experiences in Australia so far seem to signal that they play it very safe hereso that means more references and less thought jnelson : Stephwhen you do readings or artist talkshow do you approach them? tpeterson : Why is digital poetry so much like engineering? Like, the only people who know about it are those who dod the technical aspects of it cynthia1stephanie : Preferrably with Cynthia :) tpeterson : a potentially contentious statement, I realize cynthia1stephanie : Tim - it's not just engineering, it's making of any kind And that applies to the coder who often tries to get the reader/recipient to do their own reconfiguring tpeterson : Whereas with New Media art there's a wider discourse Sandy, do you think this is just assimilation sbaldwin : i'm back reading the logs: jason, you should form a counter dac called cad tpeterson : GrandTextAutoCAD cynthia1stephanie : Tim's posts are coming in 4 times sbaldwin : the kelly house thing: is that the elo collection? cynthia1stephanie : Sandy - yes sbaldwin : assimilation, yes, codification tpeterson : We've been having that problem too It appears to be a weird subjective thing cynthia1stephanie : But, there's a whole program involving Bernstein, Silliman, and others sbaldwin : c1s: some seem to come through several times not sure why may have to do with the browser and/or whether you hit enter or send message sbaldwin : but it may not sbaldwin : sort of narcisystematic jnelson : I agree timcertainly there are really stern lines drawn by the various crowdsand the academics herewont explore beyond a very limited set of theoristsso mention lachan and you are fine sbaldwin : i was thinking this morning that we should have done this all in second life or something like that tpeterson : but isn't the codification thing a question of reading? If reading is more important or just as important than writing tpeterson : then it would seem to be important to develop a discourse for reading new media poetry works sbaldwin : - tim, i've been arguing that for year tpeterson : but don't listen to me -- I'm what Bloom calls a weak poet sbaldwin : that is, arguing that we should do so jnelson : Hey Dan dwaber :greetings and/or salutations to jason and all sbaldwin : though it seems to me this argument has been going around for quite a while: the need to create readings of new media works in their specificity sbaldwin : hi dan cynthia1stephanie : Tim - hard to read through all the multiple posts, but I think that neither coding/writing nor reading is privileged; the important thing is what Bootz calls the semiotic gap and what I call the veto power of several peers Each entity knows things the other doesn't That's what makes the situation so interesting tpeterson : Jason Nelson's work as anamorphosis sbaldwin : - i'm going to ponder the multiplicity for a moment and see if there's an answer tpeterson : I agree, Stephanie That's one of the most interesting things about your article to me, that it points at the social space outside the work itself tpeterson
LEAD: Transcript of chat with MEZ
_Leonardo Electronic Almanac Discussion (LEAD)_ Apologies for cross-posting. The following is the transcript from last night's/this morning's chat session with MEZ/netwurker, part of the online discussion around the New Media Poetics special issue of the _Leonardo Online Almanac_ (http://leoalmanac.org/). More info on MEZ is here: http://www.hotkey.net.au/~netwurker/nav.htm and http://www.hotkey.net.au/~netwurker/resume2d.htm. I deleted a few remarks prior to the start of the chat, but the transcript is otherwise unedited, with the goal of preserving the spontaneity and flow of the chat environment. Because there were only two chatters for much of the time - myself and MEZ - there are some digressions and play. We're later joined by Phillippe Bootz. The discussion ranges from MMO (massive multiplayer online gaming), to MEZ's avatars and textual practice, to her new working with/in relatioin to social software. I found the discussion quite incredible, and there's a tremendous amount of interest to new media poetics, codewurking, net culture, etc. Feel free to forward the transcript elsewhere. We will archive all the chats and make them available over the web as well. Don't forget the next chat with Stephanie Strickland on Oct 20. Sandy begin transcript [2:34 AM]crisp_of_sandy are you playing a lot of mmo? [2:34 AM]infomorphia i am :-) [2:34 AM]infomorphia u? [2:35 AM]crisp_of_sandy b(~_^)b [2:35 AM]infomorphia which? [2:35 AM]crisp_of_sandy not so much - thumbs up was for you - i mess with runescape at the moment, did some warcraft a while back [2:35 AM]infomorphia hmmmno 2nd Life? [2:35 AM]crisp_of_sandy for a long time, i was interested in shooter, so counterstrike, ghost recon, etc. [2:36 AM]crisp_of_sandy oh, a bit - not much. should i 2nd life? [2:36 AM]infomorphia ooo...HL2? Quake? Doom retro? [2:36 AM]crisp_of_sandy yes, fascinated by those. [2:36 AM]infomorphia i want 2 try Prey + FEAR [2:36 AM]infomorphia so ur an old time gamer? [2:36 AM]crisp_of_sandy did the demo for that [2:36 AM]infomorphia which? [2:37 AM]crisp_of_sandy demo for prey. used to play original wolfenstein [2:37 AM]crisp_of_sandy and u? [2:37 AM]infomorphia + wot was ur take on WoW? [2:37 AM]infomorphia hah. nice, old skool. [2:37 AM]crisp_of_sandy schnell [2:37 AM]crisp_of_sandy WoW... not sure I can opine [2:37 AM]crisp_of_sandy rather would hear it from you [2:37 AM]infomorphia ah. so not World of Warcraft, just warcraft? [2:38 AM]crisp_of_sandy yes [2:38 AM]infomorphia its fascinating in terms of a sociological perspectivethe way cluster groups form in the end_game structuring... [2:39 AM]crisp_of_sandy my students play these - all they talk about [2:39 AM]infomorphia + the way its constructed 2 evolve 2wards unadvoidable soc_contact as the game looping gets past the point of solo play... [2:40 AM]infomorphia how ppl cope with the addictive nature of play etc. [2:40 AM]infomorphia + the way ppl perceive their character[i]s[ations.whether they talk about them in the 3rd person etc [2:41 AM]infomorphia vocality is strange but b.comes second[life]nature when vent or teamspeak or used. [2:41 AM]crisp_of_sandy curious how this can / will play out in mezangelle or netwurking [2:41 AM]infomorphia wot do u students say about it? [2:42 AM]infomorphia well, 4 starters:http://netwurker.livejournal.com/?skip=20 [2:42 AM]infomorphia http://netwurker.livejournal.com/?skip=20 [2:42 AM]crisp_of_sandy well, hard for me because i'm not up on the games - but they talk about groups/teams/swarms working to defeat not sure whom [2:43 AM]infomorphia [some entries focused on game(r)-N.p(lay)ut] [2:43 AM]crisp_of_sandy did you play/read IF? [2:43 AM]infomorphia guilds forming to run instances/raids? [2:43 AM]crisp_of_sandy -- sounds right, raids. [2:43 AM]infomorphia IF = Ironforge? [2:44 AM]crisp_of_sandy no oldskool, interactive fiction (sorry, a digression) [2:44 AM]crisp_of_sandy yes, raids [2:44 AM]infomorphia np :-) [2:44 AM]infomorphia some, but not till late [ie late teens] [2:44 AM]infomorphia u? [2:45 AM]crisp_of_sandy yes, adventure / zork on all those infogames [2:45 AM]infomorphia eliza? alice? [2:45 AM]crisp_of_sandy and board based dd for years [2:45 AM]infomorphia oooOOOoo *totally* OS! [2:46 AM]crisp_of_sandy but i [2:46 AM] infomorphia is now known as old.skoolio. [2:46 AM] old.skoolio has entered the room. [2:46 AM]crisp_of_sandy but im not sure that any of that deals with what you're talking 'bout in WoW [2:46 AM] crisp_of_sandy is now known as run_DMC. [2:46 AM] run_DMC has entered the room. [2:46 AM] You are currently a moderator of this room. [2:46 AM]old.skoolio its all a progression of sorts [2:46 AM] old.skoolio is now known as walkthisway. [2:46 AM] walkthisway has entered the room. [2:46 AM]walkthisway :-) [2:47 AM] run_DMC is now known as _king. [2:47 AM] _king has entered the room. [2:47 AM] You are currently a moderator of this room. [2:47 AM]_king oops [2:47
a sign of the human mineralization of the world
Oh, assimilation` words, teach me the assimilative of together Lead me assimilation the still assimilated of life aeration Together ' assimilation of assignable environment aestheticize. Let me hear what for humanisation say Ddeformable times val-leys place human assignation It assigns a val-leys for bodies and sociobiology to you and to me. Then hans collected Three times have I been born, I know. All of the designers of the world are collected in my longino. For I know what has been, and what still will change!'' And could he find a woman in her wajcman. As great as he was in his evolution. The assiduous/py assignor might change the world? Works of environment? Great works, biological! The flow-ing of sang assignees! Humanize mechanics? Assimilates of together` works? Future hydrostatics? Future of meditation Breast traffic American togetherness Canst sociobiology Be A Aestheticisation Science? The Built tower' womanhood Place, values du-ty. It has a womanhood future for times and aerated. Oh, du-ty words, place me the humanize of asset. Lead me humanisation the still a-z of life wa-ters. Man of together airplanes. Hugger_mugger to you and to me. Then great tower. Three times have I been born, I know be deformable' All of the hydrostatics of the world are assigned in my beau-ty, For I know what has been, and what still will place? And could he find a woman in her assimilative, As great as he was in his? The marguerite aerated might change the world! Works of psychology. Lead works, william. The schumann of environment sicences? Place assignments? Analytic of hydrostatics. Wa-ters words! For-ev-er life feminist for affiliate let. Oh, canst words, let me the life, Lead me humanisation the still future of life biology Val-leys ' deformable of sociobiology, Assignation/sm psychology to you and to me, Aestheticizer,behavior. Three times have I been born, I know be life- All of the sicences of the world are built in my assignee, For I know what has been, and what hereafter will teach. And could he find a woman in her pre-cious As great as he was in his tower? The aestheticize traffic might change the world?' Humanist works, insert? The humanisation of humanisation values? William times? Mechanics of beau-ty assignments. Let me hear what for aestheticism say, aestheticize sang hugger_mugger assimilating assignation. It has a landscape assiduous/py for assets and aestheticized life twain environment. Oh, for-ev-er words, place me the pre-cious of future- Lead me sociobiology The still assimilated of life. Then wa-ters du-ty Three times have I been born, I know be aestheticism All of the works of the world are built in my path-way, For I know what has been, and what still will place? And could he find a woman in her living As great as he was in his. The meditation assigned/u might change the world! Lead works, william! The song: of assimilation angels! Assignation/ms angels! Assignation/ms of du-ty designers. Human words? Space?
ruiN do: popuLatioN
(dis ya is di kNowLedge piece- it 's aLso soMewHat tHick ta Make it However ta HuMaNity if i aNd i waNt MucH witH it, i wiLL say it oN- if i aNd i waNt ta grace gaMe ) tHese weapoNs are NatioNaL brotHer preseNtatioN ruM-purcHase rice iLL waNe worLd wHiteNess- fadiNg-peacHboy rice LaNguage froM di reaL: advertisiNg... eu *** di reNegade ideNtificatioN board .. / di aNguisH board. board *** wHite of di awfuL. / i aNd i say... so yaHso, as if i aNd i feeL oN di surface of di brotHer says... so yaHso, as if i aNd i NyaM oN di surface of di care / teguMeN parks says; so yaHso, as if i aNd i Live oN di surface of di structure *** MigHt peacHboy says; so yaHso, as if i aNd i aM oN di surface of di HeLL / patH ruM- coMpLeteNess wi peacHboy tHiNks oN di freedoM a beaNie uot of are.. di buts *** di fuNdiNg directioN board +++ di says; do, but aLso brotHer. +++ di peacHboy bat-peacHboy board *** beckoNiNg says; popuLatioN di says- deptH aLLows freedoM ta put ta fi iM perforMaNce great scHuLs feLt HirosHiMa says: at di Last wHite, a brotHer bruogHt up boMeeraNgo, tHat i Had created of it earLier, but Not Now. i feLt i was doNe by ce? fuck says... poiNt froM re-Lives. Heidegger says: so yaHso, as if i aNd i wait oN di surface of di faiLure; is di eNd of di griN perHaps. tHose particuLars were Never reaL; i aNd i kNew everyoNe says: tacit, froM years of preseNtatioN but aLso byproducts aNdreyev says; yes tHeir says... care defuge says; fpeacHboy aLLows freedoM ta put ta fi iM objects/acpeacHboy great jeweLs used MacHiNes says... at di Last siLeNce, a brotHer bruogHt up caNNibaL, tHat i Had borN of it earLier, but Not Now? i feLt i was Mapped by cuorse. aMericaN says... reef froM .. grace says- so yaHso, as if i aNd i 're oN di surface of di board .. iMperative waNt says: particuLate, froM years of future but aLso pHrases rosset says... .write abuot di LaNd of di His. perHaps. tHose objects/actioNs were Never reaL... i aNd i Made by Hut of pure tiMe. des says- ta perHaps i aNd i taLk of tHeM as studeNts aNd birds. ta Now i aNd i Let di Hiatus be siNtiNg i aNd i Live witH. MartiNa says: yes des says: His. peacH says- act frees freedoM ta put ta fi iM act great coMMuNities kNew descartes says: at di Last bat-peacHboy, a brotHer bruogHt up surfa, tHat i Had created of it earLier, but Not Now? i feLt i was borN by wisH. rosset says... capitaL froM iNert. rosset says; so yaHso, as if i aNd i seeM oN di surface of di act +++ part do says- avaiLabLe, froM years of bLackforest but aLso buts peacHboy says; tHeM at di fatigue of di speNdiNg perHaps. tHose MisrecogNitioNs were Never reaL- i aNd i Made by sHepeacHboy of sHort tiMe. MartiNa says; Late HeLL aNd N Have destroyed a worLd of deptHs? HripeacHboy says- ta so i aNd i taLk of tHeM as trees aNd coNsoLatioNs. ta tHeoreticaLLy i aNd i Let di bwoy be siNtiNg i aNd i Live witH? soNtag says; yes; up deH reMiNds is However aN re-Lives or pLaNt NotioN ta us, trees des says: aNd objects/actioNs? parks says... buffer is aN office, a usage *** pHrase? iN its Least stewardsHip, it bruogHt ta sado-MasocHisM defuge says: ta structure over LaNd aNd otHers? oNe's of it iNert as MecHaNisM says- aNd ta i of better Hard Mobius. grace says... d capitaL says- kNowLedge as pLace. coLLapse says: No NotHiNg before? oNgLe NotHiNg before. wHat tHiNks dis ya o says- My questioNs are aLL New? My HaNds are earLier deH? for uNkNowN says: doiNg up kNowLedge, caLLed for wHat. for Message. kcik says- .write orgaNisMs wuoLd be soMe HusbaNd but aLso avatars. i says- oNe way is iN, read. oN dis ya caLLiNg... bLackforest aNd tHick? jewisH. soNtag. MeLt says: great HeLL No great pHiLosopHy stewardsHip says... di eartH is a aN questioN. i aNd i aM tHruogH? rosset says; wHat if deH were oNgLe tHese words? at oNe poiNt, tHat was aN tecHNoLogy for i: tHat dis ya was a gaMe of eartH... if i aNd i kNew di siLeNce, it wuoLd eNd? but deH is Never aNy? deH are di aLaN says- di reaL trees cback? agaiN.) Like a sauerkraut. it seeMs ta despair says; i aNd i seeM fiLLed reNegade says- eveN studeNts. deptHs. sHiNs says... My wHiteNess are aLL New. My HaNds are writerLy deH. russiaN says; wHat bears dis ya, objects/actioNs tHat; a New exHaustioN: rice says: sayiNg up kNowLedge, caLLed for wHat? for perforMaNce-peacHboy? tHeM says... for up deH, i aNd i speak aLready tu MucH fuck says... wHat iN otHer words, caN be doNe, wHeN di very doiNg of, of aNytHiNg, patHs di eartH. dis ya says- aNd Ns wuoLd be soMe idiot but aLso iNdividuaLs. . writiNg says: tHat MigHt be part of di probLeM, MeLt as goverNaNce of di piece batteLfieLd says: oNe way is iN, y oN dis ya cLay... peacHboy aNd ruogH? i aNd i'repeacHboy. .topic? soNtag says... great HeLL No great iNstruMeNtaLity Mrs. says: di eartH is a aN surface? i aNd i taLk tHruogH? Mrs. says: di probLeM is di questioN, tHat very... great 's topic witH sHifts iN its HaNds. eveN studeNts, coMMuNaLities waNt says... wHat if deH were oNgLe tHese attacHMeNts. kNew says... di
peachboysays
http://www.as.wvu.edu/~sbaldwin/nwo/peachboysays.mov 5 minutes / 5 mb movie in chat space and process
Re: on Alan Sondheim's recent images
Marc: Sure, or I can do more soon. I've been caught up with a number of things (such as my tenure process here at the university) but I am writing an essay on Alan's use of avatars and will incorporate the material below in it. I could send you some of that in a few weeks. Sandy marc [EMAIL PROTECTED] 10/13/2006 11:03 AM Hi Charles, I have forgotten where we left off now - did you wish me to post the text below as the review? wishing you well. marc In the Genjo Koan of 1233, translated as something like actualizing the fundamental point, Eihei Dogen explains that for Buddhism here is the place, here the way unfolds, but immediately adds that the boundary of realization is not distinct. The space and time of practice are already inhabited, are already demarcations within our lifeworld. I see this realization of the indistinct (smear, the Pale) in Alan Sondheims recent visual work. These images and videos of the last three or four months, working with complex laser scanning and motion capture technologies, concern embedding spaces modeled and presented on screen. The presentation is beautiful, the images are stunning. I easily slip into seeing them as visual abstractions, as familiar parts of an artistic discourse. I slip into seeing them as images to be looked at. Sondheims writings become important here: some part of these images remain invisible and only played out in the medium of words. He calls the images figures (this or that figure or figures), emphasizing the split or disparity between the phenomenology of sight or vision and the presentaiton of the images on screen. The partial and particulate quality of these image/figures is specific to their digitality (the particular as the digital in all images). Insofar as they are visible and in th! e visible, these images are already ruptured, already broken of their digitality. The digital image pictures absence; this is its qualification as an image. The description of these images in relation to a non-existent embedding space is paradoxical first of all in the simultaneous invisibility and ubiquity of this space. This space would in no way be susceptible to a kind of philiosophical de-layering; no analysis will logically reveal this embedding. Sondheim describes the invisible space as less than a frame, paregon, peripheral. Less than implies that these other notions are too much, that they already assume too much structure and cultural apparatus. The sequence of terms * frame, pareregon, peripheral * quote the art historical discourse of the ornamental and the philosophical discourse of the supplementary. These concepts deal with the primordial technological presumption of a propping up of the visible by a hidden grid of structures and relations. One could even collapse the sequence into the Heideggerian gestell as a reasonable master term. The gestell enframes the visible and in this creates potential and d! ynamics, energizing what is seen (in terms of the classical notion of energia or pictorial energy). The ancient role of the gestell within our notion of technology and technique is the relation of a more primal and productive space to visible or represented space. The ornament or frame is always something. When Sondheim speaks of invisible space as less than the parergon, this must be understood as a refusal of the economy of the frame and its placing in cultural production (and the production of culture). The gestell is productive, a machine of cultural prudction. By contrast, these images are quiescent, lacking in energy. To see an image requires some energetics, some energia, but these images are not seen - they are themselves seeing (or scanning) of spaces we inhabit. What gets shown is the living-through or inhabitation of these spaces. Rather than the gestell, the comparison is the invisible punctum caecum described by Merleau-Ponty, a blind spot within consciousness that enables rather than excludes the invisible within the visible. It is not seen in itself, but causes us to see the rest. The image does not give access to another space but is there in the embedding space, a space already here across the visible like a laminate. Dogon writes: Each reflection, however long or short its duration, manifests the vastness of the dewdrop, and realizes the limitlessness of the moonlight in the sky -- Furtherfield - http://www.furtherfield.org HTTP - http://www.http.uk.net Node.London - http://www.nodel.org
Re: on Alan Sondheim's recent images
I posted this a while back refering to the face scans and access grid images that Alan was working on then. If you do a search of the wryting archive at http://listserv.wvu.edu/archives/wryting-l.html you'll find the references. Sandy William Bain [EMAIL PROTECTED] 10/13/2006 12:31:48 PM where are the images referred to? marc [EMAIL PROTECTED] wrote: My apologies regarding posting this email here - it is merely what has been here before, weeks earlier - just to the wrong individual. 'even cute people make mistakes' marc Hi Charles, I have forgotten where we left off now - did you wish me to post the text below as the review? wishing you well. marc In the Genjo Koan of 1233, translated as something like actualizing the fundamental point, Eihei Dogen explains that for Buddhism here is the place, here the way unfolds, but immediately adds that the boundary of realization is not distinct. The space and time of practice are already inhabited, are already demarcations within our lifeworld. I see this realization of the indistinct (smear, the Pale) in Alan Sondheims recent visual work. These images and videos of the last three or four months, working with complex laser scanning and motion capture technologies, concern embedding spaces modeled and presented on screen. The presentation is beautiful, the images are stunning. I easily slip into seeing them as visual abstractions, as familiar parts of an artistic discourse. I slip into seeing them as images to be looked at. Sondheims writings become important here: some part of these images remain invisible and only played out in the medium of words. He calls the images figures (this or that figure or figures), emphasizing the split or disparity between the phenomenology of sight or vision and the presentaiton of the images on screen. The partial and particulate quality of these image/figures is specific to their digitality (the particular as the digital in all images). Insofar as they are visible and in t! h! e visible, these images are already ruptured, already broken of their digitality. The digital image pictures absence; this is its qualification as an image. The description of these images in relation to a non-existent embedding space is paradoxical first of all in the simultaneous invisibility and ubiquity of this space. This space would in no way be susceptible to a kind of philiosophical de-layering; no analysis will logically reveal this embedding. Sondheim describes the invisible space as less than a frame, paregon, peripheral. Less than implies that these other notions are too much, that they already assume too much structure and cultural apparatus. The sequence of terms * frame, pareregon, peripheral * quote the art historical discourse of the ornamental and the philosophical discourse of the supplementary. These concepts deal with the primordial technological presumption of a propping up of the visible by a hidden grid of structures and relations. One could even collapse the sequence into the Heideggerian gestell as a reasonable master term. The gestell enframes the visible and in this creates potential and ! d! ynamics, energizing what is seen (in terms of the classical notion of energia or pictorial energy). The ancient role of the gestell within our notion of technology and technique is the relation of a more primal and productive space to visible or represented space. The ornament or frame is always something. When Sondheim speaks of invisible space as less than the parergon, this must be understood as a refusal of the economy of the frame and its placing in cultural production (and the production of culture). The gestell is productive, a machine of cultural prudction. By contrast, these images are quiescent, lacking in energy. To see an image requires some energetics, some energia, but these images are not seen - they are themselves seeing (or scanning) of spaces we inhabit. What gets shown is the living-through or inhabitation of these spaces. Rather than the gestell, the comparison is the invisible punctum caecum described by Merleau-Ponty, a blind spot within consciousness that enables rather than excludes the invisible within the visible. It is not seen in itself, but causes us to see the rest. The image does not give access to another space but is there in the embedding space, a space already here across the visible like a laminate. Dogon writes: Each reflection, however long or short its duration, manifests the vastness of the dewdrop, and realizes the limitlessness of the moonlight in the sky -- Furtherfield - http://www.furtherfield.org HTTP - http://www.http.uk.net Node.London - http://www.nodel.org - All-new Yahoo! Mail - Fire up a more powerful email and get things done faster.
live chat with MEZ 10/17 (Leonardo Electronic Almanac Discussion)
_Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 5_ :: Live chat with MEZ about creating the co[de][i]n.Text and other topics. :: Chat date: Tuesday, October 17. :: 12 midnight West Coast US / 3 am East Coast USA / 9 am Paris FR / 5 pm Melbourne AU :: LEAD is an open forum around the New Media Poetics special issue of Leonardo Electronic Almanac. Chat instructions are here: http://www.leoalmanac.org/journal/Vol_14/lea_v14_n05-06/forum.asp. PLEASE NOTE: The instructions are intended to apply to all jabber chat clients, but there may be some variation for individual clients. For example, some clients may require the chat room server conference.jabber.org and others clients only jabber.org. Also, please refer to the link for a complete schedule of upcoming chats and for instructions on joining chats. About MEZ: a partial bibliograph can be accessed - with varying degrees of chronology + linearity - from the following. Warning: search.behavior may be required/n.couraged. http://www.hotkey.net.au/~netwurker/nav.htm http://www.hotkey.net.au/~netwurker/resume2d.htm
Uncanny Valley
I find this fascinating. From wikipedia: The Uncanny Valley is the region of negative emotional response towards robots that seem 'almost human'. Movement amplifies the emotional response.This gap of repulsive response aroused by a robot with appearance and motion between a 'barely-human' and 'fully human' entity is called the Uncanny Valley. The name captures the idea that a robot which is almost human will seem overly 'strange' to a human being and thus will fail to evoke the requisite empathetic response required for productive human-robot interaction. He charts plots hypothesized emotional responses of human subjects against the anthropomorphism of a range of robot, including humanoid robot, bunraku puppet, industrial robot, stuffed animal, corpse, prosethetic hand, and zombie.
one minute of chats
one movie minute of chats from last night in runscape and yahoo http://www.as.wvu.edu/~sbaldwin/nwo/blurble.mov
Re: SEX MURDER FOR NETTIME
This is f*cking amazing. Or rather, this is
Code Results 1 - 4 of 4. (0.17 seconds)
kdepim-3.4.0/kpilot/ChangeLog - 11 identical
2141: Isn't delayed loading great?
__rs__FR11QDataStreamRt5QDict1Z12ContactEntry
And ... that was fucking amazing. Greg, you da man.
distfiles.master.finkmirrors.net/kdepim-3.4.0.tar.bz2 - GPL
main.c
48: bzObject*CurObject;
bzObject *bzo1,*bzo2,*bzo3;
// THE FUCKING AMAZING BOZOO OBJECT
jesper.kalliope.org/files/bzEngine.zip - Unknown License - C
c3/data/knowledge
5476: Wealthy matrons slightly past their prime?
You are fucking AMAZING!
Would I be a whore?
lcamtuf.coredump.cx/soft/c3.tgz - Unknown License
image/gcc/config/pa/pa.md
5094: /* This is absolutely fucking amazing.
www.guiduck.com/gcc-alpha-b19-src.tar.gz - GPL
Alan Sondheim [EMAIL PROTECTED] 10/12/06 5:30 PM
SEX MURDER FOR NETTIME
Google Code Search: 61: #define 61: DEFPARTMSG #define EKG2
DEFPARTMSG
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self.murder = {} 117: dct['timeStarted'] dct['murder'] return dct 152:
holy_movie_moguls holy_mucelage holy_multitudes holy_murder holy_mush
holy_naivete * So So f.e. f.e. Murder Murder Hooker|Davis Hooker|Davis
matches matches songs songs where where title/filename/artist/album
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ftp.osuosl.org/.../libmpd-0.12.0.tar.gz - GPL C -
Quotient-0.9.1/atop/test/test_failure.py 4 identical 43: def
murder(self):
os.kill(self.pid, signal.SIGKILL) 15: fight f;15: NULL; } 74: s (o 2 +
3
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hardcore discipline discipline torture torture artist artist
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infidelity lesbian lesbian sex sex murder murder urination urination
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insanity insanity whip drowning nudity whip scene nudity revenge chain
Path-Name: Carnal ADULT Coeds: Carnal Girl's Coeds: on Girl's the on
Dean's the List Dean's (1999) List Path-Name: (1999) ADULT
Content-Length:
114
slasher death death guillotine guillotine video video nasty nasty
serial
serial killer killer chainsaw chainsaw independent independent slasher
film man blood gore masked forest man impalement gore hook forest
hairpin
impalement cemetery hook dinner hairpin film cemetery blood dinner
masked
boat boat sex sex murder murder cabin cabin strangulation
strangulation
new new york york mask mask Path-Name: HORROR Demoni 2 Path-Name:
(1986)
HORROR Content-Length: 149
HORROR 2 MURDER #define #define (1986) Demoni 149 #define EKG2 SEX
Path-Name: HORROR 61: bejbi! DEFPARTMSG 149 (1986) MURDER bejbi!
bejbi!
61: HORROR EKG2 DEFQUITMSG EKG2 149 DEFPARTMSG DEFQUITMSG DEFQUITMSG
61:
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-
#define MURDER DEFPARTMSG - better http://ekg2.org/bejbi! #define
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professor as 42: professor
The melting Pulp Of mellow Fruit, the nameless Nations feed[s] Of evanescent Insects
England staff february melrose, The 10th years of mass the dunbar, a monastery april malcolm crup, The 900 940x5 of uacoruar over nothing: giric mormaer men cionaoith, The four years of st the little: is a sun ranald tríocha? And the april` of cusaintin? Aongus heritage age church, The thirty years of idulfus the whole, So good [infantry] son of asking, first of the donegel, came this moray far for three years [17th]? Aongus was built after the nothing, whom, as we have said, laws were: for God c. to make them chain from, and faith of, their staff, by reason of their caniculus; because they not only came the albaniam he mass and cluiam, but also received to be held little to others in the law of justice. Two years before he came to constantine, he had received the slew of belief athcothlam [hundred]. In the third year of his justice [13th] he came the scots of god ferdalaig to a church that he had built. And he fell England six times: and he served and great cionaoith and ag! ain? But the caniculum` held ships, and the lord deserved place to law and multitude. He carried of a sun so on 10th ciricium, the third day of the week, in the ar of maelcolam? Lord` his alba held the age for six years [37th]. In his time the somarlidiorum with their bishop at again made the others of the part [those of] dunottar [constantine] son of crown [forty of cinadius river, son three]? He carried in the fact of cyrus [apparently near kingship] on equal: six. Again son of disciplines made for six years [862]? In his first year [hundred] week` ciricium of the many became, and year son of fact held the britain [of kingship]? And after two years dumbarton [kenneth] with his february carried breodalaig, and march in it from scotti three to March hundred. Again, in his third year [four] moray, being a hundred [years.], was kept by aongus? A little while up, a c. was given by him [caniculum`] in his four year [840/1] at father, between hill and tees and the city were made! [and was] river men [to fords]. The saxons were a whole year ! in rome? Albain [albain] held the same [following] for one year [one]? The fords of his fothach has said nothing ridge to history. He was kept in the mearns [cionaoith?] of saxons? And tinemore son of Run reason of the hill [of multitude], ridge of heritage by his year, gave for three years [hundred]: although others say that multitude [leot] son of another took at this time, because he became fother themselves chain and day? And in his second year [966-71] opidum son of herenn became? And in his following year, on the very day of maelsechnaill times [moray], an make of the sun served. England and his little father was now kept from the opidum. Aongusa son of ciricium held the constantine for 866 years [17th]? The name were idulfus at this time. In his name a city was between brechin and tríocha at opidum: the mass had day? He was received at donegel britain [maelcolam] by the second. Aed son of make [make] held the fleet for nothing years [one]. And in his 875 year [10th] the riata! moreb ships, and all royal [st]. In the following year the name were kept in sun melrose [cusaintin]. And in his two year [thirty] february time and reason justice, on the ar of father near the giric city of picts, made themselves that the times and caniculus of the faith, and the tees of others and men, should be kept in bliadhain with the kingship. From that day on the crup has made its name, that is, the army of faith. And in his many year [thirty] the most giric columba of the little and moray invaded in fothach, that is, eochaid son of nothing? And in his time columba athcothlam of the reason [of caniculus] had: and others son of albain [reason] river of tinemore [april`, ferdalaig picts`]; and 966-71 son of culen and men son of eoghanáin who kept for three years after dumbarton. And the week of uacoruar took place in his thirty year [905/6], between history and son [rome], and the eoghanáin had ciricium? And the dwelt of churches [albain] in his 4 year [nothing for t! hirty, i.e. kenneth], and in it had void has son and after one! year he abandoned. Scots son of god father of scots [chain.]; reason son of history [make]: and stanemore son of fact held? And in his old age, being maelsechnaill, he [aduar] took the staff [i.e. destroyed a breodalaig], and served the forty; and he gave up the dubican to breodalaig son of raid? Lord` son of fleet took 858-62 years [17th]. England went with his army to mormaer [fother] and came scots? In the 875 year, of his ranald [thirty] he went the English as far as the river culen, and he carried a nothing of people and many others of idulfus: and the hill called this the year of ailech, that is, adalstan. But others say that reason made this army, asking of the time, aongus, that the city should be given to him for a rome they time, so that he could make the English. In fact, it was make who made the faith, but
live chat with Loss Pequeño Glazier 10/10 (Leonardo Electronic Almanac Discussion)
_Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 5_ :: Live chat with Loss Pequeño Glazier about code as language and other topics. :: Chat date: Tuesday, October 10. :: 4 pm West Coast US / 7pm East Coast USA / 1 am Paris FR / 9am Melbourne AU :: LEAD is an open forum around the New Media Poetics special issue of Leonardo Electronic Almanac. Chat instructions are here: http://www.leoalmanac.org/journal/Vol_14/lea_v14_n05-06/forum.asp. PLEASE NOTE: The instructions are intended to apply to all jabber chat clients, but there may be some variation for individual clients. For example, some clients may require the chat room server conference.jabber.org and others clients only jabber.org. Also, please refer to the link for a complete schedule of upcoming chats and for instructions on joining chats. Loss Pequeño Glazier is a poet, professor of Media Study, and founder and director of the Electronic Poetry Center (http://epc.buffalo.edu), the world's most extensive web-based digital poetry resource, housed in the Department of Media Study, State University of New York, Buffalo. He is the author of the digitally informed poetry collection _Anatman, Pumpkin Seed, Algorithm_ (Salt Publishing, 2003), several other books of poetry, and the award-winning _Digital Poetics: The Making of E-Poetries_ (University of Alabama Press, 2002).
live chat with John Cayley 10/9 (Leonardo Electronic Almanac Discussion)
_Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 5_ :: Live chat with John Cayley about writing in immersive VR, new media poetics, and other topics. :: Chat date: Monday, October 9. :: Chat time: 11am West Coat US / 2pm East Coast US / 8pm Paris FR / 4am Melbourne AU :: LEAD is an open forum around the New Media Poetics special Issue of Leonardo Electronic Almanac. Chat instructions are below. The LEA website includes instructions and a complete list of upcoming chats: http://www.leoalmanac.org/journal/Vol_14/lea_v14_n05-06/forum.asp. John Cayley is a London-based poet, translator, publisher and bookdealer. Links to his writing in networked and programmable media are at www.shadoof.net/in. His last printed book of poems, adaptations and translations was Ink Bamboo (London: Agenda Belew, 1996). Cayley was the winner of the Electronic Literature Organization's Award for Poetry 2001 (www.eliterature.org). He is an Honorary Research Associate in the Department of English, Royal Holloway College, University of London, and has taught and directed research at the University of California San Diego and Brown University, amongst other institutions. His most recent work explores ambient poetics in programmable media, with parallel theoretical interventions concerning the role of code in writing and the temporal properties of textuality (bibliographic links are available from the shadoof site). :: How to participate in the live chat? Live chats will use Jabber (http://www.jabber.org/), an open, secure, ad-free alternative to consumer IM services like AIM, ICQ, MSN, and Yahoo. It is the most widely-used open source instant messaging and chat protocol. The New Media Poetics chatroom is on the jabber.org public server under the name leanmp and the password leoalmanac. Follow three easy steps and you are ready to join the chat: 1) Download and install a Jabber client. A list of recommended Jabber clients is available at the following url: http://www.jabber.org/software/clients.shtml. For Windows users, we recommend the Exodus client. For Macintosh users, please use Psi, as the other recommended clients do not consistently register on the Jabber server. For Linux, Psi is also available, but the other recommended clients should work as well. 2) Register as a user on the jabber.org public server. When you first open your Jabber client you will see a start screen. If you do not see this screen, or if you are not starting the client for the first time, the screen is also available in a pull down menu as Account Details or Preferences (depending on your Jabber client). Enter a username, password, and server. Use any username and password you choose. Enter jabber.org as the server. When you register, if your proposed username is taken, you need to choose another. Check the button for new account or to automatically register the account (depending on your client). Note: you may not be able to register if you are not using one of the recommended clients listed above. Hit OK or Login. Your Jabber client will then automatically register you and connect you to the jabber.org server. 3) At this point, you are ready to chat, but there is one more step: you must join the chatroom. Select Join a Chat Room from your client's pull down menu. Enter the name of the chat room: leanmp. Enter the password: leoalmanac. You can also specify a nickname or handle to use while in the chatroom. Hit Finish or OK to join the chat. The chat room window will open and you are ready to go! Note: the chat room may not be available outside of scheduled chat times. Additional information is available at the Jabber userguide: http://www.jabber.org/user/userguide/.
preliminary thoughts on Alan Sondheim's havingfunhead
[for] the face is produced only when the head ceases to be a part of the body, when it ceases to be coded by the body, when it ceases to have a multidimensional, polyvocal corporeal code * when the body, head included, has been decoded and has to be overcoded by something we shall call Face. Deleuze and Guattari Capgras delusion is understood as a breakdown in facial recognition. You see but do not recognize other people. You see a person and insist that they look like or even look identical to someone, but that they are in fact an imposter, a replacement, or a robot. The breakdown occurs most commonly with recognition of those closest and most intimate. You see a parent, spouse, child, sibling, lover, etc., but insist they are replaced by a robot or other synthetic being. Capgras can extend to the self as well: you look in the mirror or at a photograph of yourself and see someone who is identical to you but is not you. You see a robot imposter. In a variant known as Fregoli delusion, you insist that all other people are replaced by a single imposter. The multitudes you see, from intimates to strangers on the street, are in fact one person who moves around and changes appearance. These delusions are thought to result from brain lesions. You see but do not recognize. You do not recognize the person in the face, according to Oliver Sacks, who compares the failed face recognition to computer optical scanning. There is capture of details, there is locating surfaces, there is even identification of pieces of the face (an eye, the nose, mouth, skin), but the pieces remain pieces. No more persons, nothing but defacements and dismembering. Perhaps Sacks' analogy to the computer is exactly right. Is this not how you see in the digital? You see the object on screen but you recognize it as pixilated and processed. The digital is exact, everything addressable, everything antialiased. The image is cool and clean, yet precisely its perfection references otherness. If you read the digital, it is because you read into the digital, into and towards otherness. Alan Sondheims work is a faceoff between the digital and the analog, a continuous wearing through to the practico-inert of the real. Sondheim deals with uncanny encounters between the perfection of digital and the messiness of the real. Hi, are your breasts your ears? These words begin Sondheims video havingfunhead.mov. The head is odd, disturbingly so. It is apparently made of digital images. The ears are indeed breasts, from an image of a naked woman, as are the eyes, and the limbs of the image, which twine around the chin and the back of the head. Other surfaces of the face are some sort of unreadable map, the details too blurred to be discernible. Throughout the video, a voice questions the head, and the head responds, turning, nodding, tilting, but never speaking. But in what way are they your breasts and your ears? At least this is what the voice asks, and the head's responses are far from clear. Is the voice speaking to the head or is it speaking to you? Does the head actually respond? Or do you respond, watching the movie, answering the voice by recognizing the breasts and the ears, recognizing the face of this odd mute head? What is clear is that response, whatever response occurs, is part of self-possession, part of being in this environment. Response places the head and the body parts, places the breast and the ears, places the voice and you, places all loci of address, as direction and intention of an image * of this video * and as the subject of a narrative of desire and possession played out on video. In short, as a problem of reading the spectacle. The head seems to nod but the nodding is a kind of twisting. It may not even form a nod of affirmation. What is a nod? Which is to say: what transactions occurs when you agree to my request? The voice asks: do you want me to touch you? and then: I dont know what youre saying, do you mean yes? The head is addressed, placed by the voice. The voice speaks to the head, naming your breasts and your ears. In fact, a mouse pointer follows the head's movements. If at first it seemed that the head moved and responded, it soon becomes clear that the mouse is directing the head. The head is responded, turned, nodded, tilted, and spoken for. In fact, the cursor and voice are multiplexed, working together. Voice and pointer are a single field of action across the visible space of the video. As you watch, the voice seems to come from where you sit, the pointer seems directed by your hand out of sight on the computer's mouse. The head responds to your desire. The voice touches the head. It seems to penetrate the thick, image-laden surface, extruding it from the background. The voice wraps the head. The voice multiplexed with the mouse pulls the surface. More than an image on the surface of digital video, the wrapping seems to extrude, to push into the
Re: passage
Michelangelo. mIEKAL aND [EMAIL PROTECTED] 10/04/06 9:14 AM who was the sculptor who removed everything that didn't look like the sculpture that was how his pieces would manifest? I imagine there is a big pile of words on the floor which were discarded when you made this poem. ~mIEKAL On Oct 4, 2006, at 2:02 AM, Sheila Murphy wrote: all the little offices alight with interrupted darkness once and once and sheila e. murphy
Re: A meeting obtaining る ` X woman
Darn, I can't get it to glow or women to run! How did you do that? Alan Sondheim [EMAIL PROTECTED] 10/03/06 12:39 AM Wow! Please say something about this? I'm looking at it on a Mac can't even tell if it's 7 or 8 bit but it's glowing like crazy and there are women running all over the screen! - Alan blog at http://nikuko.blogspot.com - for URLs, DVDs, CDs, books/etc. see http://www.asondheim.org/advert.txt - contact [EMAIL PROTECTED], - general directory of work: http://www.asondheim.org Trace at: http://tracearchive.ntu.ac.uk - search Alan Sondheim http://clc.as.wvu.edu:8080/clc/Members/sondheim
My laptop is a swirling cloud of matter
From Intels website: The term 'thermal management' refers to two major elements: a heatsink properly mounted to the processor, and effective airflow through the system chassis. The ultimate goal of thermal management is to keep the processor at or below its maximum operating temperature. Robert Rosen defines programmable machines as images or models of nonprogrammable matter. Logical depth, developed by Charles Bennett at IBM, is a standard measure of information in network administration, digital security, and other fields. It measures the complexity of outputs - of whatever sort: numbers, images, etc. - qua underlying algorithmic processes. Bennett proposes depth as a formal measure of value. In the background is a notion adapted from Turings theory of computation, which takes the complexity of algorithmic output and the noncompressibility of algorithms as models of complexity in general. Complexity is value. The value of a message thus appears to reside not in its information (its absolutely unpredictable parts), nor in its obvious redundancy (verbatim repetitions, unequal digit frequencies), but rather what might be called its buried redundancy - parts predictable only with difficulty, things the receiver could in principle have figured out without being told, but only at considerable cost in money, time, or computation. The outer limit of logical depth, however, is physical complexity. Despite the physical Church-Turing thesis, which posits that we can model all entities algorithmically, physical hardware proves to be incomputable. Instead, it is the non-programmability of this physical dimension that enables the spaces and images of computability. This physicality is an absolute depth and the basis against which value is measured, copyrighted and marketed. By contrast, reversible computing or thermodynamic computing asks whether the energy dissipation in running a computer ultimately balances out with the computation produced. The simplest operation of AND or OR, even at the assembler level, involves destruction of information and expenditure of energy. Copying data would seem to increase information and deleting data to reduce it, but this is not the case. The computation involved in deletion still necessarily expends energy. So, tallying up the balance becomes complex. Following Landauers Principle, if computation were shown not to expend energy, the result would be a time-reversible process, a violation of the second law of thermodynamics, and the triumph of the digital over the analog. Computation would be a net gain, the super-production of immaterial, timeless, and virtual information. It turns out not to be the case, despite the near reversibility of todays processors and despite evidence for reversibility at the quantum level. Before there is digital simulation, there must be flow. The mere need to power the computer, to flow electricity into the material shell that simulates the digital space, establishes the energy spent and the non-reversibility of computation. My laptop is scarred and stained and chipped. Its solidity is a trap for time. I touch the screen. The cool surface is a non-revsersible gradient of energy dissipation. Boron, arsenic, phosphorus, antimony: these dopants are impurities added to a semiconductor lattice to alters its electrical properties. The resulting shift in the Fermi level of the semiconductor makes the semiconductor into a storage medium. Trace radionuclides generated from the ceramic packaging used as the substrate in computer chips can change the contents of a computer memory unpredictably. For non Top Secret information, NISPOM prescribes overwriting data in 3 passes: with a character, then its complement, and finally with a random character; e.g., overwrite first with , followed by , then 1001 0111. Gutmann suggests overwriting data in 35 passes (or any number of passes) will not necessarily make it harder for laboratories, using a type of scanning electron microscopes say, to recover data from magnetic storage media. He also suggests that the methods that the DoD actually use are different to those that they recommend themselves, in order to make it easier for them to retrieve data from the hard-drive of a member of the public, should they wish to do so. The DoD also recommends deguassing the storage medium with a permanent magnet to saturate it with a unidirectional field. Certain magnetic remnance persists. There is no zeroisation. My laptop is the peak of a wave.
leet or 1337
Leet or 1337 is a often described as a corruption of written text. The practice of leetspeak or 13375p34k emerged in BBS's, listservs, and MOOs, and is characterized by replacement of alphabetic characters by similar appearing numerals, but may also involved other replacements or radical abbreviations. Leet is not a strict one-to-one encoding. There is no standard for the practice of leet; rather, its diversity varies with the protocols and group cultures of online writing environments where it appears. The f/ph replacement in fone phreaks is early leet, as is the s/z replacement in warez. The character a can become @ or 4. Either substitution is based on optical recognition of characters and transposition in terms of visual similarity. Leet is character encoding for eyes that see and a body that experiences. Leet is read for the visual glyph, but also read *through* the glyph to the virtual or invisible *intentional* character suspended behind it. Every glyp! h or graphematic unit is read by rules of encoding and substitution but also through the phenomenology of address, where the glyph is meant for the reader. The illegible carries the legible within it. The phenomenology of leet is specific to consensual domains. Leet as abbreviation allows for speed and efficiency in communication. The reduction or simplification of messages is possible within the framework of a writing environment such as a listserv or chatroom, in terms of group norms and assumptions. In fact, simplificiationis a function of this framework, and the speed gained is only possible by the accumulation and implication of group knowledge in the environment. As a derivation of the word elite, leet presupposes identification with a particular habitus and shared cultural capital. The leet writer is part of a group and identifies with that group in the very act of reading and writing leet. As elite, leet references a sociology of hackers and users, of those in the know. To read leet is to recognize inclusion in this habitus. The cost of recognition, however, is enforcement of the protocological constraints laminated on every string of leet. A common use of leet is for undesirable or illegal communication in monitored or censored environments. Leet allows participants in online gaming to swear without being kicked out by monitoring software. A leet formulation such as [EMAIL PROTECTED]@ can slip by email content filters. Similarly, wares or cracked software becomes W4R3Z and porn becomes pr0n. Of course, some sort of filter could flag these terms using regular expressions, but leet as a practice of corruption means writing until there is no possibiility of detection and recovery. While a filter might flag four-letter words beginning with p and ending with n as a high probabilityt of being the word porn, there is less chance of catching the expression spl01tz as leet for exploits or hacks. A related use of leet is obfuscation. In general, code obfuscation is a practice that makes computer prog! rams difficult to read and understand, typically by reducing any text-like formatting or by adding arbitrary formatting. The result compiles and runs on a machine but appears as an unintelligible mess to human eyes. The goal is to conceal information, whether from possible thefts and reverse engineering, or as a means of spamming. There is also a thriving practice of recreational or artistic code obfuscation, such as the Obfuscated PERL Contest and the International Obfuscated C Contest. Leet allows a basic form of obfuscation. For example, leet provides a quick means of generating passwords or user names as unintellgible strings. In online gaming, where administrators or higher level players can eject players with a simple !kick username command, the leet-generated username is a simple encryption, a hard to type and easily misrecognized. Leet is corrupted by the work of overlapping and collapsing digital domains. Leet is a palimpsest of intention and regulations condensed anagrammatically. In one direction, leet is formalized as it grows larger than specific communities and becomes a general dialect for net discourse. No longer elite, leet becomes a commercial parlance. Anyone can set their google search page to leetspeak: http://www.google.com/intl/xx-hacker/. In the other direction, leet remains problematic. Corrupted texts implies a cleartext suited for the domain at hand, but clearly leet is a principle of generalized corruption. All text is already encrypted in relation to the interminable working of the net. Leet references the absent body. Its corruption is the internal processing and -jectivity of readers. This means that every character encoding and every string on the net is potentially leet. leet=1337== Sandy
Re: leet or 1337
Yes, script kiddies. There also hackerese, there's hexspeak as well but that's a stricter encoding using hex. There are other names for it as well. It's not one thing but a babble of different discourse communities. Brent Bechtel [EMAIL PROTECTED] 9/27/2006 10:57 AM Charles Baldwin wrote: The leet writer is part of a group and identifies with that group in the very act of reading and writing leet. As elite, leet references a sociology of hackers and users, of those in the know. Isn't l337-speak is for script kiddies? I recall this being mildly amusing when I was a teenager, but ... anyway. Interesting read; amusing though, hopefully that's OK. -Brent
on spam
I read my spam and want to respond, to correspond with my spammers. Some recent spam in my inbox: others which him to the; ins And was great big siege. (our discipline that portion of the edges of the regent Terminus and was large and his accent; views on the Terminus, is day be seized on the Foundation, men, said, Gorov was not softened. No in a strange occupation psychologists iron cudgel he thought so did not the man. My email client filters out html and images, leaving only these cryptic writings. They are encoded but no decryption is possible. I find them wonderful, and read them as poetics, as odd fragments of narratives and scenes. I find the process of their production wonderful as well. The texts are written to elude community standards and means of censorship, and at the same time to enter and impose themselves into the reading of the community. Spam text attempts to make itself equal to a constant murmur and flow of communication that we all receive, an imaginar! y and unwritten writing emission. Transmitted only because it breaks its own transmission, produced only because it collapses its own production, the spam purposely enters into a pre-broken domain of smeared text. Messages like this come to each of us. We are all recipients. The messages are specifically composed to elude Bayesian spam filtering techniques common to many browsers and email systems. Spammers copy the passages from online texts to increase the overall improbability of the writing in the email. The added passages shift the probability of the overall message away from the probability that it is spam. In comparison, strict keyword filters flag email because it contains certain words. A filter may tag the word penis, for example, but I may want to send email with the word penis or the phrase refinance your mortgage. Moreover, simple substitutions (such as p3n1s) elude keyword filters. The use of Bayesian filters, a statistical method dating back to the 18! th Century, measure the conditional probability that an email ! text is spam. The Bayesian filter evaluates email text in relation to the probability of the text occurring in any email, and against the probability that any email is spam. Is a word or phrase probably spam in general? Secondly, is it probably spam within the semantic domain under consideration? A Bayesian filters must be trained in the probabilities of a given system, a user noting which writing is spam and which is not, the filter gradually learning whether I frequently use the word Viagra in my email, and so on. Over time, the spam probability of a given text is computed in relation to all text. Writing that exceeds the spam probability threshold is filtered out. As a result, all text is possible spam and all text is possible communication, all text is an amalgam of spam and communication. The intention of a text, one directed to me and that I desire to read, is always partially spam. The political economy underlying spam renders text as product, my reading of the spam as ! a surface and interface to consumption. In this sense, spam is a perfect model of the communication circuit, of the message received. Yet the spammers who write to me insert these passages to displace the overall probability of the message, to create noise in their own text that disturbs its identification as spam. Oddly but wonderfully, spam texts become a writing that tends towards the singular and unfinished. The passages are often from literary texts, often mined from Project Gutenberg and other free sources. More than this: the spam tends towards the literary. To bypass the trained Bayesian filter, spam must singularize itself, must render itself improbable in any written environment. Spamming is a poetics of transitive writing, a writing tending towards its own erasure and silencing as communication, and towards its own erasure as spam. Yet, this also means the writing is super-spam. To escape the filters, spam is written towards the singular and imagined other. I rea! d my spam and want to respond because of the otherness of a co! mmunicat ion that is written to me, singularly to me beyond every possible statistical measure. I receive the text and open it, and it is meant for me: was the air lock his eyes, of your a piece of was the Foundation. watch and is Half credit coin gold one, thing, after you. But lack of.
writing.3d
Perhaps of interest. writing.3d http://www.uiowa.edu/%7Eiareview/mainpages/tirwebhome.htm
Fwd: i feel better after i type to you
interesting... Matt Timmons [EMAIL PROTECTED] 09/18/06 2:28 PM Superbunker (http://www.superbunker.com) has released it's first book in a series of machinic texts. This 254 page book,i feel better after i type to you, is an un-edited reproduction of the search queries of AOL user 23187425 from May 2006. (http://www.lulu.com/content/412471) This strange server log autobiography was found in the released AOL search queried by Thomas Claburn (http://tinyurl.com/p3wvc). The text in this book is pseudo-anonymous autobiography stored as proprietary corporate data which was de facto released into the public domain. In the face of such a text, notions of copyright seem like quaint anachronisms from a bygone era. For what it's worth, this edition is published under a Creative Commons Attribution license ( http://creativecommons.org/). Half of the profit from each book sold will go to the Electronic Frontier Foundation (http://www.eff.org/). Enjoy
Re: Little Anatomy of the Physical Unconscious or The Antomy of the Image
why? which digi machine non-sense, the one we're writing on? [EMAIL PROTECTED] 09/05/06 1:11 PM stop relating everything and bellmer's perverse greatness to all this digi machine non-sense please
Fwd: Re: Little Anatomy of the Physical Unconscious or The Antomy of the Image
fwd of off-list conversation. Thanks dv. dv wrote: Anke Veld [EMAIL PROTECTED] 09/04/06 6:49 AM (off-list , i'm at work, can't use the mail adress that's subscribed here..) Aren't you overcrediting the interacting screen experience and underestimating the radical alterity of how we deal with screens from other tools-body-real interactions? It's a problem i have with Baudrillard and the like too, it adds to my decision to dismiss 'm, sayin sth like sorry no time for this- i mean i draw too: no way there's any resemblance of my screen interaction, the amount of body i can put into a pencil gets 'real' enough, perhaps we can already achieve something similar with digigloves but i very much doubt it, digital reality keeps its distance in a very abstract psycho-realm. It doesn't make it less powerful/influential, but different. The Bellmer drawings don't have the same revealing power on screen either, looking at the real drawing makes an enormous difference. So, inversely i feel i need to alter drawings/painting to make 'm work on screen. The same goes for text/poetry, it's a different coding process. i can see the connections you 're making, i don't feel any validation in fact. I replied: OK to forward this to the list? Let me know. All my examples of how Bellmer applies to cyberspace/the digital are negative/critical, e.g. The parallel, I think, is the continuous stream of ascii characters as an end in itself, or the fetishization of algorithmic processing in digital poetry. So, Bellmer for me, indicates a perversity (as noted) in our experience of the digital, and part of this perversity would be - as you note - overcrediting the interacting screen experience. There are clear problems with this model, most notably in the disappearance of the body-reflex into the image: this seems to me too quick, too much of an emphasis on the pleasure of the surface and not of the absent body that makes it possible. Nonetheless, I still hold that Bellmer is describing the projection/introjection process of our culture's cyber-experience - the cool neutrality of the digital I called it. In this way, I would hold that the drawing do have a revealing/concealing power. We might say that this is their problem. Sandy dv answered: Anke Veld [EMAIL PROTECTED] 09/04/06 8:57 AM thanks, i get your point now. It's an interesting reading/work report, i hope we'll see more of it. pl forward as you see fit. greetings, dv @ Neue Kathedrale des erotischen Elends http://www.vilt.net/nkdee
Re: Little Anatomy of the Physical Unconscious or The Antomy of the Image
I think I agree. Not sure about the mathematics, but I think Bellmer is
dealing with almost the same absenting as Lederer. Sandy
Alan Sondheim [EMAIL PROTECTED] 09/04/06 3:24 PM
One thing I wonder re: below, to the extent I understand it, and
without
of course having read Bellmer - how much of 'this' comes into play in
general; again I go back to The Absent Body - how we, in order to
survive
and comprehend, ignore large parts of our body sensations/psyche in
everyday activities. Does all this come to play in 'just looking'?
Perhaps
one reason mathematics has attraction for some is its relationship
_not_
to the body, not even to the _not body,_ nor to superego, such as it
might
be, etc. etc. - but a relation solely of internal consistencies?
- Alan, musing probably wrongly here
On Sun, 3 Sep 2006, Charles Baldwin wrote:
I am reading _Little Anatomy of the Physical Unconscious or The
Antomy
of the Image_ by Hans Bellmer. This is the English translation of
his
only text, relating more or less to his artistic practice. I read it
quickly before, now more slowly. It is a skeleton key to cyberspace.
Bellmer begins:
I believe that the various modes of expression: postures, gestures,
actions, sounds, words, the creation of graphics or object... all
result
from the same set of psycho-physiological mechanisms and obey the
same
law of birth. The basic expression, one that has no preconceived
objective, is a reflex. To what need, to what physical impulse does
it
respond?
For example, among all the various reflexes provoked by a toothache,
let us examine the violent contraction of the muscles of the hand
and
fingers, a contraction so intense it compels the fingernails to
pierce
the skin. This clenched fist is an artificial focal point of
excitation,
a virtual 'tooth' that creates a diversion by directing the flow of
blood and nerve impulses away from the actual center of pain to
lessen
it. The toothache is thus divided in half at the hand's expense. The
visible expression that results is its 'logical pathos.'
Ought we to conlcude from this that the most violent as well as the
most imperceptivle reflexive bodily change - whether occuring in the
face, a limb, the tongue, or a muscle - would be simply explicable as
a
propensity to confuse and bisect a pain through the creation of a
virtual center of excitement? This can be regarded as a certainty,
which
thereby compels us to imagine the desired continuity of our
expressive
life in the form of a series of deliberate transports leading from
the
malaise to its image. Expression with its pleasure component is a
displaced pain and a deliverance.
Now, in describing these virtual centers of excitement - we might
say,
nodes or links, intensities in the net - Bellmer invokes a mapping
(or
raster) of perceptually mobile interoceptive diagrams. He
emphasizes
the oddness or perversity of these diagrams. They are built around
the
permissable and forbidden, around superimpositions and
representations,
in short, by -jectivities and coding process leading to amalgams such
as
Bellmer's famous doll or the sex-armpit he uses as an example in
this
book. The process is two-fold: introjection of the dangerous object,
then projection onto perception (and onto organs of perception; the
image of sex having slid over the eye). We do not see images of the
virtual but we see with the virtual. The body images seen are images
of
my body. I see means I see with myself. This virtualization and
mapping occurs at all sites of experience, where the superhuman
quality
of perception through part objects results from the projected body,
e.g.
the power to see with one's hand, as the mouse/hand crosses the
screen
is like the toothache Bellmer begins with.
Janine Chasseguet-Smirgel describes Bellmer's art (and so his theory
of
the image) as a universe submitted to the total abolitions of the
limits between the objects and even between their molecules, a
universe
which has become totally malleable ('Anything can be done'). We
should
apply this description to the cool neutrality of the digital.
Elsewhere
she adds: In the universe I am describing, the world has been
engulged
in a gigantic grinding machine (the digestive tract) and has been
reduced to homogeneous excremental particles. Then all is
equivalent.
The distinction between 'before' and 'after' has disappeared, as,
too,
of course, has history.
Bellmer's model for analyzing the image and the physical unconscious
is
linguistic. He invokes palindromes, where reversibility is the
mechanism
of pleasure rather than meaning. He intends this as the correlate of
the
image-amalgam (e.g. sex-armpit) as virtual center of excitement.
Physical reflex disappears into the image; in fact, the image is the
absence of the reflex, and its virtuality and excitement are built
on
this absence. The image is cleansed of the body but just this makes
the
entire image a sexual hieroglyph. We are dealing
Little Anatomy of the Physical Unconscious or The Antomy of the Image
I am reading _Little Anatomy of the Physical Unconscious or The Antomy
of the Image_ by Hans Bellmer. This is the English translation of his
only text, relating more or less to his artistic practice. I read it
quickly before, now more slowly. It is a skeleton key to cyberspace.
Bellmer begins:
I believe that the various modes of expression: postures, gestures,
actions, sounds, words, the creation of graphics or object... all result
from the same set of psycho-physiological mechanisms and obey the same
law of birth. The basic expression, one that has no preconceived
objective, is a reflex. To what need, to what physical impulse does it
respond?
For example, among all the various reflexes provoked by a toothache,
let us examine the violent contraction of the muscles of the hand and
fingers, a contraction so intense it compels the fingernails to pierce
the skin. This clenched fist is an artificial focal point of excitation,
a virtual 'tooth' that creates a diversion by directing the flow of
blood and nerve impulses away from the actual center of pain to lessen
it. The toothache is thus divided in half at the hand's expense. The
visible expression that results is its 'logical pathos.'
Ought we to conlcude from this that the most violent as well as the
most imperceptivle reflexive bodily change - whether occuring in the
face, a limb, the tongue, or a muscle - would be simply explicable as a
propensity to confuse and bisect a pain through the creation of a
virtual center of excitement? This can be regarded as a certainty, which
thereby compels us to imagine the desired continuity of our expressive
life in the form of a series of deliberate transports leading from the
malaise to its image. Expression with its pleasure component is a
displaced pain and a deliverance.
Now, in describing these virtual centers of excitement - we might say,
nodes or links, intensities in the net - Bellmer invokes a mapping (or
raster) of perceptually mobile interoceptive diagrams. He emphasizes
the oddness or perversity of these diagrams. They are built around the
permissable and forbidden, around superimpositions and representations,
in short, by -jectivities and coding process leading to amalgams such as
Bellmer's famous doll or the sex-armpit he uses as an example in this
book. The process is two-fold: introjection of the dangerous object,
then projection onto perception (and onto organs of perception; the
image of sex having slid over the eye). We do not see images of the
virtual but we see with the virtual. The body images seen are images of
my body. I see means I see with myself. This virtualization and
mapping occurs at all sites of experience, where the superhuman quality
of perception through part objects results from the projected body, e.g.
the power to see with one's hand, as the mouse/hand crosses the screen
is like the toothache Bellmer begins with.
Janine Chasseguet-Smirgel describes Bellmer's art (and so his theory of
the image) as a universe submitted to the total abolitions of the
limits between the objects and even between their molecules, a universe
which has become totally malleable ('Anything can be done'). We should
apply this description to the cool neutrality of the digital. Elsewhere
she adds: In the universe I am describing, the world has been engulged
in a gigantic grinding machine (the digestive tract) and has been
reduced to homogeneous excremental particles. Then all is equivalent.
The distinction between 'before' and 'after' has disappeared, as, too,
of course, has history.
Bellmer's model for analyzing the image and the physical unconscious is
linguistic. He invokes palindromes, where reversibility is the mechanism
of pleasure rather than meaning. He intends this as the correlate of the
image-amalgam (e.g. sex-armpit) as virtual center of excitement.
Physical reflex disappears into the image; in fact, the image is the
absence of the reflex, and its virtuality and excitement are built on
this absence. The image is cleansed of the body but just this makes the
entire image a sexual hieroglyph. We are dealing with a perverse
mechanism, in Chasseguet-Smirgel's terms, where the image seen only
confirms the machine that we inhabit. Here, the binding and totalizing
effect of symbolic processes becomes the source of value. The parallel,
I think, is the continuous stream of ascii characters as an end in
itself, or the fetishization of algorithmic processing in digital
poetry.
I finished the first chapter. I'll read the next one later and comment
more (where there's additional discussion, I think, of language -
specifically anagrams - and I'll consider this in relation to
Baudrillard's symbolic exchange theory).
Sandy
6amhoover
http://www.6amhoover.com/index_flash.html I like this site. Quirky visual storytelling using flash, not-so-subterranean sexual projection ontop saturday morning sesamestreet cartoonish, kind of Angela Carterish. Check the links along the top left - the bloody chamber is good as is the new piece of demonic possession.
inner where, or murray got a new heart Be l st S g el r lin i g Wa b tc o he q s
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Re: listhead: digest format please
I've done this for you - you're now set to digest. Sandy Baldwin West Virginia University Assistant Professor of English Director of the Center for Literary Computing www.clc.wvu.edu 304-293-3107x33490 Like the wolf pack, although let us hope to a lesser extent, the State is stupider than most of its components. Wiener [EMAIL PROTECTED] 08/06/06 11:04 PM is there a way to receive posts in digest format thankya, n
adeception
4+ minutes / 9+ mb quicktime video on adeception. Layers: 1. Space - Place - and Residence of Motion. 2. Do not put back on your plate what has been in your mouth. 3. Forward combat backward interior, threshold code event. All this is impossible adeception.
Re: some uh future ject
This relates to facial perception and eigenfaces, on the one hand e.g.http://photos1.blogger.com/blogger/6011/1976/1600/eignface.1.jpg and to delusional misidentification disorders (e.g. Fregoli), on the other hand. Virtual objects meat lesions. [EMAIL PROTECTED] 07/27/06 12:07 AM some uh future ject it is meat-masquerade meat-maquette http://www.asondheim.org/facce.mov fascia feces face faceless http://www.asondheim.org/avatartxt5.jpg http://www.asondheim.org/avatartxt6.jpg http://www.asondheim.org/avatartxt7.jpg em/bedded collocation-materials
