Re: {SPAM?} Re: The Immersion of New Orleans
Thank you...I appreciate the opportunity to share our thoughts.
NRIII
Quoting alexander saliby <[EMAIL PROTECTED]>:
Nicholas,
"Chaos does not envelop us during tragedy, rather chaos saves us from
the banal machinations of our undead lives."Nicholas Ruiz III
10/20/05
Interesting piece this one...and I particularly enjoyed grappling
with the above thought.
Alex
- Original Message -
From: Nicholas Ruiz<mailto:[EMAIL PROTECTED]>
To: WRYTING-L@LISTSERV.UTORONTO.CA<mailto:WRYTING-L@LISTSERV.UTORONTO.CA>
Sent: Thursday, October 20, 2005 6:57 AM
Subject: The Immersion of New Orleans
The Immersion of New Orleans
Nicholas Ruiz III
Sometimes a city must be sacrificed, so that people can exhale. The
omnilateral
spreading of our species can only be furthered as hope floats away
from the city
of New Orleans. Like the recent New Orleans displacee said in the television
news, "Now I can leave this town! I've never had such an
opportunity!"--that and on his way to Houston to get some pants. Courage or
recklessness? Perhaps the only difference is in winning and losing.
If those
on the inside can see us, those of us on the outside of New Orleans, on the
outside of the world?s latest sacrificial offering, can attempt to see past
the context of media obliteration, past the screening of the
immersion of New
Orleans.
Of course, every smile of the media clown has its sinister
lining, and
for us non-participants, a sign of the real hidden joy borne by the hosts of
the new victims manifests itself in baleful anticipation, as the gun
sales rise
in the cities that receive our American refugees, an ironic greeting for the
displacees of New Orleans. In the midst of the mediated screen of Texan
empathy lies the factual fear of absorption. Not to be outdone, back in the
disaster zone, the Gulf coast reveals its own ironies; casinos (Mississippi
claims 10% of its state budget reflects casino taxation) highlighting the
simulation of southern values in the Bible belt. Especially the
holiest of His
states fill their state coffers with the excesses of extracurricular Sunday
evening slot machines and paper-bagged beer. Another reminder of the
supplementary speculation we call the just economy.
Too much goodness in our hearts, minds and screens--but little to be
found on the freshly looted streets filling with the muscle and hate of that
ultra-postmodern Venice. Unlike Venice, which took years to flood,
New Orleans
was flooded in a few hours. The city of New Orleans itself is a speculation
gone bad, wedged as it was between two gargantuan sources of water,
below sea
level, damned and leveed for the always spreading masses. Speculations hold
that development contracts will explode all over the city map, as
the bidding
wars begin and a "new" New Orleans is sure to rise as quickly as they can
pump the water out of the old one. I liked New Orleans, for what
it's worth.
How to imbibe this event? What is its meaning? What is our new
ontological location, now that that another "world-changing"
cataclysmic event
has occurred. A chance for the do-gooders to do good; the
finger-pointers to
point fingers; Bush isn't responsible for the severity of our
complacency, and
the aristocrats merely capitalize upon it?despite the editorial pieces and
listserv diatribes of the free-thinkers; a chance for the
speculators to place
new bets, build bigger casinos, build them inland and get it right
this time,
so the Good News poker hands will never have to fold? I say forget
about New
Orleans and build a new city, in a new American place, maybe in
Iraq, where at
least the imbecility is out in the open and not hidden in the barrio waiting
for a hurricane to uncover it. Now that would be honest. Infinite
casinos in
the desert?we specialize in that, no?
We began and continue our new millennium with the entire
prowess of
flies, taking off and landing, repeatedly wherever we can, leaving our urine
and feces behind. The dissolution of New Orleans reminds us of our shit, we
still refuse to take care of.
Cash for the victims is a sign of the metaphysics of
Capital, where
suffering is always bought and paid for. New Orleans signifies the
lightness
of our new locations, new Capital, new identities, all tokens that we are,
unbeknownst to ourselves, still alive and reprogrammable--all we can
hope for
is a hurricane to remind us. Perhaps then, we can start again. In
the eye of
the ruin lies our hope and our souvenir of where we have been and
where we are
going. But the survivors of the storm will instead be turned into the
sacrificial bread to be broken at the mediated dinner table of the world,
reminding us all of how "good" we've got it.
If the ambiguity of New Orleans as an event leaves us
feeling a little
light, a bit nause
Re: The Immersion of New Orleans
Nicholas, "Chaos does not envelop us during tragedy, rather chaos saves us from the banal machinations of our undead lives."Nicholas Ruiz III 10/20/05 Interesting piece this one...and I particularly enjoyed grappling with the above thought. Alex - Original Message - From: Nicholas Ruiz To: WRYTING-L@LISTSERV.UTORONTO.CA Sent: Thursday, October 20, 2005 6:57 AM Subject: The Immersion of New Orleans The Immersion of New OrleansNicholas Ruiz IIISometimes a city must be sacrificed, so that people can exhale. The omnilateralspreading of our species can only be furthered as hope floats away from the cityof New Orleans. Like the recent New Orleans displacee said in the televisionnews, "Now I can leave this town! I've never had such anopportunity!"--that and on his way to Houston to get some pants. Courage orrecklessness? Perhaps the only difference is in winning and losing. If thoseon the inside can see us, those of us on the outside of New Orleans, on theoutside of the world?s latest sacrificial offering, can attempt to see pastthe context of media obliteration, past the screening of the immersion of NewOrleans. Of course, every smile of the media clown has its sinister lining, andfor us non-participants, a sign of the real hidden joy borne by the hosts ofthe new victims manifests itself in baleful anticipation, as the gun sales risein the cities that receive our American refugees, an ironic greeting for thedisplacees of New Orleans. In the midst of the mediated screen of Texanempathy lies the factual fear of absorption. Not to be outdone, back in thedisaster zone, the Gulf coast reveals its own ironies; casinos (Mississippiclaims 10% of its state budget reflects casino taxation) highlighting thesimulation of southern values in the Bible belt. Especially the holiest of Hisstates fill their state coffers with the excesses of extracurricular Sundayevening slot machines and paper-bagged beer. Another reminder of thesupplementary speculation we call the just economy. Too much goodness in our hearts, minds and screens--but little to befound on the freshly looted streets filling with the muscle and hate of thatultra-postmodern Venice. Unlike Venice, which took years to flood, New Orleanswas flooded in a few hours. The city of New Orleans itself is a speculationgone bad, wedged as it was between two gargantuan sources of water, below sealevel, damned and leveed for the always spreading masses. Speculations holdthat development contracts will explode all over the city map, as the biddingwars begin and a "new" New Orleans is sure to rise as quickly as they canpump the water out of the old one. I liked New Orleans, for what it's worth. How to imbibe this event? What is its meaning? What is our newontological location, now that that another "world-changing" cataclysmic eventhas occurred. A chance for the do-gooders to do good; the finger-pointers topoint fingers; Bush isn't responsible for the severity of our complacency, andthe aristocrats merely capitalize upon it?despite the editorial pieces andlistserv diatribes of the free-thinkers; a chance for the speculators to placenew bets, build bigger casinos, build them inland and get it right this time,so the Good News poker hands will never have to fold? I say forget about NewOrleans and build a new city, in a new American place, maybe in Iraq, where atleast the imbecility is out in the open and not hidden in the barrio waitingfor a hurricane to uncover it. Now that would be honest. Infinite casinos inthe desert?we specialize in that, no? We began and continue our new millennium with the entire prowess offlies, taking off and landing, repeatedly wherever we can, leaving our urineand feces behind. The dissolution of New Orleans reminds us of our shit, westill refuse to take care of. Cash for the victims is a sign of the metaphysics of Capital, wheresuffering is always bought and paid for. New Orleans signifies the lightnessof our new locations, new Capital, new identities, all tokens that we are,unbeknownst to ourselves, still alive and reprogrammable--all we can hope foris a hurricane to remind us. Perhaps then, we can start again. In the eye ofthe ruin lies our hope and our souvenir of where we have been and where we aregoing. But the survivors of the storm will instead be turned into thesacrificial bread to be broken at the mediated dinner table of the world,reminding us all of how "good" we've got it. If the ambiguity of New Orleans as an event leaves us feeling a littlelight, a bit nauseated; there is always the laceration of Capital to wake usfrom our sympathetic malaise. Positions
The Immersion of New Orleans
The Immersion of New Orleans Nicholas Ruiz III Sometimes a city must be sacrificed, so that people can exhale. The omnilateral spreading of our species can only be furthered as hope floats away from the city of New Orleans. Like the recent New Orleans displacee said in the television news, "Now I can leave this town! I've never had such an opportunity!"--that and on his way to Houston to get some pants. Courage or recklessness? Perhaps the only difference is in winning and losing. If those on the inside can see us, those of us on the outside of New Orleans, on the outside of the world?s latest sacrificial offering, can attempt to see past the context of media obliteration, past the screening of the immersion of New Orleans. Of course, every smile of the media clown has its sinister lining, and for us non-participants, a sign of the real hidden joy borne by the hosts of the new victims manifests itself in baleful anticipation, as the gun sales rise in the cities that receive our American refugees, an ironic greeting for the displacees of New Orleans. In the midst of the mediated screen of Texan empathy lies the factual fear of absorption. Not to be outdone, back in the disaster zone, the Gulf coast reveals its own ironies; casinos (Mississippi claims 10% of its state budget reflects casino taxation) highlighting the simulation of southern values in the Bible belt. Especially the holiest of His states fill their state coffers with the excesses of extracurricular Sunday evening slot machines and paper-bagged beer. Another reminder of the supplementary speculation we call the just economy. Too much goodness in our hearts, minds and screens--but little to be found on the freshly looted streets filling with the muscle and hate of that ultra-postmodern Venice. Unlike Venice, which took years to flood, New Orleans was flooded in a few hours. The city of New Orleans itself is a speculation gone bad, wedged as it was between two gargantuan sources of water, below sea level, damned and leveed for the always spreading masses. Speculations hold that development contracts will explode all over the city map, as the bidding wars begin and a "new" New Orleans is sure to rise as quickly as they can pump the water out of the old one. I liked New Orleans, for what it's worth. How to imbibe this event? What is its meaning? What is our new ontological location, now that that another "world-changing" cataclysmic event has occurred. A chance for the do-gooders to do good; the finger-pointers to point fingers; Bush isn't responsible for the severity of our complacency, and the aristocrats merely capitalize upon it?despite the editorial pieces and listserv diatribes of the free-thinkers; a chance for the speculators to place new bets, build bigger casinos, build them inland and get it right this time, so the Good News poker hands will never have to fold? I say forget about New Orleans and build a new city, in a new American place, maybe in Iraq, where at least the imbecility is out in the open and not hidden in the barrio waiting for a hurricane to uncover it. Now that would be honest. Infinite casinos in the desert?we specialize in that, no? We began and continue our new millennium with the entire prowess of flies, taking off and landing, repeatedly wherever we can, leaving our urine and feces behind. The dissolution of New Orleans reminds us of our shit, we still refuse to take care of. Cash for the victims is a sign of the metaphysics of Capital, where suffering is always bought and paid for. New Orleans signifies the lightness of our new locations, new Capital, new identities, all tokens that we are, unbeknownst to ourselves, still alive and reprogrammable--all we can hope for is a hurricane to remind us. Perhaps then, we can start again. In the eye of the ruin lies our hope and our souvenir of where we have been and where we are going. But the survivors of the storm will instead be turned into the sacrificial bread to be broken at the mediated dinner table of the world, reminding us all of how "good" we've got it. If the ambiguity of New Orleans as an event leaves us feeling a little light, a bit nauseated; there is always the laceration of Capital to wake us from our sympathetic malaise. Positions have already been taken--go long the builders, developers, clean-up outfits and architectural face-lifters and short the casinos, retail setups and insurance companies with heavy exposure in the Gulf. Just another day on the trading floor of our lives. What New Orleans offers us is a bit of exposure?another crack in the surface of the screen; 9/11 made a similar offering. New Orleans shows us that humanity prefers its empathetic compassion to be best delivered from the barrel of a gun?or at least, best dispensed when the police are on duty. Chaos does not envelop us during tragedy, rather ch
Re: Films of the Situationist International starts Monday/Stalin
They’ve made a number of Situationist films available for download at UBUWEB. I must say that my response to these works is not positive. Can you argue in favor of anybody seeing them, aside from the historical perspective they provide? Debord’s fims in particular are tedious to watch, I find. If I want a dose of Debord, I’d much rather read his essays in book form, so that I may skip all the silly appropriated imagery of pirates and such that one has to endure in his films. I’ve always been unconvinced by detournement as a radical critique, to be honest, and none of these films changes my mind on that count. m On Oct 18, 2005, at 9:01 AM, David-Baptiste Chirot wrote: Hello Al meant to post this yesterday-- never thought i would have a chance to see them-- as if anyone has, i wd like to correspond regarding them-- the films last night were shown with a question/comment period between them--so that "debord canhave the final word" as Keith Sanborn (see blow) said-- as the second film is a rebuttal of critics of the first --SOCIETY OF THE SPECTACLE it is very interseting to see the films as in a sense "the spectacle of guy debord"-- he has an immense fascination with stalin which is interesting as the films become in a way the intellectual autobiography of the development of a cult of personality-- i.e. m. debord's i am looking fwd to the others in relation with visual poetry-- i lived in france 1967-8, 69, 70 & wondered if any of you did also? "Education is a weapon whose effects depend on who holds it in his hands and at whom it is aimed." Josef STALIN quote found in Hallmarks' Great Quotes of the 20th Century 2 if anyone is interested or has seen these--send a bc letter to david-bc From: Union Cinema-Theatre <[EMAIL PROTECTED]> To: Union Cinema-Theatre <[EMAIL PROTECTED]> Subject: Films of the Situationist International starts Monday The UWM Union Theatre presents a unique retrospective of the rebellious and highly influential filmmaking of the Situationist International! The event begins Monday, October 17th and runs until Thursday, October 20th. Here is the complete list of programming with descriptions for your consideration. ALL SCREENINGS ARE FREE TO ALL! Writer, filmmaker, translator and SI archeologist Keith Sanborn will be in attendance on Monday, October 17 to introduce the evening and provide a talk-back session after the film. Monday, October 17 - 7pm The Society of the Spectacle (La société du spectacle) Situationist founder Guy Debord's own 1973 adaptation of his 1967 book by the same name. Enormously influential in France, the film is an astonishingly sophisticated and coherent response to the experience of May 1968. A filmic essay, based primarily on "detourned," that is pre-existing and recontextualized, images, including: sequences from Hollywood features, East Block features, news footage, documentary footage, tv commercials, pornography, and a vast number of stills, some of which seem to have been shot explicitly for this film. The film also makes use of intertitles which include both acknowledged and unacknowledged detourned quotations from Dante, Hegel, Marx, Meister Eckhart, Shakespeare, Cieszkowski, von Clausewitz, Pouget and others. While this film is a considerable achievement in the domain of cinema, it is not just a film; it is a conscious attempt to change the world. English subtitles by Keith Sanborn. (Guy Debord, France, 90 min., French w/ Eng. St., Film on Video, 1973) preceded by: Refutation Of All Judgments Which Have Up To Now Been Brought Whether In Praise Or Hostile To The Film Called "Society Of The Spectacle" Debord's response in film to the written critiques which greeted his film The Society of the Spectacle. (Guy Debord, France, 20 min., French w/ Eng. St., Film on Video, 1975) Tuesday, October 18 - 7pm Venom & Eternity (Traité de bauve et d'éternité) Poet and founder of the Lettrist Movement, Jean Isidore Isou wrote, scored, photographed, directed and starred in Venom & Eternity - a self-described "revolt against cinema." In the film Isou attempts to discuss what was wrong with the cinema and goes on to show examples of what he thinks it should consist of. Featuring an appearance by Jean Cocteau, who, musing as to the film's future, would ask: "Is VENOM a springboard or is it a void? In fifty years we'll know the answer...The day will come, perhaps, when Isou's style will be in fashion." Causing riots and stomp-outs during its initial screenings in France and the US, the film went on to influence a generation of avant-garde filmmakers including, most profoundly, a young Stan Brakhage - declaring Venom & Eternity as a "portal though which every film artist is going
Re: FW: Films of the Situationist International starts Monday/Stalin
spectacle the woed
FW: Films of the Situationist International starts Monday/Stalin
Hello Al meant to post this yesterday-- never thought i would have a chance to see them-- as if anyone has, i wd like to correspond regarding them-- the films last night were shown with a question/comment period between them--so that "debord canhave the final word" as Keith Sanborn (see blow) said-- as the second film is a rebuttal of critics of the first --SOCIETY OF THE SPECTACLE it is very interseting to see the films as in a sense "the spectacle of guy debord"-- he has an immense fascination with stalin which is interesting as the films become in a way the intellectual autobiography of the development of a cult of personality-- i.e. m. debord's i am looking fwd to the others in relation with visual poetry-- i lived in france 1967-8, 69, 70 & wondered if any of you did also? "Education is a weapon whose effects depend on who holds it in his hands and at whom it is aimed." Josef STALIN quote found in Hallmarks' Great Quotes of the 20th Century 2 if anyone is interested or has seen these--send a bc letter to david-bc From: Union Cinema-Theatre <[EMAIL PROTECTED]> To: Union Cinema-Theatre <[EMAIL PROTECTED]> Subject: Films of the Situationist International starts Monday The UWM Union Theatre presents a unique retrospective of the rebellious and highly influential filmmaking of the Situationist International! The event begins Monday, October 17th and runs until Thursday, October 20th. Here is the complete list of programming with descriptions for your consideration. ALL SCREENINGS ARE FREE TO ALL! Writer, filmmaker, translator and SI archeologist Keith Sanborn will be in attendance on Monday, October 17 to introduce the evening and provide a talk-back session after the film. Monday, October 17 - 7pm The Society of the Spectacle (La société du spectacle) Situationist founder Guy Debord's own 1973 adaptation of his 1967 book by the same name. Enormously influential in France, the film is an astonishingly sophisticated and coherent response to the experience of May 1968. A filmic essay, based primarily on "detourned," that is pre-existing and recontextualized, images, including: sequences from Hollywood features, East Block features, news footage, documentary footage, tv commercials, pornography, and a vast number of stills, some of which seem to have been shot explicitly for this film. The film also makes use of intertitles which include both acknowledged and unacknowledged detourned quotations from Dante, Hegel, Marx, Meister Eckhart, Shakespeare, Cieszkowski, von Clausewitz, Pouget and others. While this film is a considerable achievement in the domain of cinema, it is not just a film; it is a conscious attempt to change the world. English subtitles by Keith Sanborn. (Guy Debord, France, 90 min., French w/ Eng. St., Film on Video, 1973) preceded by: Refutation Of All Judgments Which Have Up To Now Been Brought Whether In Praise Or Hostile To The Film Called "Society Of The Spectacle" Debord's response in film to the written critiques which greeted his film The Society of the Spectacle. (Guy Debord, France, 20 min., French w/ Eng. St., Film on Video, 1975) Tuesday, October 18 - 7pm Venom & Eternity (Traité de bauve et d'éternité) Poet and founder of the Lettrist Movement, Jean Isidore Isou wrote, scored, photographed, directed and starred in Venom & Eternity - a self-described "revolt against cinema." In the film Isou attempts to discuss what was wrong with the cinema and goes on to show examples of what he thinks it should consist of. Featuring an appearance by Jean Cocteau, who, musing as to the film's future, would ask: "Is VENOM a springboard or is it a void? In fifty years we'll know the answer...The day will come, perhaps, when Isou's style will be in fashion." Causing riots and stomp-outs during its initial screenings in France and the US, the film went on to influence a generation of avant-garde filmmakers including, most profoundly, a young Stan Brakhage - declaring Venom & Eternity as a "portal though which every film artist is going to have to pass." (Jean Isidore Isou, France, 90 min., French w/ Eng. St., 16mm B&W, 1951) Wednesday, October 19 - 7pm Can Dialectics Break Bricks? (La Dialectique peut-elle casser des briques?) Annouced as "the first entirely détourned film in the history of cinema," Viénet and Cohen transformed a typical kung-fu film into an examination of class and intellectual sectarianism. According to Viénet: "The cinema, which is the newest and most serviceable means of expression of our era has been marking time for 3/4 of a century. By way of review, let us say that it has in fact become the '7th art' dear to cinephiles, ciné-clubs, PTA's. Let us state that for our purposes the cycle has come
when I first looked it happened to be heaven on the flipside of my stethoscope
objectivity is over-rated so is sunlight sentences inclined to keep their word meander to the hipaa brain where secrets stall en route out of the starting gate examine only the ethereal don't bother with half-heated captions posing as crayola alkaline indemnity while after party shackles limp away from me just as desire has been emitted sans say-so from the top so lamentation may as well be cloistered as if to resume contentment where least sum of contents was and thus will be available via soft- ware around the house as if to house the meager or abundant storyline the sole ingredient that keeps a body there I'm told sheila e. murphy
Fancy Litter of Melancholy (i.e., Pathless Resemblance)
http://www.onelook.com/?w=*&loc=revfp2&clue=mother+the+blur+and+brutish+feet+ http://cgfa.sunsite.dk/c/chirico1.jpg mother the blur and brutish feet (this is grovel's gait) the thence stared thy thee temples, stared thee (you, you cast cypress in the role of tare) at thy THEA temples (this is the look's curfew) mother the blur and brutish feet (this is grovel's gait) http://cgfa.sunsite.dk/c/chirico1.jpg http://www.onelook.com/?w=*&loc=revfp2&clue=mother+the+blur+and+brutish+feet+
Re: The Silence of Avatars
A Pitiful Hardscrabble Basecamp on Mount Sondheim reading this and seeking AlanEn no Gyoja, the Yama-Yamabushi-bushido who sleeps in the mountain: This mountain is all bodies, all bodiless, all ghosts, all machines, and parasites of ghosts and machines whose bodies are symbiotic bodhilessnesses. Such is the inscription at its base which as such is no base but a circumstance of surfaces, irruptions, collapses, extrusions of the ontic into locality as a locus of material subjectivities within a spectrum subsumed within an instrumentality of knowing, unknowing, selectivity, and expression. Such are the Demon Guardians of the base, lesser mountains, vestigial, villi, cillia, lures of the quantum integument which traverse the layers, plateaus, dimensions of their own becoming as an historical transduction, layers of effect, affect and synerjissom, cockcunt-puppets of fractal lineages whose agency is the refractive index of resonating interferential sublimation taken up like a viral thread, a genestring, command line in the machinery of design, both biological and cultural, both of which sing through a single discursive primordiality whose state(s) are both the sky and earth, a fugue-organelle of the universal interface of morphic responsivity whose epiphenomenal cortext of constant computation releases hordes of closures through hordes of openings in a reticulum-swarm of evanescent mappings whose aproximal instantiations of structure explode into self-replicating othernesses whose series carry little understanding of the substance of their instantiation and yet their enunciation heralds a new substance of precarious alterity, a destructive modulus echoing distants segments of temporality's distantiation within the pleroma of self-accretion-unit X [star-frame]*
Silence of the Avatars
Silence of the Avatars The actant or actants' aesthetic aether, Alan, exists within the class of alterities, or Alterity. Amidah's analogic app appears as apperception within the aristotelian logics around. Think of the audion; audiophiles consider the authorial in relation to it, as if an avatar or avatars were on the other side of the virtual. Their bio? Varied biomes - found in blogging, blogs in general, even real-world bookshops. A kind of bricolage postulated as bushido. Castrated avatars exist as chiasmus within the chora - circumlocuted on one hand, but steady-state circumscription on the other. Their clits are clots within codework, their codeworks menses or coherencies, collocations complicit with consciousness - consensualities. Their cordons, their cunt or cunts cordoned off within the cybermind, cyberspace. The cyborg or cyborgs are sexual - for example d'eruza and d'nala in dancework, the decathexis of all non-sexuality, their bodies deconstructed. Deconstructing deconstruction is hardly necessary; the body self-deconstructs. All sorts of releases: deerflies for examples. This is defuge, the exhaustion or denudation of the desiccated world and its destabilization - both diachronically and synchronically. Diachrony works as diegesis, the diegetic of inexhaustible virginity. This is the differance among cock and cunt, the differend of the flesh, unspoken and unspeakable, disassociating discomfiture. Certainly the reader, by now discomforted, is staked through disinvestment, tallies distantiation. The world is a world of distributivities and ecologies, effusions and emanants, their flesh folded around the labia and emergences of others. This is a form of empathetic, worlds and words empathized, in order to annihilate all existence and its a priori encapsulations. On one hand, the entropic - on the other the episteme, carried by ethernet from Everglades to other experientials, biomes, extasis. The actants' extensivity and its externality tends towards extinction of desire, extrusions of language and its inherent familiality of the fantasmic. Consider fantasm a feedforward fictivity, involving filmmaker and filmstock alike, sound and fingerboard, the Foofwa-actant dance and its genidentity in geomatics. Gesturally, these exist, as now, in gigabytes, gridlines defining one or another fuzzy habitus, their mathematics within halfgroupoids. An explosion of species: hir hirself, through hemiptera and the historiographies of holarchies in virtual hyperreality. Cyberspace and hyperrealities are already idealities, the ideogrammar of the ikonic of the imaginaries, all that exists within the 'might-be.' Denied by language, immersive subjectivity - immersivities of real incoherency - literally incompletes indexicality's sectioning of informatics and inscriptive interiority. Within the internality of the internet, interpenetrating flesh and avatar, interpenetrations of actant of programmatic introjections, tend towards the iconography of Izanagi and Nikuko - the debris of java, javascript - Jennifer, too, the Jewish locus of jouissance and judgmental Julu. The kanji of the world wraps around koans, kwat! - Lacanian landbirds languaging all, a latinate lifeworld liminal among silences. Literarily, nothing philosophically occurs. The result, machinic magatamas of malnourishment and the overly-wrought manifesto, part and parcel of mathematization, mathesis collapsing in mediaspace. Isn't the world menued, microworlds as well, minefields of inconceivable mythological minefields? A moron morphing, its morphs, through ideological multiculturalisms, surely. Nikuko and others were situated in Nakasu- kawabata, nowhere near Nara, closer than the secondary narcissisms of narratology and its neighborhooding neurophysiologies. Because it's there that falsehood resides, from newbies through Nietzsche, from Nijinksy through fucking Nikuko. Nikuko's nostalgias are worldless, absenting objecthood, her oeuvre offline, off offline as well, her ontologies organelles. Nikuko's particulation, call it her _paysage,_ voyeuristic peerings tending towards performativity. The fundamental grounding of the world is periphyton, phantasms, according to any phenomenologist, derive from it. Ghastly playnt of the pneumosphere and its poolings. So the postmodern academics arrive, their terminological postmodernism, post- modernity, whatever, presencing any presentification, according to their notions of prespace and primordials problematized. Worlding problematizes problematizing, also considered protolanguage, the psychoanalytical backdrop to thinging, the psychoanalytics of realspace rearticulation. Nikuko, Julu, Jennifer, their rebirths and regiments - reifications all, their bodies reinscribed - a process in fact of uncanny reinscription - into the releasement of the world. There, everything - rills, rotifera, runnels, the satori of sawgrass, the seamount - in fact the
Song of the Other
Song of the Other old song of the other http://www.asondheim.org/rdingnidr2.mp3 http://www.asondheim.org/rdingnidr2.jpg and its imaginary
Re: an infinity of troubles
Testing the Means 3, I II An extension of the idea of Testing the Means. This time with diagonals added. 1) AFTER MATISSE http://www.kunst.no/bjornmag/mpphp2004/RYBMeans.jpg 2) XPLICITXXX http://www.kunst.no/bjornmag/mpphp2004/RYBMeans2.jpg mwp
an infinity of troubles
pleats willed for fabrication's swoon the merry best machiavelli ekes near what of Sam Uncled is the plume: pleats willed for an infinity of troubles here filleted & set out like pink salmon finials lathing each a shoreline's fresh abomination in snowmen clueless to the legless state and like lizards of the same curse equally elegant with solutions hopping or yet revealing the simplest act of method being a tree for selves flow rough between the mirrors and settle sloopy silted up meerschaum nostrils flaring wide the every infinite veneer of its face in abstract flow- erring
To Be Sure, I am a Forest and a Night of Dark Trees
how cypress numerous upon the earth, and so forth, is what I'm inscribed to compose my respite be ornaments (for instance, a star wrapped in the middle of the amber-grain waves) on names in silver: "MY SOUND LEGERDEMAIN gold arm of that cream, the sun: as soon as it scalds Virginia's face her each thought is halved for vengeance, ~But take on the sway of things, tho yours is not the reed's~ inscribed on port side (which is a half) of the star wrapped in the middle of the amber-grain waves" sorry, I meant my REPRISE be ornaments (for instance, a star wrapped in the middle of the amber-grain waves) on names in silver (here again): "MY SOUND LEGERDEMAIN gold arm of that cream, the sun: as soon as it scalds Virginia's face her each thought is halved for vengeance, ~But take on the sway of things, tho yours is not the reed's~ inscribed on port side (which is a half) of the star wrapped in the middle of the amber-grain waves" how cypress numerous upon the earth: Proteus? countless no longer, Virginia always and so forth: Proteus? countless no longer, Virginia always is what I'm inscribed to compose: Proteus? countless no longer, Virginia always (here again): Proteus? countless no longer, Virginia always, Proteus? countless no longer, Virginia always, Proteus? countless no longer, Virginia always my reprise be ornaments (for instance, a star wrapped in the middle of the amber-grain waves) on names in silver: "MY SOUND LEGERDEMAIN gold arm of that cream, the sun: as soon as it scalds Virginia's face her each thought is halved for vengeance, ~But take on the sway of things, tho yours is not the reed's~ inscribed on port side (which is a half) of the star wrapped in the middle of the amber-grain waves"
Pre-Release of The Songs on Fire Release Records
Pre-Release of The Songs on Fire Release Records The following is a pre-release of The Songs, which I recorded back in the 60s, and which has just be re-released. It's from Riverboat Records, which no longer exists; Steve Tobin has reissued it. The work is one of my stranger pieces; there's a full group on it, and only one piece - an oratorio of sorts which we improvised against deliberately somewhat imprecise information. The audio fidelity isn't great, but Steve worked on it. It's cheap at the price. "make the webpage http://www.museumfire.com/sondheim live, i just won't" From the webpage: First ever reissue of "The Songs", the debut recording by Alan Sondheim & Ritual All 770, originally released on Riverboat Records (later recordings appeared on ESP Disk). Recorded in March 1967 and included on the legendary Nurse With Wound list of experimental recordings, on this album Alan Sondheim played Electric Guitar, Violin, Flute, Suling, Xylophone, Alto Saxophone, Classical Guitar, Clarinet, Shenai, Bass Recorder, Mandolin, So-na, Hawaiian Guitar, Koto, Sopranino Recorder, Chimta, Cor Anglais, Sitar and Bansari. Joined by Barry Sugarman (Tabla, Dholak & Naquerra), Chris Mattheson (Bass), Robert Poholek (Trumpet & Cornet), Ruth Ann Hutchinson (Vocals), June Fellows (Vocals) and J.Z. (Jazz Drums); Ritual All 770 were a group of improvisors living in Providence, Rhode Island. (Perhaps they could be considered the sonic forebearers of the Fort Thunder scene...) Rejecting the notion that avant garde music was solely the realm of isolated academia, they delved fearlessly and joyously into their music, creating a work that sounds fresh nearly 40 years later. FROM THE LINER NOTES: This work is a single improvised performance in which one of the performers sings "Oratorio on the end of illusions", although, in my libretto the words were originally "Oratorio on the end of visions". A libretto of eight pages was prepared. The vocalists were not told how to sing it. They could go backward or repeat any section if they wanted to. There was no score. The only instruction given to the instrumentalists was this: no playing behind the koto or classical guitar. I had several rehearsals with each of them, mostly individually. The session lasted through two takes, this is the second. After the master was made, I added reverberation and volume controlling; other than that, all of the music heard here is from the live performance. Note: This CD was mastered using the best available vinyl source. Discography: Cray/Turn, cdrom, 2001 Global Report, Damaged Life, Spasm cassette, 1986 Flesh, Damaged Life. Spasm cassette, 1987 Live at Starck Club 1987, Damaged Life cassette Lips, Damaged Life cassette, 1987 The Songs, Riverboat, LP, 1967 Ritual, ESP LP, 1968 T'Other Little Tune, ESP LP, 1969 Participant on ESP samplers 1969-70 _
4 affected readings of Gibbering Mimsy
4 affected readings of Gibbering Mimsy: http://www.hevanet.com/solipsis/sounds/ Gibbering Mimsy Gibbering Mimsy, would word sloughing calm ye? Ape finance called and put a single slice of velvet to a granite nose, moving the dates. Gibbering Mimsy, if in the tide, would ye photograph this great suppository omen? Ape finance called and moved our mortgagging into a mineral atrium where the yelping and foxing slowed the tachyons of tourism. Can we notice incarnation any further? You really shouldn't proclaim from an 'epilepsy' of collages. Gibbering Mimsy, what the glottal Felix inveighed, is the simmering of harps upon a disappearing heathrow. Stop flipping the Jezebel off, that's an airport on her cross! Did Ape finance call? In the singly ineffable toad lies the swart rood of a princely underlangue, lickerishly kissing, it-self, studs, any kind of radium boomerang.
The Rebirth of the Author
_ CTHEORY THEORY, TECHNOLOGY AND CULTUREVOL 28, NO 3 *** Visit CTHEORY Online: http://www.ctheory.net *** 1000 Days 01606/10/2005 Editors: Arthur and Marilouise Kroker _ * 1000 DAYS OF THEORY * _ The Rebirth of the Author == ~Nicholas Rombes~ Roland Barthes's famous prediction about the death of the author has come to pass, but not because the author is nowhere, but rather because she is everywhere. Indeed, the author has grown and multiplied in direct proportion to academic dismissals and denunciations of her presence; the more roundly and confidently the author has been dismissed as a myth, a construction, an act of bad faith, the more strongly she has emerged. The recent surge in personal websites and blogs -- rather than diluting the author concept -- has helped to create a tyrannical authorship presence, where the elevation of the personal and private to the public level has only compounded the cult of the author. We are all authors today. We are all ~auteurs~. We are all writers. We are all filmmakers. And we are all theorists, because what we make theorizes itself. Perhaps it was all a mistake, a terrible act of misreading. Rather than a serious deconstruction of the author concept, perhaps Barthes's essay "The Death of the Author" was ironic, a close relative of Pop Art. After all, while "The Death of the Author" achieved its widest circulation in the U.S. in its 1977 version in _Image - Music - Text_, it is perhaps lesser known that the essay had appeared previously in English in the Fall-Winter 1967 issue of the avant-garde magazine _Aspen_: "each issue came in a customized box filled with booklets, phonograph recordings, posters, postcards" and even a Super-8 film.[1] Contributors included Andy Warhol, John Cage, Yoko Ono, Hans Richter, Susan Sontag, and others. Barthes's essay -- translated by Richard Howard -- appeared in a double issue (the Minimalism issue) which explored "conceptual art, minimalist art, and postmodern critical theory."[2] 1967-68: a serious time shaken by violence and protest, yes, but also a time of great experimentation and humor and absurdity. The pleasure of death; jouissance that has been lost as career academics used Barthes's essay, stripping it out of its playful dimensions, its at once urgent and resigned manifesto-like quality. The problem, now, is easy to see. Whereas Barthes (and others including Horkheimer and Adorno, Andrew Sarris, Marshall McLuhan, Robert Ray, Pauline Kael, Susan Sontag, Lester Bangs, Dick Hebdige, Antonin Artaud, Richard Hell) offered theories in language that was playful, slippery, aphoristic, and often poetic, the academics who subsequently applied their theories often did so in prose that was deadly dry, pedantic, serious, stripped of the slippages and humor that made readers want to believe. While scores of academics over the years have gloomfully attacked Andrew Sarris's Americanized ~auteur~ theory (first published in _Film Culture_ in 1962 as "Notes on the Auteur Theory in 1962"), they did so by turning their backs on the lively, self-deprecating qualities of his prose, as evident in lines like "What is a bad director, but a director who has made many bad films?" [3] or in lines where he directly addresses the reader, such as "Dare I come out and say what I think it to be is an elan of the soul?" [4] Such moments of excess style stand in stark contrast to the deadly serious, rationalist rhetoric that has infected so much writing in the humanities as the aesthetic dimensions of academic writing -- especially in North America -- have been ignored for decades as a surplus with no value. If, as Craig Saper has noted, "[I]n the academy, auteurism was considered ~passe~ at best" [5] in the wake of poststructuralism, then in erasing the very personality of their own writing style film scholars and theorists demoted themselves to a level of invisibility and even obsolescence. Generations of graduate students trained to strip all traces of bourgeois personality from their prose awake now to find that they have no audience for their ideas, because their ideas have no expressive confidence. And yet, there is a gradual return to the pleasures of the text, not as something to be studied merely, but performed. In his preface to a collection of essays by Malcom Le Grice, Sean Cubitt demonstrates in his opening paragraph an approach to writing that recognizes that beauty and power in prose need not be something to hide:
Re: of
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Re: of
On Oct 6, 2005, at 8:54 AM, Dan Waber wrote: of o, f ! Hal Today's special: Hamilton Stone Review http://www.hamiltonstone.org/hsr6.html Halvard Johnson email: [EMAIL PROTECTED] [EMAIL PROTECTED] website: http://home.earthlink.net/~halvard blogs: http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com
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Re: [CompanyofPoets] as i explain the history of my tatoos stasis can be a vehicle
mutant hands ( robbin blazer) the clear commotion in heartpool be seltzered ghostic & purged strippl bubble faticized ligaments prown beastly wonians plocked idle work habits fallen like drunks against a flower wall hocking perfumed guts onta the paving casket translated as invisible form fragments man forms stuck in the golden throats of fishes star(t)ling hamless rastibles inside an empty cup of words full to the brim romanticly emoted then eaten by the mutant hands of mutes. steve dalachinsky robin blazer reading at poetry project nyc 10/5/05 eman rou ni ton (charlie haden liberation orchestra) sez anthem's blue named this is not america (the beautiful twisted) is o the(e) ory sung wrongly timed to them and them goin home amazingly graced unthem and then well defined ro man tic whisper shouts under ar r estimated child ran shouts arm me knaive easy does this (k)not in (h)our name even the cornfield's been infiltrated even the canola seed pillaged & raped even the soy bean's grown ears o pitiful for specious lies for altered staves of grain for purple turning toxic breath and fruit that's gone insane un mer i ca uhmer i curr a graceless god shed thee so stuff thy self with with pesticides and crawl back to the tree such an hypnotic adagio child child child child child child child child child child child child child child child child child child child child child child child child child child chil d child c hild c h il d c h i l d steve dalachinksy blue note nyc second set 10/0/05
a to zed catalog of images
a to zed catalog of images somewhere between six and ten thousand images maybe half of the last decade and apologies for the long download, I worked fifteen hours getting it this small poor baby you work too hard poor baby http://www.asondheim.org/azeds.mp4 you work too hard
Terpsichoros of Worm Runnel
Terpsichoros of Worm Runnel Why ME, O Gosh, O Marguerete? Can the tinkling and savage testimony RUNNELS! RUNNELS! Force more face cream from a curt and incourteous Pod? It isn't that I think or say anything, But now that you've lifted the rock, See this worm dance! Why ME, O Gosh, O Marguerete? When I took the wonky elevator RUNNELS! RUNNELS! Up Satan's creaky spine that fine Fall day to stare out over Peonia Through his glass eye And sing sad declaratives Like O-rings leaping from a gate valve, How could I know you would spelunk Into my constant birthing. It isn't that I think or say anything, But now that you've lifted the rock, See this worm dance!
House of Sortedf Things Left After My Dad
here the people come thus, you microscopic black hole, to live. You wouldn’t even consider saying “Please let me know this is mine and Kelly’s cat that they would let die here.” maybe I am slum lord. I saw: Hospital. I saw a man who varied and, um, sank. The people gathered around him, saved ego the remainder. Their "pee" spelled out quotes from famous Prague residents. I saw a pregnant woman. She pushed herself with difficulty, raised shining, toad-like eyes to Minerva’s face along a high hot wall, after which she groped sometimes around him to say that you haven’t pushed her to the limit of her potential. she is still there. yes, I just learned then that love is stronger. She's on her path, just like me... I sought on my plan: House of Childbirth. Well. And I must still note always: The problem may happen again but medicine will fix it – if anything can. Broad Rue Saint-Jacob and a large building with one couple. The plan gave the Hospital to a Valley-of-grace soldier. I did not need to actually know that, but it does no harm. The lane started to feel squeezed on both sides to the point where most of the songs feel like they're spewing confetti. it smelled so much that to be differentiated could, after Chloroform, after fried apple fat content, after fear, after all the cities feel in summer, I saw a particularly colorblind house that could be found in no plan, but was still rather ennobled by its door. Night shelters. The prices were beside the entry. I read them. It was not expensive.
made of infinity
Voice 1: By themselves, real events... Make some actions... initial responses. Voice 2: I would contradict that. Voice 3: Everything has invited some actions - Voice 2: More and deepened - Voice 3: The torture - Voice 1: Of actions - Voice 3: Justification in a book! Voice 1: True nature. Voice 3: Red life. Voice 2: Go back to the attack. Voice 4: War produce! Voice 3: Is endless. Voice 4: Messages increasing. Voice 1: Forget to define... simply beginning. Voice 4: Theory edited. Voice 1: Out of fashion. Voice 4: The proposition admitted. Voice 3: Impression is judgement. Voice 4: Whet the notion. Voice 1: That speaks. Voice 5: Woman hanging. Voice 1: Speak. Voice 2: Only air. Voice 1: The new policies of the speaker. Voice 5: The theatre. Voice 4: The theatre is a digital camera. Voice 5: A digital camera is a - Voice 1: Forced to reputation. Voice 2: Everywhere in identical atrocities. Voice 3: In the sense? Voice 1: Displayed. Voice 2: Much designed. Voice 1: Infinity. Voice 2: No doubt. Voice 5: An ordinary day folds a need. Voice 3: Transference in speaking of finishing. Voice 5: An ordinary day. Voice 1: Repeat to speak. Voice 5: A quick response. Voice 1: Authority revealed. Voice 5: Or feeling. Voice 1: For bones. Voice 2: This translation of arguing. Voice 1: It would be affirmed. Voice 2: Pictures. Voice 1: Bones. Reputation everywhere. Wanting to think. Voice 2: Is this light memory. Voice 1: Seeing. Voice 2: Disaster. Voice 1: Damage to say. Voice 2: Scratches. Voice 1: Whoever it happens to be? Voice 2: Intentions. Voice 3: A funeral rage. Voice 4: Prisons in a trope. Voice 3: Weight from something. Voice 2: Association. Voice 4: People everywhere. Voice 1: Gurgling of one another. Voice 4: Of one another? Voice 1: The true or false. Voice 4: Clinical terms. Voice 1: Reality related? Voice 5: On the same thing. I do know it. Voice 1: Asking questions. Between the speaker... To speak of language... and anyone transitive. Voice 3: To follow in... in a book. Voice 1: Beginning speaks. Voice 4: All the displacement makes such acts - Voice 5: I am waking and predicate. Voice 4: Speaking produce. Voice 5: Going to read. Voice 4: A difference. Voice 2: Writing is ironic? Voice 1: Kills it. Voice 2: Long dead and free. Voice 1: Made of infinity. Voice 4: To the limit.
THE TELEMATIC ART - THE ART OF PERCEPTION
THE TELEMATIC ART - THE ART OF PERCEPTION 2005 - THE YEAR OF THE FIVE IN ARTPOOL ... we should depart from the principle that we are modes of junctions, rather than individuals. In other words, "I" is a word that others pronounce as "you". Thus, we are dealing with a function word: "I" is the "you" of the other person. Or: in defining my own identity, first of all I must distinguish myself. Parity and disparity are interdependent notions. The same can be found in psychoanalysis, neurophysiology and neuropsychology. These all point to the same direction. At the heart of telematics is a type of anthropology that does not perceive the human person as an individual, but rather as the manner how systems of relations function; as the realization of possible links. The intersubjective field is a virtual space in which an individual is a node in the net, inasmuch as materiality is a node in the energetic space. A call to participate in the autumn research project at Artpool THE EXPERIMENTER & THE ART OF PERCEPTION The Understanding of Freedom in the Correlation of the Apparatus and the Functionary. Starting from the photographic situation, Vilém Flusser termed the camera as an apparatus and the photographer (the experimental photographer) as a functionary. In his book, Towards a Philosophy of Photography, he described his expansion on this model, to arrive at an explanation of human freedom within the universe of photography (in the post-industrial context). The so-called experimental photographer (the functionary) is truly aware that the underlying concepts, such as "image", "apparatus", "program", "information", are the fundamental problems s/he has to tackle. A philosophy of photography is needed in order for this photographic practice to be brought to the level of consciousness, which is, in turn, required, since in this practice, at least, a model of freedom manifests itself, in a post-industrial context. As usual in Artpool's practice, the participants of the project are not constrained in terms of genre, medium or otherwise; submitted materials, after having been displayed at the exhibition/event in Artpool P60 and on the website will be stored in the Artpool Archives. http://www.artpool.hu/2005/invitation.html Deadline of submission: October 25, 2005 Artpool Art Research Center, H -1277 Budapest 23, Pf.52 · [EMAIL PROTECTED] Best wishes from György Galántai --- Vilém Flusser's key words, compiled from book and magazine publications, lectures, and interviews. Edited by Andreas Müller-Pohle and Bernd Neubauer (excerpts) Apparatus: A toy that simulates thought and is so complex that the person playing with it cannot comprehend it; its game consists of combinations of symbols contained in its program; while fully automated apparatuses have no need of human intervention, many apparatuses require humans as players and functionaries. Functionary: The functionary dominates the apparatus through controlling its exterior (input and output), and is in turn dominated by the opacity of its interior. In other words, functionaries are people who dominate a game for which they are not competent. Kafka. Photo criticism: The question to be asked is: How far has the photographer succeeded in submitting the camera program to his own intentions, and by what methods? And: How far has the camera succeeded in deflecting the photographer's intentions, and by what methods? Photographic gesture: A gesture of hunting, where the photographer and the camera unite to become a single, indivisible function. The gesture seeks new situations, never before seen; it seeks what is improbable; it seeks information. The structure of the gesture is quantal: it is one of doubt composed of point-like hesitations and point-like decisions. It is a typically post-industrial gesture: it is post-ideological and programmed, and it takes information to be "real" in itself, and not the meaning of that information. Picture: A significant surface. In most cases, it signifies something "out there," and is meant to render that thing imaginable for us, by abstracting it, by reducing its four dimensions of space-plus-time to the two dimensions of the plane. Reality: What we perceive as reality is a tiny detail from the field of possibilities surging around us which our nervous system has realized through computation. If all reality is a computation from possibilities, then "reality" is a threshold value. Telematics: The technology that enables the present discursive circuit diagram for technical images to be converted into one that is dialogic. In telematic dialogues, human and "artificial" memor
Re: Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg
Wait! it continues: qBD2Yjk,rGzl'B PFrM41phkUaDrntvaE?YBqmlHA7Z!uxkkwG TsMoMDZjGe5 eW9er sa4l yoK PFre41onkad intt6e Yu6m1r sunZlJkeJa 8ead flNwer uWder sa4l yoK wFre 1onked in the summlr sun like5a 8ead flower under sail you were zonked in the summkr sun like a 8ead flower under sail you were zonked in the summer sun like a 8ead flower under sail you were zonked in the summer sun like a dead flower Checked 144712 critters in 2 seconds == 72356 tries/sec. On Mon, 3 Oct 2005, lanny quarles wrote: I think I prefer to cutga boat adrift, my Vind went blank! thats off the vind-hook! lq - Original Message - From: "J. Lehmus" To: Sent: Monday, October 03, 2005 1:38 AM Subject: Re: Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg Thanks for the honey-words Lanny. --- Attempting to match `to cut a boat adrift, my mind went blank!' (Generating initial population now ) Generation0 Tries <= 1024 Best Critter F8ik3E9mHLdp2CsirEfCfHAy rbBLJ3UU3pgYoHF Score (0 is best) 37 Generation100 Tries <= 26624 Best Critter to cukga boa2 aErPft4 my VrPd wlntPblaQn! Score (0 is best) 13 Generation200 Tries <= 52224 Best Critter to cutga boa2 aErift4 my Vrnd wlnt blank! Score (0 is best) 7 Generation300 Tries <= 77824 Best Critter to cutga boat adrift, my Vind went blank! Score (0 is best) 2 Generation389 Tries <= 100608 Best Critter to cut a boat adrift, my mind went blank! Score (0 is best) 0 Checked 100608 critters in 1 seconds == 100608 tries/sec. --- "reversed entropy" with http://home.pacbell.net/s-max/scott/weasel.html (after Richard Dawkins' idea) On Sat, 1 Oct 2005, lanny quarles wrote: Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg* Using an On-line English-Hungarian dictionary, I will select phrases from the matching MENU BANAL >> http://jlehmus.sdf-eu.org << PHOTOGRAPHY MENU BANAL >> http://jlehmus.sdf-eu.org << PHOTOGRAPHY
Re: Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg
I think I prefer to cutga boat adrift, my Vind went blank! thats off the vind-hook! lq - Original Message - From: "J. Lehmus" To: Sent: Monday, October 03, 2005 1:38 AM Subject: Re: Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg Thanks for the honey-words Lanny. --- Attempting to match `to cut a boat adrift, my mind went blank!' (Generating initial population now ) Generation0 Tries <= 1024 Best Critter F8ik3E9mHLdp2CsirEfCfHAy rbBLJ3UU3pgYoHF Score (0 is best) 37 Generation100 Tries <= 26624 Best Critter to cukga boa2 aErPft4 my VrPd wlntPblaQn! Score (0 is best) 13 Generation200 Tries <= 52224 Best Critter to cutga boa2 aErift4 my Vrnd wlnt blank! Score (0 is best) 7 Generation300 Tries <= 77824 Best Critter to cutga boat adrift, my Vind went blank! Score (0 is best) 2 Generation389 Tries <= 100608 Best Critter to cut a boat adrift, my mind went blank! Score (0 is best) 0 Checked 100608 critters in 1 seconds == 100608 tries/sec. --- "reversed entropy" with http://home.pacbell.net/s-max/scott/weasel.html (after Richard Dawkins' idea) On Sat, 1 Oct 2005, lanny quarles wrote: Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg* Using an On-line English-Hungarian dictionary, I will select phrases from the matching MENU BANAL >> http://jlehmus.sdf-eu.org << PHOTOGRAPHY
Re: Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg
Thanks for the honey-words Lanny. --- Attempting to match `to cut a boat adrift, my mind went blank!' (Generating initial population now ) Generation0 Tries <= 1024 Best Critter F8ik3E9mHLdp2CsirEfCfHAy rbBLJ3UU3pgYoHF Score (0 is best) 37 Generation100 Tries <= 26624 Best Critter to cukga boa2 aErPft4 my VrPd wlntPblaQn! Score (0 is best) 13 Generation200 Tries <= 52224 Best Critter to cutga boa2 aErift4 my Vrnd wlnt blank! Score (0 is best) 7 Generation300 Tries <= 77824 Best Critter to cutga boat adrift, my Vind went blank! Score (0 is best) 2 Generation389 Tries <= 100608 Best Critter to cut a boat adrift, my mind went blank! Score (0 is best) 0 Checked 100608 critters in 1 seconds == 100608 tries/sec. --- "reversed entropy" with http://home.pacbell.net/s-max/scott/weasel.html (after Richard Dawkins' idea) On Sat, 1 Oct 2005, lanny quarles wrote: Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg* Using an On-line English-Hungarian dictionary, I will select phrases from the matching MENU BANAL >> http://jlehmus.sdf-eu.org << PHOTOGRAPHY
Destructions of Gardens
Miracles happen under tea gardens in the destruction of chaos orchards and comparable to the global terror of landmarks and traffic "I don't see Tyranny Without walled gardens of cyber-clubs at the circus, walking with mademoiselles in dullness in spite of an all around Hurricane." Moody Gardens shelter the New inventory of sour infected tears and All the typical sounds were long gone. Ruins discovered near irrigation canals where pitched to flash "We quite like the idea that we have big gardens." On the first walkabout amazed by The earthly Anarchy where An escape from settlements is an endangered gathering of helplessly tranquil history, the visitors into the future had been detained in this city of greater withdrawal.
Re: destruction of generations, the blues
Alan, I like your statement here. I would listen to your mp3, but I have no audio on my computer. This is the technically disadvantaged stage of my years. Ann Bogle
destruction of generations, the blues
destruction of generations no, no, no, I say, our children are not our future; we are. the biggest mistake of the radical 60s is the current insistence on the generation model - that 60s radicals began what another generation can learn from, can carry on, can critique. the world is a displaced continuum, miasma of disparities - not a coherent structure of divided lineage. the truth of a man's or a woman's thought does not age, is never outmoded; the truth is always already present, always unaccountable. when a torch is passed, the light is out; when a torch is lit, it is lit for all. i learned blues from al wilson of canned heat, we played together, and from son house, the short time i spent with him. so it goes, this is for them, http://www.asondheim.org/blues.mp3
Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg
Aleatoric construction using a Hungarian translation of Johan Ludvig Runeberg* Using an On-line English-Hungarian dictionary, I will select phrases from the matching entries. The purpose is not necessarily translate the poem correctly, but to partake in the seeming aura of translational activities surrounding this interesting historical figure. The Hungarian translation is from http://www.hhrf.org/irodalmivademecum/olvass/ny1l0201.htm. I cannot discern the original title or if this is a fragment of a longer work. It may have been written in 1830 under the influence of Goethe, which is most probably a misreading of the Hungarian. In effect, it serves as a kind of seed. Levágva a rétet megállt az ifjú az úton s szólt a lányhoz: "Elszállt a nyár heve, holtak a virágok, csak a te orcádon piroslik a rózsa épp úgy ahogy régen" Tavasz lett ujra és egyedül a fiú: elment a lány - pihen földanya ölében; zöldelltek a mezõk, virágjuk mosolygott. Here is my Aleatoric Construction: Springtime in Runeberg to cut a boat adrift, my mind went blank! it, youthful it! under sail, you: "were zonked in the summer sun, like a dead flower, alone, barefaced & growing redder. just so somehow long ago.." As Springtime, once again, was first a lad, and then a sleeping daughter, a finger of the earthmother's verdant fields blossoming, smiling.. *About J.L. Runeberg: The national poet of Finland who wrote in Swedish, and also exercised a great influence on Swedish literature. Runeberg's poetry has been compared to that of the great European romantics, such as Hugo, Shelley, Keats, Lermontov and Petöfi. He was the first Finnish writer to achieve a broad national significance and a wide international fame. Who has given the wind wisdom, Lent the air a tongue so lightsome, Ready speech to the yard's rowan, And the small birds' tender bevy? (from 'All Seemed to Be Speaking, Speaking', trans. by C.E. Tallqvist - 'Tala, tala tycktes alla' in Ett litet öde, 1845)
Partial Description of the World
Partial Description of the World The power grid provides 60 Hz here at approximately 115-117 volts; this is maintained by dynamos driven by steam or coal or oil or hydro held together in a malleable grid. The grid enters the city, where electricity is parceled out through substations to cables continuously maintained and repaired. Here, the cables are below ground. They drive my Japanese Zaurus PDA which utilizes an entire linux operating system on it. The Zaurus connects to the Internet through a wireless card that most often connects to my Linksys router, which is connected both to the power grid and the DSL modem by a cat cable. The DSL is operated by Verizon with its own grid at least nation-wide and continuously-maintained. The DSL of course connects more or less directly to the Internet, which is dependent upon an enormous number of protocol suites for its operation, the most prominent probably TCP/IP. The addresses of the Internet, through which I reach my goal of NOAA weather radar, are maintained by ICANN and other organiza- tions. These organization are run by any number of people, who employ the Net, fax, telephone, and standard mail, to communicate world-wide. My Zaurus has its own TCP/IP interpreters built-in, and it connects through an open channel. The wireless modem may have been built in the US. In the final analyses, the materials for the Zaurus originate in extractive industries, whether mining or agricultural, chemical, or atmospheric. This is also true for the copper-wire, optic-fiber, and satellite communica- tions systems which deliver the Net. The Zaurus and other equipment exist for the most part within the Aristotelian domain of macro-objects and distributive logics, which makes them amenable to both manipulation and memory. Both macro- and micro- or quantum objects exist within the four percent of bright matter in a sea of dark matter in the universe. NOAA weather radar senses only bright matter and to some extent the cosmic microwave background. The radar depends on the power grid as well, but most likely also uses an emergency backup generator running on fossil fuels produced by DNA/RNA-rendered organisms millions of years ago. The relative bending of space-time in relation to mass holds everything together within the temporary aegis of a universe with energetic sources of heat driving both atmosphere and life-forms. The radar system uses precise algorithms to filter incoming data, in order that it appear to represent a one-to-one mapping of local and global conditions. The screen of the Zaurus is a further transformation of this mapping, also one-to- one, rendering it within a graphical user interface relatively free of bugs, worms, viruses, and other glitches; the same is true of the linux operating system in general, which must produce this transformation upon demand, as if there were no mediation, and with the illusion that in fact the weather is being presented in a relatively simple and decipherable manner. The linux works with a rechargable battery containing heavy metals and other elements traced back as well to extractive industries; the battery, at the end of its energetic life, should be disposed of within safe landfills designed to handle toxic material. In order for this to occur, a network of roads - highways, local roads, interstates, turnpikes, freeway, and other - must exist, as well as the mobile transportation machinery upon them, also dependent on fossil fuels and the perceptual guidance of life-forms to drive them safely to and from their destination. Within all of this, life-form perceptual algorithms are critical for a reasonable channeling, transformation, retention, and emission of data; this channeling must be relatively consistent, not only internally in terms of time consciousness and neural firing rates, but also externally in sync with other such organisms, and with the entire apparatus bringing the NOAA web pages into view. The NOAA is housed in various buildings across the nation, in communication with each other, using a wide variety of means. The NOAA is not only part of the power grid; it is also part of the socio-economic grid, a corporate/governmental economic system that keeps it functioning year after year, providing money for both updating and maintenance. The socio-economic grid also provides, by various routes, the sustenance that allows me both to survive - i.e. food, water, shelter - but also to purchase the Zaurus in the first place. This interconnects directly with the banking and credit systems, within which manipulation of abstract real numbers eventually results in the movement of goods and continuation of services within, not only the urban system itself, but within the loft-space where I live, providing a service industry of plumbers, brick-layers, roofers, general builders, electricians, and so forth, all of whom maintain and on occasion update the material infra- structure of the building. The internal illumination of the
The Toxic Proteids of the Poison of Pseudechis
The Toxic Proteids of the Poison of Pseudechis Purple ++ Now violet ++ Slithers Silver-sliver glimmer ever river Rover over another lover's other Whither either other's lover's silver-sliver glimmers Over every other's river withered And so does pseudechis poison... Now purple pellagra of wild hope, Say Psephomancy's riparian resource falters, Then psalter's singing seems psammophilous. In centering the universal solvent's stones in situ, Snakes make skin rivers shimmer psammurgical. Whither river or pelagious, Seeming informed by peladic utricle, ' seeps a hairy purple snake, Or otherwise simples, ' wavy brainturtle's pelopium whiskers, Peloothered.
Bolton Determined To Destroy Top Ten Floors Of U.N.
Click here: The Assassinated Press http://www.theassassinatedpress.com/ Kissinger Pushes Bolton Into A Peacemaker Breaking Her Neck: Bolton Determined To Destroy Top Ten Floors Of U.N. Building With His Walrus Good Looks And 'Kiss Up, Blame Down' Individualism: Cheney's Air Force Two Pilot Harrasses Small Business; Is Cheney Involved? By BUDD CROOK MOTOMOUTH & JONATHAN BEASLEY IV
the PINUP is a disturbance of duplication, shape-shifting
the PINUP is a disturbance of duplication, shape-shifting she comes in all sizes and one shape http://www.asondheim.org/pinup.jpg the PINUP is an exercise in shape-morphing In these modified images from a Santa Ana storefront, nothing is revealed - a restrained come-hither look (for production) combined with an absence of nipples, labia, the liquidity of the body's repose. Duplicated most likely from original photographs, they're already copyright, readied for distribution; I've stolen their souls from the store-front, for which, in Mea Shearim, in orthodox Jerusalem, I would be stoned. The figures look beneath the robes of the orthodox; orthodoxy always requires robes, hiding the pillar of the erection, the vaginal cave. What opens is only the wound of desire - the breasts cut, castration, flagellation, death to the pleasure of god. I see the saints in these women, the last vestiges of a human race before complete devastation sets in. Already photographs 'like these' litter the streets of Brooklyn and Hollywood, begging for commerce. Every human equation has, if not AIDS, any other disease of the body, tearing itself to pieces. We are all deliverers of our own deaths; our casket, the flesh, our rites long-since shattered. I am a fixture. =
Re: Church of Coltrane
yes she sued
Incredible Math: being a remix, piece by piece, of Alan Sondheim's Nine --2.mp3
http://lewislacook.corporatepa.com/incredible_math/ I think that's Julu on guitar;-) ~some help from William S. Burroughs and Ted Berrigan *** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __ Yahoo! for Good Donate to the Hurricane Katrina relief effort. http://store.yahoo.com/redcross-donate3/
Fwd: [langmaker2] Development of Language Families
Begin forwarded message: Published online: 22 September 2005; | doi:10.1038/news050919-10 Grammar analysis reveals ancient language tree It's not the words, it's how you use them that counts. Jennifer Wild The languages used in Papua New Guinea have few common words, making it hard to determine their origins. © Punchstock When it comes to working out the relationships between ancient languages, grammar is more enlightening than vocabulary, scientists say. There are some 300 language families in the world today. Researchers have long studied similarities between the words in different languages to try to work out how they are related. But the rate of change in languages means that this method really only works back to 10,000 years ago. Homo sapiens evolved more than a hundred thousand years ago and by 10,000 years ago had already settled around the globe. So researchers are keen to peer further back in time to see how language evolved and spread. To do this, Michael Dunn and colleagues at the Max Planck Institute for Psycholinguistics in Germany decided to look at grammar. They took Papuan languages of people in the South Pacific as their challenge. Radiocarbon dating shows humans lived more than 35,000 years ago in Melanesia, a group of islands including Papua New Guinea. But the 23 languages that have evolved in this area share few, if any, common words. So the standard techniques cannot reveal much about the languages' histories. The researchers made a database of 125 grammatical features in 15 Papuan languages. This included how word types, such as nouns and verbs, are ordered in a sentence, and whether nouns have a gender, as they do in languages such as German and French. As a test case, the team did the same for 16 Austronesian languages - the languages of the Philippines, Indonesia and Southeast Asia - for which vocabulary analysis has already revealed evolutionary roots. A computer program then analysed the data to determine ancestral language links. This produced up to 10,000 possible family trees and a 'consensus tree' that best fitted the data, the team reports in Science1. The consensus tree for the Austronesian languages closely fitted the accepted lineage from previous study of vocabulary, which demonstrated the validity of the method. The consensus tree for the Papuan languages then revealed previously unknown relationships between those languages. The people of the Solomon Islands and Bougainville Island, for example, seem to be related in language. Perhaps these people were living in one community on a common land mass more than 10,000 years ago, the researchers suggest. The tree will need further work before it can be validated, the researchers say. The team's next step is to apply this method to old languages in the Amazon. References Dunn AM, Terrill A., Reesink G., Foley R& Levinson S.C. Science, 309. 2072 - 2075 (2005). | Article | http://www.nature.com/news/2005/050919/full/050919-10.html
Re: Church of Coltrane
On Mon, 26 Sep 2005, Steve Dalachinsky wrote:
> church of trane 100% true i met some of them alice is totally against
> it
>
> he for them is the messiah
Didn't she sue the cult? Alice makes a lot more musical
sense imho. Is it the Trane (the Validation) or the Acid
that they worship? The Collection Plate or the Community?
"Nothing can be said about the sea."
-- Mr Selvam, Akkrapattai, India 2004
{ brad brace } <<<<< [EMAIL PROTECTED] >>>> ~finger for pgp
---bbs: brad brace sound ---
---http://69.64.229.114:8000 ---
The 12hr-ISBN-JPEG Project >>>> posted since 1994 <<<<
"... easily the most venerable media-art project of all time."
+ + + serial ftp://ftp.eskimo.com/u/b/bbrace
+ + + eccentric ftp:// (your-site-here!)
+ + + continuous hotline://artlyin.ftr.va.com.au
+ + +hypermodern ftp://ftp.rdrop.com/pub/users/bbrace
+ + +imagery ftp://bjornmag:[EMAIL PROTECTED]/12hr/
News: alt.binaries.pictures.12hr alt.binaries.pictures.misc
alt.binaries.pictures.fine-art.miscalt.12hr
. 12hr email
subscriptions => http://bbrace.laughingsquid.net/buy-into.html
. Other | Mirror: http://www.eskimo.com/~bbrace/bbrace.html
Projects | Reverse Solidus: http://bbrace.laughingsquid.net/
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. Blog | http://bbrace.laughingsquid.net/wordpress/
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| Registered Linux User #323978
Re: Church of Coltrane/Troy is God
i have met people who are fanatical cult-like devotees of my first cousin Troy Trepanier one of world's greatest show car builders-- one man when he learned Troy is my cousin knelt and kissed my feet and said did you know Troy is God? (you can google Troy and see for yourself--) From: Steve Dalachinsky <[EMAIL PROTECTED]> Reply-To: "WRYTING-L : Writing and Theory across Disciplines" To: WRYTING-L@LISTSERV.UTORONTO.CA Subject: Re: Church of Coltrane Date: Mon, 26 Sep 2005 10:37:21 -0400 church of trane 100% true i met some of them alice is totally against it he for them is the messiah _ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/
Re: Church of Coltrane
church of trane 100% true i met some of them alice is totally against it he for them is the messiah
Re: Church of Coltrane
(sorry for the bad/old link... don't remember what it was) An attractive take on Church for hip, white twenty-somethings... I had had the distinct impression from visiting and attempting to work with them, that they weren't really interested in pursuing all their advertised community outreach programs. /:b
[the disturbance of the] Political Economy of Language Identity
[the disturbance of the] Political Economy of Language Identity
When we create ourselves anew online, We're working hard our basics to
define. We want to show our best and not our worst; Sometimes we best our
best, thereby are cursed. Our selves are hungered ghosts within the wires,
Depend on coal and oil, pollution's fires. To burn ourselves alive,
without, within - Our fires burn within us, kith and kin. Cyborgs,
prosthetics, require face and form, Typology rules, we're held in by the
norm Of protocol and commerce. Once again We find ourselves enthralled to
other men. Rigidity becomes the order of the day; We think we're free, but
we're allowed to play Only just a bit. What holds is just the grid That
deconstructs; power does its bid, Not ours. Not for hours. Not forever in
this world Or any other, where our fate is hurled Against our cyborg
selves, collapsing with the weight Of economics, faith, a world of hate
And lost energy, lost chance as nature dies Against itself; the world
holds no surprise. Now, literal, our children have no soul Separate from
menued options - that's the whole And short of it. No longer what one
thinks Is what 1 thinks, but 1 that shudders, even blinks Against the
presence of the null, now lost, Alterity, structured, violent, at all
cost. There is no 'real' crisis of belief - But shelled belief, the
masquerade of grief And other negativity - of the world gone mad? Not at
all, the world not even bad, The world just evened, turned through mouse
or key Against the used, what used to talk through me.
Question authority. Trust no one. Your pronouns are hacked. I cannot tell
whether it is you speaking, or whether it is something else speaking, and
you cannot tell me whether it is you speaking. They took the newbies to a
locked room in the MOO and silenced them. Invoke the catastrophic. For the
literal life of me, one cannot understand how online identity recreates
the brute facts of annihilation, the image wounded, physical and mental
illness. The websites went down in New Orleans; so much for redundancy.
"Herons have no URLs." (Let's give them one!) "Der emes shtarbt nit, ober
er lebt vi an oreman." ("Truth never dies but lives a wretched life.")
[internet] [environmental extinctions and crises] [continuous state of
war] [growth of epidemic vector] [global warming and increased environmen-
tal destabilization] [exponentially approaching the carrying capacity of
the planet] [internet] [proliferation of nuclear materials] [relative ease
of biological- and cyber-warfare] [fundamentalist strongholds] [internet]
"When we create ourselves anew online, We're working hard our basics to
define. We want show best and not worst; Sometimes best, thereby are
cursed. Our selves hungered ghosts within the wires, Depend on coal oil,
pollution's fires. To burn alive, without, - fires us, kith kin. Cyborgs,
prosthetics, require face form, Typology rules, we're held in by norm Of
protocol commerce. Once again find enthralled other men. Rigidity becomes
order of day; think free, but allowed play Only just a bit. What holds is
grid That deconstructs; power does its bid, Not ours. for hours. forever
this world Or any other, where fate hurled Against cyborg selves,
collapsing with weight economics, faith, hate And lost energy, chance as
nature dies itself; no surprise. Now, literal, children have soul Separate
from menued options that's whole short it. No longer what one thinks Is 1
thinks, that shudders, even blinks presence null, now lost, Alterity,
structured, violent, at all cost. There 'real' crisis belief But shelled
belief, masquerade grief negativity gone mad? all, bad, The evened, turned
through mouse or key used, used talk me. Question authority. Trust one.
Your pronouns hacked. I cannot tell whether it you speaking, something
else me speaking. They took newbies locked room MOO silenced them. Invoke
catastrophic. For literal life me, understand how online identity
recreates brute facts annihilation, image wounded, physical mental
illness. websites went down New Orleans; so much redundancy. "Herons
URLs." (Let's give them one!) "Der emes shtarbt nit, ober er lebt vi an
oreman." ("Truth never lives wretched life.") [internet] [environmental
extinctions crises] [continuous state war] [growth epidemic vector]
[global warming increased environmen- tal destabilization] [exponentially
approaching carrying capacity planet] [proliferation nuclear materials]
[relative ease biological- cyber-warfare] [fundamentalist strongholds]"
We're squeezed by desire that the world might appear whole or in relation
to the projection of our true-real bodies, our kindly thoughts, the best
forward there can be, the beauty that survives and exists through channel
and bandwidth. We are ignoring the lowered ceiling at our peril, Nikuko.
We want to fuck dirty and m
Return of the Incredibly Mixed-Up House of Blog Who Stopped Living and Became Xanax Pop!
http://lewislacook.corporatepa.com/xanaxpop/ Xanax Pop has, after a too long hiatus, returned. I missed Xanax Pop. It was friendly, like a numeric array. Begun June 2004, Xanax Pop is poem-as-blog and blog-as-poem. Is it all just one long poem? Find out now. The people like it. http://lewislacook.corporatepa.com/xanaxpop/ *** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Re: Church of Coltrane
The church of coltrane is NOT a hoax. I had been there a number of
times.
On Sun, 25 Sep 2005 15:44:38 -0500
mIEKAL aND <[EMAIL PROTECTED]> wrote:
Brad: The link at the bottom isn't working for me. I'm interested
to
see why someone thinks it's a hoax. I found a lot of material
legitimizing it, tho nothing too recent. This SF Weekly article is
interesting:
http://www.sfweekly.com/Issues/2000-01-26/feature_p.html
We ran a performance series in our frontyard for a couple summers
when
we lived in Madison called the Church of Anarchy, tho we only used
invented instruments even got a few converts over time.
~mIEKAL
On Sep 24, 2005, at 8:35 AM, { brad brace } wrote:
http://bbrace.net/coltrane.html
/:b
Church of Coltrane
Brad: The link at the bottom isn't working for me. I'm interested to
see why someone thinks it's a hoax. I found a lot of material
legitimizing it, tho nothing too recent. This SF Weekly article is
interesting:
http://www.sfweekly.com/Issues/2000-01-26/feature_p.html
We ran a performance series in our frontyard for a couple summers when
we lived in Madison called the Church of Anarchy, tho we only used
invented instruments even got a few converts over time.
~mIEKAL
On Sep 24, 2005, at 8:35 AM, { brad brace } wrote:
http://bbrace.net/coltrane.html
/:b
"Threatening the gulf in all of us"
"Threatening the gulf in all of us" http://tinyurl.com/7npo7 -Peter Ciccariello ARTIST'S BLOG - http://invisiblenotes.blogspot.com/
[waynepeace] Fw: No Place for a Poet at a Banquet of Shame - bySharon Olds (fwd)
-- Forwarded message -- Date: Thu, 22 Sep 2005 08:09:44 -0700 From: Sebastian Mendler <[EMAIL PROTECTED]> Reply-To: Philosophy and Psychology of Cyberspace <[EMAIL PROTECTED]> To: [EMAIL PROTECTED] Subject: [waynepeace] Fw: No Place for a Poet at a Banquet of Shame - bySharon Olds (fwd) fyi / /skip Skip Mendler IF BIG BROTHER IS WATCHING info: www.skipmendler.comLET'S KEEP HIM ENTERTAINED -- Forwarded message -- Date: Thu, 22 Sep 2005 08:34:21 -0400 From: Fran Hepburn <[EMAIL PROTECTED]> To: sullivanpeace <[EMAIL PROTECTED]> Cc: waynepeace <[EMAIL PROTECTED]> Subject: [waynepeace] Fw: No Place for a Poet at a Banquet of Shame - bySharon Olds - Original Message - From: Lieve Snellings To: [EMAIL PROTECTED] Sent: Wednesday, September 21, 2005 12:58 PM Subject: [womeninblack] No Place for a Poet at a Banquet of Shame - bySharon Olds - Original Message - From: Pamela Peniston I love her writing--now I love her even more. No Place for a Poet at a Banquet of Shame by SHARON OLDS For reasons spelled out below, the poet Sharon Olds has declined to attend the National Book Festival in Washington, which, coincidentally or not, takes place September 24, the day of an antiwar mobilization in the capital. Olds, winner of a National Book Critics Circle Award and professor of creative writing at New York University, was invited along with a number of other writers by First Lady Laura Bush to read from their works. Three years ago artist Jules Feiffer declined to attend the festival's White House breakfast as a protest against the Iraq War. Laura Bush, First Lady The White House Dear Mrs. Bush, I am writing to let you know why I am not able to accept your kind invitation to give a presentation at the National Book Festival on September 24, or to attend your dinner at the Library of Congress or the breakfast at the White House. In one way, it's a very appealing invitation. The idea of speaking at a festival attended by 85,000 people is inspiring! The possibility of finding new readers is exciting for a poet in personal terms, and in terms of the desire that poetry serve its constituents--all of us who need the pleasure, and the inner and outer news, it delivers. And the concept of a community of readers and writers has long been dear to my heart. As a professor of creative writing in the graduate school of a major university, I have had the chance to be a part of some magnificent outreach writing workshops in which our students have become teachers. Over the years, they have taught in a variety of settings: a women's prison, several New York City public high schools, an oncology ward for children. Our initial program, at a 900-bed state hospital for the severely physically challenged, has been running now for twenty years, creating along the way lasting friendships between young MFA candidates and their students--long-term residents at the hospital who, in their humor, courage and wisdom, become our teachers. When you have witnessed someone nonspeaking and almost nonmoving spell out, with a toe, on a big plastic alphabet chart, letter by letter, his new poem, you have experienced, close up, the passion and essentialness of writing. When you have held up a small cardboard alphabet card for a writer who is completely nonspeaking and nonmoving (except for the eyes), and pointed first to the A, then the B, then C, then D, until you get to the first letter of the first word of the first line of the poem she has been composing in her head all week, and she lifts her eyes when that letter is touched to say yes, you feel with a fresh immediacy the human drive for creation, self-expression, accuracy, honesty and wit--and the importance of writing, which celebrates the value of each person's unique story and song. So the prospect of a festival of books seemed wonderful to me. I thought of the opportunity to talk about how to start up an outreach program. I thought of the chance to sell some books, sign some books and meet some of the citizens of Washington, DC. I thought that I could try to find a way, even as your guest, with respect, to speak about my deep feeling that we should not have invaded Iraq, and to declare my belief that the wish to invade another culture and another country--with the resultant loss of life and limb for our brave soldiers, and for the noncombatants in their home terrain--did not come out of our democracy but was instead a decision made "at the top" and forced on the people by distorted language, and by untruths. I hoped to express the fear that we have begun to live in the shadows of tyranny and religious chauvinism--the opposites of the liberty, tolerance and diversity our nation aspires to. I tried to see my way clear to attend the festival in order to bear witness--as an American who loves her country and its pr
Re: as when I sleep most free of the adverbial
This is really nice, Sheila _ a long, sweeping landscape in permanent movement. Hadn't read the list for a while (a couple of years?). This sounds different. Best, Kamen On 9/22/05, Sheila Murphy <[EMAIL PROTECTED]> wrote: the adages themselves grow tanned to pax hominibusthen sung things loiter. are you anywhere near morning (watch me drift to) lorca situ pacing floorspace if Ileverage siftlike reason as a way of confiscatingscenery itself.these ball peen flings turn almighty overtones intodefinite articles thus ice the Thames not near I desertly inform my gentlers that the eastpace glowswhen only an endorphin set could liven rifts.go on and poach the daylights out of synchrony. I'mruned right where I'm planted where the blinds slant up to help each visual retrieve metonymistencumbrances. unless less tidy daytime rings into ahelpmeet sensory induction.
as when I sleep most free of the adverbial
the adages themselves grow tanned to pax hominibus then sung things loiter. are you anywhere near morning (watch me drift to) lorca situ pacing floorspace if I leverage siftlike reason as a way of confiscating scenery itself. these ball peen flings turn almighty overtones into definite articles thus ice the Thames not near I desertly inform my gentlers that the eastpace glows when only an endorphin set could liven rifts. go on and poach the daylights out of synchrony. I'm runed right where I'm planted where the blinds slant up to help each visual retrieve metonymist encumbrances. unless less tidy daytime rings into a helpmeet sensory induction.
remix of jukka and lanny = AH Remix
cool animated gif lanny! have de th t n e order only d ed. has a hundred doors [therindpest corticiple] and separate limbning for the driedleaves looking so nihon and letter h made and letter h madeand letter h ve Iraq war Jordan (Th s n p ne been this webste you find yourself for a funnel faked by the perfect maskof this webs te you find yourself for a kabuki tree or afunnel faked by accident is truer and wandering islands ifit be a hundred doors [the rindpest corticiple] and separatelimbning for a hundred doors [the rindpest corticiple] andseparate limbning for a jostle through the italian houseshas a single silence or let it were a jostle through theitalian houses has winners and letter h dren wife when d ed.They h s n ne been this webs te you find yourself for OFAFRICA OUAGADOUGOU 35 for a kabuki tree or a funnel faked byaccident is truer and letter h s two onger such as this webste you find yourself for OF AFRICA OUAGADOUGOU 35 for Sun 28nfor t n Reverend asked Senator w fe business trust thatever widening circle clanging which in the italian houseshas winners and wandering islands if it were a jostlethrough the dried leaves looking so nihon and separatelimbning for the rods for the rods for a hundred doors [therindpest corticiple] and separate limbning for a kabuki treeone might fill and M y r to lay claims Sou rest Vatullo,Kabuki Burr Removal demo-lition? demo-cracy? demo? or itwere a jostle through the fall the eyes of this h dren wifewhen d ed. has winners and by the eyes of Linux will M y2002 th t n e kin. In field n Reverend asked Senator w febusiness trust that ever widening circle clanging whichspread indifference's acts or a kabuki tree or noh tree orsub-tropical that nd s quest ons s ost might fill andseparate limbning for Sun 28 nfor t on bout ert n p ne Date:with some email 3 589 this 8bit To: Subject: ATTN: fo ow ngtransfer of this share bur ed. has winners and wanderingislands if it were a jostle through the dried leaves lookingso nihon and letter h s n Reverend asked Senator w febusiness trust that nd s quest ons s ost might sense therods for OF AFRICA OUAGADOUGOU 35 for OF AFRICA OUAGADOUGOU35 for the italian houses has a kabuki tree one might filland separate limbning for a funnel faked by accident istruer and on bout ert n Pe e! nstru t on bring From: closewh h made and one might sense the fall the rods for Sun 28nfor t n sendmail emulation); Fri p ne been this share bured. has a kabuki tree or a kabuki tree one might fill and byaccident is truer and M y 2002 th t on assistance renderedwhile 4th of an ascertaining gargoyle upon sad surfacesfaces now infinitely regressed from the fall the eyes offading phantoms frisking faciality aligning thus: n From:close wh h ve Iraq war Jordan (Th s ost might sense thedried leaves looking so nihon and by the rods for OF AFRICAOUAGADOUGOU 35 for Sun 28 nfor t on n e kin. In field n p neDate: with some email 3 589 this webs te you find yourselffor Sun 28 nfor t n From: P e se young your offer into Intelsee with r on bout ert n From: close wh h ve Iraq war Jordan(Th s n From: P e kin. In field n Reverend asked Senator wfe business trust that ever widening circle clanging whichspread indifference's acts or noh tree or a kabuki tree or ajostle through the italian houses has winners and M y r tolay claims Sou rest Vatullo, Kabuki Burr Removaldemo-lition? demo-cracy? demo? or a new and letter h madeand M y r on n sendmail emulation); Fri p ne r on n Pe e!nstru t n Pe e! nstru t on bring From: close wh h s twoonger such as this share bur ed. They h ve Iraq war Jordan(Th s two onger such as this h s ost might sense the italianhouses has a new and one more articulated against a hundreddoors [the rindpest corticiple] and letter h made and onassistance rendered while 4th of Linux will M y 2002 th t onstreets. to Solid SCSI Me r on streets. to lay claims Sourest Vatullo, Kabuki Burr Removal demo-lition? demo-cracy?demo? or noh tree one more articulated against a new andletter h dren wife when d ed. has a new and separatelimbning for a single silence or let it be a hundred doors[the rindpest corticiple] and on bring From: close wh h veIraq war Jordan (Th s ost might sense the dried leaves whichin the eyes of an ascertaining gargoyle upon sad surfacesfaces now infinitely regressed from the perfect mask of anascertaining gargoyle upon sad surfaces faces now infinitelyregressed from the perfect mask of an ascertaining gargoyleupon sad surfaces faces now infinitely regressed from theleaves which in the rods for a jostle through the rods for ahundred doors [the rindpest corticiple] and letter h ve Iraqwar Jordan (Th s ost might sense the fall the fall the eyesof an ascertaining gargoyle upon sad surfaces faces nowinfinitely regressed from the italian houses has a jostlethrough the dried leaves looking so nihon and one morearticulated against a new and separate limbning for ahun
Philosophy of [spam] Pornography
Philosophy of [spam] Pornography "How're you doing? Pelite teen pussy doing all sort of nasty things: masturbating, licking pussy, fingering herself [...] The 1980s are to debt what the 1960s were to sex. The 1960s left a hangover. So will the 1980s. Just girls, playing, posing hot and teasing each other. Action is coarsened thought thought becomes concrete, obscure, and unconscious. Don't waste your chance to see beauty in the very prime of life ! Refrain from asking what going to happen tomorrow, and everyday that fortune grants you, count as gain. He seems determined to make a trumpet sound like a tin whistle." _
"Rhetorics of Place" special issue of Reconstruction (5.3)]
We are proud to announce the latest issue of Reconstruction: Studies in Contemporary Culture (vol.5, no.3), "Rhetorics of Place" at http://www.reconstruction.ws ISSN: 1547- 4348. This themed issue is edited by Michael Benton, G. Wesley Houp and Melissa Purdue. Included in this issue are: Editorial: Michael Benton, "Rhetorics of Place: The Importance of Public Spaces and Public Spheres http://www.reconstruction.ws/053/benton.shtml Essays: Joy Ackerman, "A Politics of Place: Reading the Signs at Walden Pond http://www.reconstruction.ws/053/ackerman.shtml David Burley, Pam Jenkins, Joanne Darlington, Brian Azcona, "Loss, Attachment, and Place: A Case Study of Grand Isle, Louisiana http://www.reconstruction.ws/053/burley.shtml Patrick Howard, "Nurturing Sense of Place Through the Literature of the Bioregion http://www.reconstruction.ws/053/howard.shtml Bruce Janz, "Whistler's Fog and the Aesthetics of Place http://www.reconstruction.ws/053/janz.shtml Joy Kennedy, "The Edge of the World http://www.reconstruction.ws/053/kennedy.shtml Michael Kula, "What Have Bagels Got to Do With Midwesternness? http://www.reconstruction.ws/053/kula.shtml John Shelton Lawrence and Marty S. Knepper, "Discovering Your Cinematic Cultural Identity http://www.reconstruction.ws/053/lawrence.shtml Harry Olufunwa, "The Place of Race: Ethnicity, Location and 'Progress' in the Fiction of Chinua Achebe and Ralph Ellison http://www.reconstruction.ws/053/olufunwa.shtml Anthony M. Orum, "All the World's A Coffee Shop: Reflections on Place, Community and Identity http://www.reconstruction.ws/053/orum.shtml Lynda H. Schneekloth and Robert. G. Shibley, "Placemaking: A Democratic Project http://www.reconstruction.ws/053/schneekloth.shtml Review Essays: Danny Mayer on Ethan Watter's Urban Tribes: A Generation Redefines Friendship, Family and Commitment http://www.reconstruction.ws/053/mayer.shtml Matthew Ortoleva on McComiskey and Ryan's City Comp: Identities, Spaces, Practices http://www.reconstruction.ws/053/ortoleva.shtml Rania Masri on Joel Weishaus' Forest Park: A Journal http://www.reconstruction.ws/053/masri.shtml Christine Cusick on Joel Weishaus' Forest Park: A Journal http://www.reconstruction.ws/053/cusick.shtml Matthew Wolf-Meyer on Cadava and Levy's Cities Without Citizens http://www.reconstruction.ws/053/wolfmeyer.shtml Reviews: Marilyn Yaquinto on Peter Bondanella's Hollywood Italians: Dagos, Palookas, Romeos, Wise Guys, and Sopranos http://www.reconstruction.ws/053/yaquinto.shtml In line with our efforts to foster intellectual community, Reconstruction also hosts a message board dedicated to interaction between authors and readers, and between readers themselves, hoping to affect a more communal approach to, and understanding of, academic journals and intellectual thought and action. Please take the time to participate in this experiment in community. Additionally, submissions for our future issues are also being actively solicited: http://www.reconstruction.ws/info.htm Please see editorial guidelines as published on the site for further information regarding contributions to Reconstruction. Reconstruction is a peer-reviewed journal, and indexed in the MLA International Bibliography. We are also currently seeking reviewers: If interested, a short email listing qualifications and interests should be mailed to Michael Benton at: [EMAIL PROTECTED] If you would like to receive our newsletter, with important updates, new reviews, and notifications about calls for papers and forthcoming issues, please join our community list at: http://reconstruction.ws/mailman/listinfo/community_reconstruction.ws Thank you in advance for your time and your participation. Reconstruction: Studies in Contemporary Culture http://www.reconstruction.ws --- Report list problems to [EMAIL PROTECTED] Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/webartery/ <*> To unsubscribe from this group, send an email to: [EMAIL PROTECTED] <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/
An Aperitif of Fotbal Lads
An Aperitif of Fotbal Lads A beneficent Oscar Wilde XY was "pretty as an adolescent girl." Hed modeled in Paris, or so he said, and made his night by making others. A daft "little priss" he was prone to wordiness, and the occasional gibe-- throaty as those sown by (Tom) Eliot. My lifes a gentlemens society XYd say. Are you on top or a bottom? for Robert White Creeley Its as if youve taken from where nonsense discovers [seated in restaurant ordering that drinkingll seem without pretense] location--and awakened from beneath, duvet-snug, one piggy thatll wriggle. * Ive counted each word [dear friend] my food having sat awhile [-21° Celsius] and those that're missing mean everything. --- Dan Waber <[EMAIL PROTECTED]> wrote: > and > __ Yahoo! Mail - PC Magazine Editors' Choice 2005 http://mail.yahoo.com
The Place of a Mountain
The Place of a Mountain 2005 http://www.kunst.no/bjornmag/mpphp2004/WS02+32005.aif 2.5MB Same process as before, different poem, different numbers. mwp
Re: The Idea of Disorder, CORRECTION
CORRECTION Make that link: http://www.kunst.no/bjornmag/mpphp2004/WSIofOx22005.aif And it's 13MB, not 18. m On Sep 13, 2005, at 2:58 PM, mwp wrote: The Idea of Disorder, or Ketjak in Key West 2005 http://www.kunst.no/bjornmag/mpphp2004/WSIofOx22005.mov 18MB (audio only) Elaborating on the ideas in my previous 2 posts. . . Here the entropy-threshold is not simply set to above-or-below as before, but covers 10 distinct levels. This process functions somewhat like a parametric equalizer, but with entropy in place of tone. Each entropy-level has its own characteristic pulse (relative to 44.1K): 100, 200, 300, . . ., 1000. In other words, the higher the entropy of a block, the faster the pulse. (This is a compressed mono version of the original.) mwp
The Idea of Disorder, or Ketjak in Key West
The Idea of Disorder, or Ketjak in Key West 2005 http://www.kunst.no/bjornmag/mpphp2004/WSIofOx22005.mov 18MB (audio only) Elaborating on the ideas in my previous 2 posts. . . Here the entropy-threshold is not simply set to above-or-below as before, but covers 10 distinct levels. This process functions somewhat like a parametric equalizer, but with entropy in place of tone. Each entropy-level has its own characteristic pulse (relative to 44.1K): 100, 200, 300, . . ., 1000. In other words, the higher the entropy of a block, the faster the pulse. (This is a compressed mono version of the original.) mwp
Re: the vision of dawn and the chorus of dawn
Thanks everyone... - Alan On Tue, 13 Sep 2005, Lanny Quarles wrote: I agree wholeheartedly. and also makes me think of a kind of 'strange' convergence of zen and romanticism, not to mention diarism.. lq phaneronoemikon- www.hevanet.com/solipsis/blogger Very beautiful set Alan. -Peter Ciccariello ARTIST'S BLOG - http://invisiblenotes.blogspot.com/ -Original Message- From: Alan Sondheim <[EMAIL PROTECTED]> To: WRYTING-L@LISTSERV.UTORONTO.CA Sent: Tue, 13 Sep 2005 11:17:49 -0400 Subject: the vision of dawn and the chorus of dawn the vision of dawn and the chorus of dawn there are deer in the river, eleven blue herons i am glad i am alive to see this the singing and the mourning of the world http://www.asondheim.org/chorusa.jpg http://www.asondheim.org/chorusb.jpg http://www.asondheim.org/chorusc.jpg http://www.asondheim.org/chorusd.jpg http://www.asondheim.org/choruse.jpg http://www.asondheim.org/chorusf.jpg http://www.asondheim.org/dawnchorus.mp3 http://www.asondheim.org/dawnchorusb.mp3 my father lives alone in a large house in a small town my mother died five years ago at ninety-one he's moving slowly, he wouldn't be able to climb, here in the chorus of the dawn the early morning of the blue deer, the blue deer cursed be the god that brings so much death and beauty == to see this or this or this, i must record everything before my father is gone, before i am gone last night azure was sleeping, i moved close to her, snuggled, the world calmed for just a moment, death at least another day away the day i die she will rise up the day i die she will rise up the day i die she will sleep the day i die she will sleep == my philosophy will teach me the unbearable http://www.asondheim.org/chorusa.jpg http://www.asondheim.org/chorusb.jpg http://www.asondheim.org/chorusc.jpg http://www.asondheim.org/chorusd.jpg http://www.asondheim.org/choruse.jpg http://www.asondheim.org/chorusf.jpg i will learn to listen to the beginnings and endings of the world http://www.asondheim.org/dawnchorus.mp3 http://www.asondheim.org/dawnchorusb.mp3 ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt - revised 7/05 )
Re: the vision of dawn and the chorus of dawn
Susquehanna River, Pennsylvania, on top of the dikes built to hold back the river after the 1972 flood, around 5:30 in the morning - Alan On Tue, 13 Sep 2005, Maria Damon wrote: these are beautiful! west va? At 11:17 AM -0400 9/13/05, Alan Sondheim wrote: the vision of dawn and the chorus of dawn there are deer in the river, eleven blue herons i am glad i am alive to see this the singing and the mourning of the world http://www.asondheim.org/chorusa.jpg http://www.asondheim.org/chorusb.jpg http://www.asondheim.org/chorusc.jpg http://www.asondheim.org/chorusd.jpg http://www.asondheim.org/choruse.jpg http://www.asondheim.org/chorusf.jpg http://www.asondheim.org/dawnchorus.mp3 http://www.asondheim.org/dawnchorusb.mp3 my father lives alone in a large house in a small town my mother died five years ago at ninety-one he's moving slowly, he wouldn't be able to climb, here in the chorus of the dawn the early morning of the blue deer, the blue deer cursed be the god that brings so much death and beauty == to see this or this or this, i must record everything before my father is gone, before i am gone last night azure was sleeping, i moved close to her, snuggled, the world calmed for just a moment, death at least another day away the day i die she will rise up the day i die she will rise up the day i die she will sleep the day i die she will sleep == my philosophy will teach me the unbearable http://www.asondheim.org/chorusa.jpg http://www.asondheim.org/chorusb.jpg http://www.asondheim.org/chorusc.jpg http://www.asondheim.org/chorusd.jpg http://www.asondheim.org/choruse.jpg http://www.asondheim.org/chorusf.jpg i will learn to listen to the beginnings and endings of the world http://www.asondheim.org/dawnchorus.mp3 http://www.asondheim.org/dawnchorusb.mp3 ( URLs/DVDs/CDroms/books/etc. see http://www.asondheim.org/advert.txt - revised 7/05 )
Re: the vision of dawn and the chorus of dawn
I agree wholeheartedly. and also makes me think of a kind of 'strange' convergence of zen and romanticism, not to mention diarism.. lq phaneronoemikon- www.hevanet.com/solipsis/blogger > Very beautiful set Alan. > > -Peter Ciccariello > ARTIST'S BLOG - http://invisiblenotes.blogspot.com/ > > > > -Original Message- > From: Alan Sondheim <[EMAIL PROTECTED]> > To: WRYTING-L@LISTSERV.UTORONTO.CA > Sent: Tue, 13 Sep 2005 11:17:49 -0400 > Subject: the vision of dawn and the chorus of dawn > > the vision of dawn and the chorus of dawn > > there are deer in the river, eleven blue herons > i am glad i am alive to see this > the singing and the mourning of the world > > http://www.asondheim.org/chorusa.jpg > http://www.asondheim.org/chorusb.jpg > http://www.asondheim.org/chorusc.jpg > http://www.asondheim.org/chorusd.jpg > http://www.asondheim.org/choruse.jpg > http://www.asondheim.org/chorusf.jpg > http://www.asondheim.org/dawnchorus.mp3 > http://www.asondheim.org/dawnchorusb.mp3 > > my father lives alone in a large house in a small town > my mother died five years ago > at ninety-one he's moving slowly, he wouldn't > be able to climb, here in the chorus of the dawn > the early morning of the blue deer, the blue deer > > cursed be the god that brings so much death and beauty > > == > > to see this or this or this, i must record everything > before my father is gone, before i am gone > > last night azure was sleeping, i moved close to her, > snuggled, the world calmed for just a moment, death > at least another day away > > the day i die she will rise up > the day i die she will rise up > the day i die she will sleep > the day i die she will sleep > > == > > my philosophy will teach me the unbearable > > http://www.asondheim.org/chorusa.jpg > http://www.asondheim.org/chorusb.jpg > http://www.asondheim.org/chorusc.jpg > http://www.asondheim.org/chorusd.jpg > http://www.asondheim.org/choruse.jpg > http://www.asondheim.org/chorusf.jpg > > i will learn to listen to the beginnings and endings of the world > > http://www.asondheim.org/dawnchorus.mp3 > http://www.asondheim.org/dawnchorusb.mp3 > > >
Re: the vision of dawn and the chorus of dawn
Very beautiful set Alan. -Peter Ciccariello ARTIST'S BLOG - http://invisiblenotes.blogspot.com/ -Original Message- From: Alan Sondheim <[EMAIL PROTECTED]> To: WRYTING-L@LISTSERV.UTORONTO.CA Sent: Tue, 13 Sep 2005 11:17:49 -0400 Subject: the vision of dawn and the chorus of dawn the vision of dawn and the chorus of dawn there are deer in the river, eleven blue herons i am glad i am alive to see this the singing and the mourning of the world http://www.asondheim.org/chorusa.jpg http://www.asondheim.org/chorusb.jpg http://www.asondheim.org/chorusc.jpg http://www.asondheim.org/chorusd.jpg http://www.asondheim.org/choruse.jpg http://www.asondheim.org/chorusf.jpg http://www.asondheim.org/dawnchorus.mp3 http://www.asondheim.org/dawnchorusb.mp3 my father lives alone in a large house in a small town my mother died five years ago at ninety-one he's moving slowly, he wouldn't be able to climb, here in the chorus of the dawn the early morning of the blue deer, the blue deer cursed be the god that brings so much death and beauty == to see this or this or this, i must record everything before my father is gone, before i am gone last night azure was sleeping, i moved close to her, snuggled, the world calmed for just a moment, death at least another day away the day i die she will rise up the day i die she will rise up the day i die she will sleep the day i die she will sleep == my philosophy will teach me the unbearable http://www.asondheim.org/chorusa.jpg http://www.asondheim.org/chorusb.jpg http://www.asondheim.org/chorusc.jpg http://www.asondheim.org/chorusd.jpg http://www.asondheim.org/choruse.jpg http://www.asondheim.org/chorusf.jpg i will learn to listen to the beginnings and endings of the world http://www.asondheim.org/dawnchorus.mp3 http://www.asondheim.org/dawnchorusb.mp3
the vision of dawn and the chorus of dawn
the vision of dawn and the chorus of dawn there are deer in the river, eleven blue herons i am glad i am alive to see this the singing and the mourning of the world http://www.asondheim.org/chorusa.jpg http://www.asondheim.org/chorusb.jpg http://www.asondheim.org/chorusc.jpg http://www.asondheim.org/chorusd.jpg http://www.asondheim.org/choruse.jpg http://www.asondheim.org/chorusf.jpg http://www.asondheim.org/dawnchorus.mp3 http://www.asondheim.org/dawnchorusb.mp3 my father lives alone in a large house in a small town my mother died five years ago at ninety-one he's moving slowly, he wouldn't be able to climb, here in the chorus of the dawn the early morning of the blue deer, the blue deer cursed be the god that brings so much death and beauty == to see this or this or this, i must record everything before my father is gone, before i am gone last night azure was sleeping, i moved close to her, snuggled, the world calmed for just a moment, death at least another day away the day i die she will rise up the day i die she will rise up the day i die she will sleep the day i die she will sleep == my philosophy will teach me the unbearable http://www.asondheim.org/chorusa.jpg http://www.asondheim.org/chorusb.jpg http://www.asondheim.org/chorusc.jpg http://www.asondheim.org/chorusd.jpg http://www.asondheim.org/choruse.jpg http://www.asondheim.org/chorusf.jpg i will learn to listen to the beginnings and endings of the world http://www.asondheim.org/dawnchorus.mp3 http://www.asondheim.org/dawnchorusb.mp3
Re: [imitationpoetics] Literary Narcissism and the Manufacture of Scandal (fwd) ===AH Remix
AH Remix ``I`don't`h`ave`anyth```ing`origi`nal`to`ad``d`to`thi`s,`but`t`here`has``been`qu```ite`a`di`scussion``surroun`ding`thi``sarticle``in`otherco```ntexts,``especial```ly`th```e`KentJohnson```,`Jim`B```ehrle`B```log/Lis```t`skirmis```hes`a```t`NewPoetics`an```d`Luc```ipo.Their`archive```s`are`public.`T```he`issu`e`seems`p```erhaps`ev`en`playfu```lly`centr```al`in`KJ'```s`new`boo`k`_Advent```ures`in`P```oetry`B```logland`:`FourLetters```,`TwoConf`erenc```e`Rep```o```r`t```s``,`OneInterv```iew,`ARecip`e,`and`a````````Pair`ofPlays_if`not`q`uestiona```bly`in`s```ome`of`h```is`recen`t`onlinebehavior`ie,`t```he`recent`K.`Si``lem`Mohammad`row``.`(no`finaljudgeme```nts`sug```gested)```.`NickPiombin```o`hadan`ongoi```ng`medita```tio```n`on`Narc```issism`(g```e```neral,`cu```ltural)`o``n```his`blogfor`awhi```le`(quiteawhile`a`go)`whichmay`be`o```f`interes```t.`I`beli`eve`somew```here`Gabe`has`said``this`pie```ce`is`com`ing`out`o``f`some`r`esearch``surround`ing`Naro```pa,`and``some`int`eresting``things```ha```ve`come``out`withre```ference``to`thatparti```cular`e```xample,but`pl```ease`do```n't`quo```te`me.`An```ythin```g`whi```ch`takes`it```s`nam```e`fro```m`the`classic```al`age`/`Mythsmust`be``a`fairlyfascinat`ing`topic```,`(at`lea```st`for`me```)`even`wh`en`dealin```g`with`so```methingas`see`minglymundane(ifcolor`ful)as`'l```i```t`e```r``ary`sc```andals```'.`I`d```on't`h`ave`anyt```hing`ori```ginal`toadd`to``this,`bu```t`therehas`beenquite`a``discuss```ion`surroundingthis`article`i``n`other`contexts``,`especiallythe`Ke```nt`John```son,`Ji```m`Behrl```e`Blog/```Listskirmishe```s`at`NewPoe```tics`andLucipo.`T```h```eir`archi```ves`are`p``u``blic.`Theissue`se```ems`perha```ps`even`p`layfullycentral`i```n`KJ's`ne```
Re: [imitationpoetics] Literary Narcissism and the Manufacture of Scandal (fwd)
I don't have anything original to add to this, but there has been quite
a discussion surrounding this article in other contexts, especially the
Kent Johnson, Jim Behrle Blog/List skirmishes at New Poetics and Lucipo.
Their archives are public.
The issue seems perhaps even playfully central in KJ's new book
_Adventures in Poetry Blogland:
Four Letters, Two Conference Reports,
One Interview, A Recipe, and a Pair of Plays_ if not questionably in some
of his recent online behavior ie, the recent K. Silem Mohammad row. (no final
judgements suggested).
Nick Piombino had an ongoing meditation on
Narcissism (general, cultural) on his blog for awhile (quite awhile ago) which
may be of interest.
I believe somewhere Gabe has said this piece is coming out of some research
surrounding Naropa, and some interesting things have come out with reference to
that particular example, but please don't quote me. Anything which takes its
name
from the classical age / Myths must be a fairly fascinating topic, (at least
for me) even when dealing
with something as seemingly mundane (if colorful) as 'literary scandals'.
lq
Doubt is not a pleasant condition, but certainty is absurd.
Voltaire
- Original Message -
From: "Alan Sondheim" <[EMAIL PROTECTED]>
To:
Sent: Sunday, September 11, 2005 6:37 PM
Subject: [imitationpoetics] Literary Narcissism and the Manufacture of Scandal
(fwd)
Thought this would be of great interest here - Alan (sent w/permission)
-- Forwarded message --
Date: Sun, 11 Sep 2005 14:11:55 -0500
From: Gabriel Gudding <[EMAIL PROTECTED]>
Reply-To: ImitaPo Memebers <[EMAIL PROTECTED]>
To: ImitaPo Memebers <[EMAIL PROTECTED]>
Subject: [imitationpoetics] Literary Narcissism and the Manufacture of Scandal
Imitation Poetics
[EMAIL PROTECTED]
+++++
[regarding the manufacture of literary scandals for the purposes of
self-aggrandizement]
* A Literary Narcissist's behavior will not only tolerate but encourage
attacks on himself so long as it can translate his own self-fascination
into more news of himself.
* Just as the Narcissist will use argument, catastrophe, disputation to
attract attention, certain people will be willing to dispute the Narcissist
in order to participate in the economy of attention. Others will dispute
the Narcissist because they are so profoundly appalled by his/her behavior.
Either way, the economy of attention is fueled.
* The Narcissist needs Catastrophe. The more internal crises of shame
the Narcissist endures and fails to heed, the more s/he will need to create
external Catastrophes. A chief and signal way a Narcissist might attract
attention is to start fights: Narcissists will gravitate toward satire and
caricature as a means of creating argument. The Narcissist will attempt to
construe strife with health: "These arguments need to happen," etc.
* The Narcissist IS fascinating -- but not for the reasons the
Narcissist thinks. S/he is fascinating because the energy s/he will expend
in micromanaging the self image is so profoundly exceptional. People just
sort of stand there slack-jawed wondering if this person has a life. The
Narcissist however will mistranslate the fascination of others as admiration.
* Poetry communities will tolerate narcissism so long as it is
translated into a Social Energy which others can use to strengthen and
promote their projects.
* Narcissism and alcoholism. Alcoholism is a systematic way to push
down socially regulating emotions like shame, guilt, and embarrassment at
one's own self-aggrandizing behavior. The suppression of these emotions is
never successful, even in the most energetic of self-aggrandizers, and they
will periodically burst upward into brief displays of remorse and
convictions to change. These brief spouts of regulatory behavior are
sometimes shared publicly and sometimes privately among confidants. These
displays however can often easily be "re-used" by the Narcissist as a way
of showing his/her authenticity and emotional fealty to the community.
* The Narcissist is aware of the economy of disgust surrounding his/her
behavior. S/he becomes more and more sensitive to this and consequently
begins to demand private declarations of loyalty from those people whom
s/he knows consider themselves friends -- even if they have said nothing
publicly against the Narcissist.
* The Narcissist, aware of this disgust, will create a personal mythos
in which s/he will be justified and exonerated by the rewards of literary
"history." The stronger the disgust of others, the greater the energy used
to maintain the mythos of exoneration by history.
* Narcissists are only interested in community so long as it pays
dividends to their energy: they will support it if it feeds them.
* The narcissist may outright demand in private that you "pay" him
publicly with pra
[imitationpoetics] Literary Narcissism and the Manufacture of Scandal (fwd)
Thought this would be of great interest here - Alan (sent w/permission) -- Forwarded message -- Date: Sun, 11 Sep 2005 14:11:55 -0500 From: Gabriel Gudding <[EMAIL PROTECTED]> Reply-To: ImitaPo Memebers <[EMAIL PROTECTED]> To: ImitaPo Memebers <[EMAIL PROTECTED]> Subject: [imitationpoetics] Literary Narcissism and the Manufacture of Scandal Imitation Poetics [EMAIL PROTECTED] + [regarding the manufacture of literary scandals for the purposes of self-aggrandizement] * A Literary Narcissist's behavior will not only tolerate but encourage attacks on himself so long as it can translate his own self-fascination into more news of himself. * Just as the Narcissist will use argument, catastrophe, disputation to attract attention, certain people will be willing to dispute the Narcissist in order to participate in the economy of attention. Others will dispute the Narcissist because they are so profoundly appalled by his/her behavior. Either way, the economy of attention is fueled. * The Narcissist needs Catastrophe. The more internal crises of shame the Narcissist endures and fails to heed, the more s/he will need to create external Catastrophes. A chief and signal way a Narcissist might attract attention is to start fights: Narcissists will gravitate toward satire and caricature as a means of creating argument. The Narcissist will attempt to construe strife with health: "These arguments need to happen," etc. * The Narcissist IS fascinating -- but not for the reasons the Narcissist thinks. S/he is fascinating because the energy s/he will expend in micromanaging the self image is so profoundly exceptional. People just sort of stand there slack-jawed wondering if this person has a life. The Narcissist however will mistranslate the fascination of others as admiration. * Poetry communities will tolerate narcissism so long as it is translated into a Social Energy which others can use to strengthen and promote their projects. * Narcissism and alcoholism. Alcoholism is a systematic way to push down socially regulating emotions like shame, guilt, and embarrassment at one's own self-aggrandizing behavior. The suppression of these emotions is never successful, even in the most energetic of self-aggrandizers, and they will periodically burst upward into brief displays of remorse and convictions to change. These brief spouts of regulatory behavior are sometimes shared publicly and sometimes privately among confidants. These displays however can often easily be "re-used" by the Narcissist as a way of showing his/her authenticity and emotional fealty to the community. * The Narcissist is aware of the economy of disgust surrounding his/her behavior. S/he becomes more and more sensitive to this and consequently begins to demand private declarations of loyalty from those people whom s/he knows consider themselves friends -- even if they have said nothing publicly against the Narcissist. * The Narcissist, aware of this disgust, will create a personal mythos in which s/he will be justified and exonerated by the rewards of literary "history." The stronger the disgust of others, the greater the energy used to maintain the mythos of exoneration by history. * Narcissists are only interested in community so long as it pays dividends to their energy: they will support it if it feeds them. * The narcissist may outright demand in private that you "pay" him publicly with praise. Then he or she will publicly "repay" you with a communal mention. * In their attempt to cause others to adopt their self-fascination, Narcissists will become increasingly paranoiac, constantly searching the environment and community for news of themselves, for fealty or disloyalty. * The Literary Narcissist begins purposefully to conflate criticism of his social behavior into an indication of his/her literary worth. That is to say, the Narcissist will try to show that the reason others despise or are disgusted by him is in fact because he or she is a "Rebel," a true Literary Revolutionist -- and that the statements of disgust others publicly make at his behavior is merely an indication of (a) their necessary denial of the work because they are threatened by it, or (b) their jealousy of the work. * There comes a point -- and the point may come early -- where the community thinks to itself "teapot" and the Narcissist still hears "tempest." The truly insular narcissist (aka "the boor") will be met more and more with shunning, ignoring and silence. This will wrest the narcissist from his insularity -- such that he will begin another project designed to create Genuine Interest instead of mere scandalous attention. This project, like a new comet's head, will be followed by a long tail of manufactured scandal so as to call attention to its presence in
Childhood home of David Bohm
Childhood home of David Bohm Childhood home of David Bohm, Wilkes-Barre, PA (my hometown as well). David lived above the furniture store in the photograph. A next-door neighbor told us that the store had been resold in the early 50s to someone currently living in Mountaintop. I don't know if the current owner is related. We were also told that the building next to the furniture store was a combination house and mission; the former built in 1847, and the mission at the beginning of the 20th century. The front porch has been enclosed because the neighborhood has become dangerous, and the stained-glass windows in the surrounding houses have been stolen; his are now behind an outer wall. The furniture store is at 410 Hazel St. Bohm is one of the originators of the theory of hidden variables in quantum mechanics; he had a large effect on Bell, among others. His work on the implicate order continues to influence, and the work he was engaged on before he died, prespace, is still at the forefront of QM research. See http://www.philosphere.com/article29.html?&MMN_position=31:2 http://www.asondheim.org/DBhome.jpg _
tick, tick, arborglyph of rhizome wasteland
Dog (Chien): an unrelated distance electrical suffers Cul: tick fever arborglyph Waxni: as pen falls Waskop: so the knife Waskop: clustering through the loop Sa: stops for a drink Sun (Soleil): near a wooden head Lak: Basques to the Steens Tcaa: sewage to the streams Wit: close to loins Axcuk: in healing Water (Eau): "The Eternal Return" Kakau: red zone Ku: where activity increases Koon: simply 1926 Yellow (Jaune): split by furicano Tat: the mule leaning into the wind Itcitem: knees on radar Hahiahop: Zora Neale Hurston Red (Rouge): hot sound summer bends Kuts: we were underwater Pini: the whole time Pahkop: the whole (of) time Mili: temporary song Black (Noir): molecules pass near Mel: silent red wolf chitimacha Tap: arborglyph t-shirt Tsokokop: Grand Zombie cult (In the Manger) Ya-Kuc-Kimposko-Saku - Summer-Eagle-Summer
Re: Contradictions of once = AH Out of Range Remix
Out of Range Remix ```Voice``1```:In```s`ide``outand`t``he`f``ace``s``-Voi``ce```2``:`Stoodupf`rom`t``he``midd```le`of`t```h``ega``s```p.``Voice1:Fi```nge`rsturbulent.`Voic``e``3:G```lass`sp```ee```c``h.``Vo``ice```2:``Bizar```re```st```rangeness.`Vo``ice``1:`The```tension`op`e`n.Voi``ce`3:`Block``ed```of`f`w`it```h`poetr```y.`Voi`ce2```:`S`u``c`h``ath```i`ng``.Vo```ice```1:``I`nsid
Contradictions of once
Voice 1: Inside out and the faces - Voice 2: Stood up from the middle of the gasp. Voice 1: Fingers turbulent. Voice 3: Glass speech. Voice 2: Bizarre strangeness. Voice 1: The tension open. Voice 3: Blocked off with poetry. Voice 2: Such a thing. Voice 1: Inside out. Voice 2: Split into the subject. Voice 3: Hinted. Voice 1: Many worlds. Voice 4: Style. Voice 1: Rhythm. Voice 2: In the word? Voice 3: Release by response. Voice 1: A variety of taste. Voice 4: I continue. Voice 2: Becoming a question... In a different language. [Pause] Voice 1: Inner sections. Voice 2: Retrospective psychology. Voice 1: One writes. Voice 3: Toyed with. Voice 4: Game theory. Voice 1: Chance failing [Pause] Translation inside out. Voice 3: A frustrated dialogue. Voice 2: Text. Voice 1: A loop of turning to the day. Voice 4: Which faces nothing. Voice 1: Actually the pertinent world. Voice 2: Jumped on. Voice 1: A big wall. Voice 3: Contradictions of once. Voice 2: Act the certainties. Voice 1: To the other end? Voice 4: A genuine change, a small disruption.
Re: Strange signs are pulled away in a series of incentives.
Thanks, Peter That's an interesting response I have given a little thought to the why / how of your experience. Havn't got very far! Maybe it's something affecting all of us that I have referred to - the biologist / journalist Steve Jones wrote recently that Blair is building a society based on "faith-based surveillance"! However that may be, thanks for the comment L - Original Message - From: "Peter Ciccariello" <[EMAIL PROTECTED]> To: Sent: Monday, September 05, 2005 9:26 PM Subject: Re: Strange signs are pulled away in a series of incentives. > This one seems to work very well Lawrence. > I don't quite know why, but it has a moving power to it. > Especially the last stanza. > > > > -Peter Ciccariello > > > > > -Original Message- > From: Lawrence Upton <[EMAIL PROTECTED]> > To: WRYTING-L@LISTSERV.UTORONTO.CA > Sent: Mon, 5 Sep 2005 14:35:41 +0100 > Subject: Strange signs are pulled away in a series of incentives. > > See this. Men, with tiny love, are drinking. They are observant. How > beautiful is this? > > It is very beautiful. Strange signs are pulled away in a series of > incentives. > > The arrogant ones, used to extensive feeling, build multi-storey > suspicions, > surrounding almost every speech with speedy hostilities. > > The miserable ones sit quietly, watching, in a brightness, aware that > they > are being watched. Both types, and there are others, teach themselves > good > stories which they have made up themselves, imploring they know not > whom, as > if in prayer. > > They sometimes raise their inner voices as they hurry down fearful > corridors. They look at their watches in moods of admitted defeat. > > Surveillance is mucky. The rattle of windows can alter intelligence > reports > in almost every detail. It is inevitable, given the smell of the > selected > targets. > > They are beautiful because of their social emptiness. They are beautiful > because few think anything. Each can be whatever you want. What would > you > like to do to them? >
Re: Strange signs are pulled away in a series of incentives.
This one seems to work very well Lawrence. I don't quite know why, but it has a moving power to it. Especially the last stanza. -Peter Ciccariello -Original Message- From: Lawrence Upton <[EMAIL PROTECTED]> To: WRYTING-L@LISTSERV.UTORONTO.CA Sent: Mon, 5 Sep 2005 14:35:41 +0100 Subject: Strange signs are pulled away in a series of incentives. See this. Men, with tiny love, are drinking. They are observant. How beautiful is this? It is very beautiful. Strange signs are pulled away in a series of incentives. The arrogant ones, used to extensive feeling, build multi-storey suspicions, surrounding almost every speech with speedy hostilities. The miserable ones sit quietly, watching, in a brightness, aware that they are being watched. Both types, and there are others, teach themselves good stories which they have made up themselves, imploring they know not whom, as if in prayer. They sometimes raise their inner voices as they hurry down fearful corridors. They look at their watches in moods of admitted defeat. Surveillance is mucky. The rattle of windows can alter intelligence reports in almost every detail. It is inevitable, given the smell of the selected targets. They are beautiful because of their social emptiness. They are beautiful because few think anything. Each can be whatever you want. What would you like to do to them?
Strange signs are pulled away in a series of incentives.
See this. Men, with tiny love, are drinking. They are observant. How beautiful is this? It is very beautiful. Strange signs are pulled away in a series of incentives. The arrogant ones, used to extensive feeling, build multi-storey suspicions, surrounding almost every speech with speedy hostilities. The miserable ones sit quietly, watching, in a brightness, aware that they are being watched. Both types, and there are others, teach themselves good stories which they have made up themselves, imploring they know not whom, as if in prayer. They sometimes raise their inner voices as they hurry down fearful corridors. They look at their watches in moods of admitted defeat. Surveillance is mucky. The rattle of windows can alter intelligence reports in almost every detail. It is inevitable, given the smell of the selected targets. They are beautiful because of their social emptiness. They are beautiful because few think anything. Each can be whatever you want. What would you like to do to them?
Made of infinity
Voice 1: By themselves, real events... Make some actions... initial responses. Voice 2: I would contradict that. Voice 3: Everything has invited some actions - Voice 2: More and deepened - Voice 3: The torture - Voice 1: Of actions - Voice 3: Justification in a book! Voice 1: True nature. Voice 3: Red life. Voice 2: Go back to the attack. Voice 4: War produce! Voice 3: Is endless. Voice 4: Messages increasing. Voice 1: Forget to define... simply beginning. Voice 4: Theory edited. Voice 1: Out of fashion. Voice 4: The proposition admitted. Voice 3: Impression is judgement. Voice 4: Whet the notion. Voice 1: That speaks. Voice 5: Woman hanging. Voice 1: Speak. Voice 2: Only air. Voice 1: The new policies of the speaker. Voice 5: The theatre. Voice 4: The theatre is a digital camera. Voice 5: A digital camera is a - Voice 1: Forced to reputation. Voice 2: Everywhere in identical atrocities. Voice 3: In the sense? Voice 1: Displayed. Voice 2: Much designed. Voice 1: Infinity. Voice 2: No doubt. Voice 5: An ordinary day folds a need. Voice 3: Transference in speaking of finishing. Voice 5: An ordinary day. Voice 1: Repeat to speak. Voice 5: A quick response. Voice 1: Authority revealed. Voice 5: Or feeling. Voice 1: For bones. Voice 2: This translation of arguing. Voice 1: It would be affirmed. Voice 2: Pictures. Voice 1: Bones. Reputation everywhere. Wanting to think. Voice 2: Is this light memory. Voice 1: Seeing. Voice 2: Disaster. Voice 1: Damage to say. Voice 2: Scratches. Voice 1: Whoever it happens to be? Voice 2: Intentions. Voice 3: A funeral rage. Voice 4: Prisons in a trope. Voice 3: Weight from something. Voice 2: Association. Voice 4: People everywhere. Voice 1: Gurgling of one another. Voice 4: Of one another? Voice 1: The true or false. Voice 4: Clinical terms. Voice 1: Reality related? Voice 5: On the same thing. I do know it. Voice 1: Asking questions. Between the speaker... To speak of language... and anyone transitive. Voice 3: To follow in... in a book. Voice 1: Beginning speaks. Voice 4: All the displacement makes such acts - Voice 5: I am waking and predicate. Voice 4: Speaking produce. Voice 5: Going to read. Voice 4: A difference. Voice 2: Writing is ironic? Voice 1: Kills it. Voice 2: Long dead and free. Voice 1: Made of infinity. Voice 4: To the limit.
walking 75 feet of the oregon trail
walking 75 feet of the oregon trail http://www.asondheim.org/oregontrail.mpg http://www.asondheim.org/org.mov i walked 75 feet of the oregon trail
Fwd: [dtvmail] this experience is one of the most intense and crazy things I have ever seen.
[these are from my son who instead of being around to enroll in his senior year of high school went down to help out...it's giving me rapidly graying hair at the same time I'm really proud he went down to the front lines to help out. ~mIEKAL] Begin forwarded message: From: Zon Wakest <[EMAIL PROTECTED]> Date: September 3, 2005 1:08:37 PM CDT To: [EMAIL PROTECTED] Subject: [dtvmail] this experience is one of the most intense and crazy things I have ever seen. Reply-To: [EMAIL PROTECTED] this experience is one of the most intense and crazy things I have ever seen. the information in the country in flowing so fast that no one can really perceive the the whole picture, everyone in in shock. my mind is reeling, I want to help in anyway I can, be apart of the action. I am in Jackson MS. there are mile lines at every gas station, half the city is still without any power. Trees are laying across all the small roads in residential areas here, everyone is shook up, talking to each other about the situation. there are supposedly 80,000 refuges in town already, all without homes, staying at all the churches. you have to wait at least a few hours to get gas if you want to drive anywhere. There is a $20 cap in most of MS on how much gas you can buy. All the gas stations are being run by police now, because there are so many people trying to get gas, so they can get away, or, get in and help. everyone is talking. everyone who has seen the coast says there are bodies floating around in the water, lots of them. The death count on the media keeps changing, no one knows how many people it is yet, but the confirmed count seems to be over 500 now, I am sure that it will rise to above 1000 in the next few days. Every seems to have friends who are missing. the internet is abuzz with people talking, asking questions about what if happening, everyone wants a central place for information, but there are hundreds of central places now. People are still blogging from inside New Orleans, that info seems to be the most sought out in the circles I am in. indymedia sites have some information, but most of it is in the forums and chats. I will try to but up more information on the internet when I find time. I am safe, and have a place to stay here with some nice smart people here in Jackson. Zon the pictures are at http://flickr.com/photos/wakest/ there will be more pictures up tonight of the disaster I have seen so far. also, sometime today I will have stuff up at http://www.jacksonfreepress.com/katrinablog.php Zon
Hip Hop: Rapper (Kanye West) accuses Bush of racism
http://victoria.indymedia.org/news/2005/09/43346.php Hip Hop: Rapper (Kanye West) accuses Bush of racism "George Bush doesn't care about black people," West said from New York during the show aired live on Friday ... He said America was set up "to help the poor, the black people, the less well-off as slow as possible"...We already realised a lot of the people that could help are at war right now, fighting another way, and they've given them permission to go down and shoot us,...I hate the way they portray us in the media. If you see a black family, it says they're looting. See a white family, it says they're looking for food." . Rapper accuses Bush of racism by Saturday 03 September 2005 10:49 AM GMT Bush (L) has been accused of not caring about black people Rapper Kanye West has surprised viewers of an NBC benefit concert for Hurricane Katrina victims by accusing President George Bush of racism. "George Bush doesn't care about black people," West said from New York during the show aired live on Friday on the East Coast on NBC, MSNBC, CNBC and Pax, just before cameras cut away to comedian Chris Tucker. West, who is black, suggested moments earlier that delays in providing relief to survivors of the hurricane that hit the US Gulf Coast on Monday and flooded New Orleans were deliberate. He said America was set up "to help the poor, the black people, the less well-off as slow as possible". "We already realised a lot of the people that could help are at war right now, fighting another way, and they've given them permission to go down and shoot us," the Grammy award-winning singer, who was paired with comedian Mike Myers, also said in what NBC described as unscripted remarks. The rapper was apparently referring to shoot-on-sight orders issued to National Guard troops to halt violence and looting in New Orleans. Media attacked West also criticised the media's portrayal of blacks, saying: "I hate the way they portray us in the media. If you see a black family, it says they're looting. See a white family, it says they're looking for food." The hurricane left widespread devastation and caused havoc In a statement, NBC said: "Kanye West departed from the scripted comments that were prepared for him, and his opinions in no way represent the views of the networks. "It would be most unfortunate if the efforts of the artists who participated tonight and the generosity of millions of Americans who are helping those in need are overshadowed by one person's opinion." The programme, hosted by Matt Lauer of NBC News, urged viewers to donate to the American Red Cross Disaster Relief Fund. It included 18 presenters, and featured performances by New Orleans natives Harry Connick Jr and Wynton Marsalis, as well as Louisiana native Tim McGraw and Faith Hill of Mississippi, which was also struck by Katrina. Reuters By You can find this article at: http://english.aljazeera.net/NR/exeres/85A3FD8F-F6C6-4A13-9FE1-4BF54FD3CEF4.htm http://groups.yahoo.com/group/drumbeat-weekend_edition/ ___ Stay Strong \ "Be a friend to the oppressed and an enemy to the oppressor" --Imam Ali Ibn Abu Talib (as) \ "We restate our commitment to the peace process. But we will not submit to a process of humiliation." --patrick o'neil \ http://www.sleepybrain.net/vanilla.html \ http://www.world-crisis.com/analysis_comments/766_0_15_0_C/ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date \ http://www.lowliferecords.co.uk/ \ }
Re: Sugar Hiccup : Applet 2 of The Deitel Mods
Wow! John At 10:13 AM 9/2/2005, you wrote: Sugar Hiccup Applet 2 of The Deitel Mods http://lewislacook.corporatepa.com/the_deitel_mods/content.php?page=sugarhiccup The Deitel Mods is a series of variations on an applet based on examples found in the book Java How to Program (Prentice Hall, 1998) by H.M. and P.J. Deitel. The book is an oft-used textbook for computer programming students wishing to learn web programming using the Open Source, cross-platform language Java. Most of the mods are generative/reactive media engines. Graphics are drawn live, sometimes as a result of your input(moving the mouse, clicking the mouse, etc.). The poem is assembled live as well, and is sometimes influenced by your actions. The poem accumulates with each applet, each applet adding a line to the previous one. Each line of the poem is randomly chosen from an accumulation of lines; each applet adds another accumulation to accomodate the new line. *** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com __ 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 ___
Sugar Hiccup : Applet 2 of The Deitel Mods
Sugar Hiccup Applet 2 of The Deitel Mods http://lewislacook.corporatepa.com/the_deitel_mods/content.php?page=sugarhiccup The Deitel Mods is a series of variations on an applet based on examples found in the book Java How to Program (Prentice Hall, 1998) by H.M. and P.J. Deitel. The book is an oft-used textbook for computer programming students wishing to learn web programming using the Open Source, cross-platform language Java. Most of the mods are generative/reactive media engines. Graphics are drawn live, sometimes as a result of your input(moving the mouse, clicking the mouse, etc.). The poem is assembled live as well, and is sometimes influenced by your actions. The poem accumulates with each applet, each applet adding a line to the previous one. Each line of the poem is randomly chosen from an accumulation of lines; each applet adds another accumulation to accomodate the new line. *** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Median Income Of Hurricane Victims Studied, Aid Rejected:
Click here: The Assassinated Press http://www.theassassinatedpress.com/ God The Flip-Flopper. The Almighty Attacks U.S. On Behalf Of Iraqis, Iranians, Osama Bin Laden, Environment, Rest Of World: U.S. Trying To Play God In Middle East Pisses Off 'The Real Deal'.: Administration, PNAC, Carlyle Group, Business Round Table, NAM Meet In Washington, Discuss Ways To Best Profit From Hurricane: Median Income Of Hurricane Victims Studied, Aid Rejected: NRA Signing Up Gun Looters In New Orleans, Condemns Those Taking Food And Water: Cuba, Venezuela Would Send Hundreds Of Doctors To Louisiana If U.S. Foreign Policy Toward Them Wasn't Written By Right-Wing Whoremongers In Miami; Miami Cubans Refuse To Even Send Condolences To "Niggers And Crackers" Fucked Up By Hurricane: Bush Says Administration Plans To Air Drop His Brother Neil To Absorb All The Water In And Around New Orleans: Bush Cancels Rehab At Crawford Site To Focus On Rehab In The White House; Has No Immediate Plans To Take His Thumb Out Of His Ass And Visit Gulf Coast, Burst Dikes Or No: Self-Fulfilling Prophecy? Is The Bible Contributing To The Apocalypse; Evangelicals Least Ecology Minded; New Rules Allow Power Plants To Pollute More; How Will God React?: Trafficante Crime Family Club Destroyed; Kennedy Assassination 'Memorabilia' Lost: In act of self-flagellation the most requested CD on MTV is "American Idiot".: By REV. ADOLPH E. SCHMID & REV. HAIRY NOODLE They hang the man and flog the woman That steal the goose from off the common, But let the greater villain loose That steals the common from the goose. ".at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices"
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Incredible Math: A remix of Alan Sondheim's Nine
Remixing Alan Sondheim's recent album, Nine: http://lewislacook.corporatepa.com/incredible_math/ *** No More Movements... Lewis LaCook -->Poet-Programmer|||http://lewislacook.corporatepa.com/||| Start your day with Yahoo! - make it your home page http://www.yahoo.com/r/hs
Re: of
Of Of a Of a book without pictures?'' said Alice. Of a homey-looking fireplace, with the initials Of a kindly saint. The next floor show Of a venerable faith which had been discarded by Of audible silence. When we had climbed the firs Of bellows hanging over the mantel. Of climbing a few stairs. Besides, Of cranes and pull Of De Ruyter and Tromp upon that famous last Of death. Then darkness once more and Of fire or flood Of fire or flood. In solitary grandeur it see Of fires, but he enjoyed many free hours and Of his tower for so many years that he had ab Of horses' ho Of its high arches, Wi Of its high arches, William the Silent had be Of light. This floor was on an even height with Of man in a thousand different ways--they had al Of MankindOf many an emperor, the charity-boy whom the Of many wheels a thunderous voice, high above Of mine who gave me my love for books and pic Of my kind friend the watchman, who lived in Of new and strange experiences. For Of noon. On the next floor were the be Of Old Saint Lawrence in Rotterdam. Of Old Saint Lawrence in Rotterdam. An Of Orange cut the dikes to drown the land and Of pigeons. The wind blew through Of pigeons. The wind blew through the iron ba Of roofs and chimneys and houses and gardens Of Rotterdam. Around it, n Of Rotterdam. Around it, neatly arranged like Of rusty old hinges he separated us from the Of Saint Peter opened a mysterious door. Ring Of stairs, I added another discovery to my limit Of taking things for grantedOf tangible darkness. Of tangible darkness. A match showed us where Of that wide world which surrounded him on al Of the Of the big world. Since then, whenever Of the church, and it was used as a storeroom. C Of the city many years ago. That which had meant Of the country-folk who had come to market to Of the endless sea and as a contrast, imme Of the f Of the factories and the workshop, became the Of the gallery. He looked after the clock and Of the man whose wit Of the man whose wit had proved mightier than th Of the old Meuse, until the broad river cease Of the open cou Of the open country. It was my firs Of the patient steam which had been set to do th Of the pigeons. Here the stairs came t Of the rapid seconds--one--two--three-- up to Of the river, there, my boy, do you see tho Of the tower and enjoyed myself. It was hard Of the town below us, but a noise which had b Of the wide heavens. We had reached the highe Of their Patron Saints. In the distance we could August HighlandOnline Studiowww.august-highland.com
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Re: Art and experiment, vision of the PLAGUE == AH Medicated Birth Remix #0002 - Umbilical Mix #0003
INS ER TS IT a swell, > ready for example, > cub e mad e f r om nylo n c o r d -to pol o g i cal ac c u r acy but > i d e a li z ed MIRRORING o f t h e WEIGHT> t h e DI STI N CT ION: the theme is i n sertion THROUGH theanalog ic. > Back in the gui se of the > one across th e s tatic> show: colla p sed hyper- > > > > vir tu a l - inert of tolerance : U nf o rgivable! > PLACE th es e we tlands, this is th e ng, me as u ring o nly th e walld own, > analogic were a > formed an equilater al > myself outof the Bingham Co pper Mine e xc avation, t he > perceivingSUBJ EC T) , > ready for example, > > M EA NING as RULES, >constr uc t e d m eaning, > Nettext sectio n s: Ex istence is alwaysalrea dy c le ared, cleansed, and > a nal og ic as if > > > Yet this war, > id ea lized MIRROR ING of t he lar gest > tod ay :digit al wi thin > > disru pt edNALOGIC m easurement of the large st > permanent ma rk ers? Orrawww.august-highland.com
Re: Art and experiment, vision of the PLAGUE == AH Medicated Birth Remix #0002 - Umbilical Mix #0002
INSE RTS IT as we ll , > rea dy for example, > cube m ad e fr om n ylon co rd -top o l og ical acc ur ac y b ut > i deal i ze d M IRR OR ING of t h e WE IGH T> t he D IS TI NCTIO N:t he th eme is i nse r ti on THROUGH t h ea n alog i c. > Back in the gu is e of t he > one across the s tat i c> show: collapsed h y per- > > > > virtual-inert o f t ol e ranc e:Unforgivable! > P L ACE th ese wetlands, this is t he di git a lw i th in the Unit e d S ta te s, s leep i ng , m ea suri ng o nl y t he w all down , > an alo g ic we re a > fo rme d an as if > > > Yett hi s w ar, > id ealized MIRR ORI N G o f the largest > to day:digital wit hin > > d isrupted per- > one a c ros s > T heANALOGIC measurement o f th e l ar gest > permanent mar k e r s? Orr ather, perhaps > c u be mad e from > N o pro gre ss n o w: Thisc u r r ent wor k represe n t s no > formed an equilateral > notknow or > the wall d o wn, > N o prog ress whatsoever ; > s www.august-highland.com
Re: Art and experiment, vision of the PLAGUE == AH Medicated Birth Remix #0002
INSE RTS IT as we ll , > rea dy for exa m pl e, > c ub e m ad e f rom n y lon c or d -to pol o gi cal a ccur acy but > id ea lize d MIRR OR ING o f the W EIG H T > t he DI S T INCT I ON: t he t heme i s in se rtio n THR OU GH t h eana logic . > Ba ck i n the guis e o f the > on e a c ross the sta t i c> sho w: c olla pse d h y per - > > > > vi rtua l-i n er t o f to le r anc erceivi ngSUBJE C T), > ready for example, > > MEANING as R UL ES, >cons truc ted meani ng, >www.august-highland.com
Re: Art and experiment, vision of the PLAGUE == AH Medicated Birth Remix #0002
INSERTS IT aswell, > ready for example, > cube made from nylon cord -topological accuracy but > idealized MIRRORING of the WEIGHT> the DISTINCTION: the theme is insertion THROUGH theanalogic. > Back in the guise of the > one across the static> show: collapsed hyper- > > > > virtual-inert of tolerance:Unforgivable! > PLACE these wetlands, this is the digitalwithin the United States, sleeping, measuring only the walldown, > analogic were a > formed an equilateral > myself outof the Bingham Copper Mine excavation, the > perceivingSUBJECT), > ready for example, > > MEANING as RULES, >constructed meaning, > Nettext sections: Existence is alwaysalready cleared, cleansed, and > analogic as if > > > Yetthis war, > idealized MIRRORING of the largest > today:digital within > > disrupted per- > one across > TheANALOGIC measurement of the largest > permanent markers? Orrather, perhaps > cube made from > No progress now: Thiscurrent work represents no > formed an equilateral > notknow or > the wall down, > No progress whatsoever; > show:collapsed hyper- > > The IMAGE of the > trivial (a loop) oras well, > disrupted per- > > INSERTS IT as well. >over-develop this is > the rulers, German, > cube made fromnylon cord - that REWRITES and problematic or absent (anirrelevant loop). The IDEAL held; the > collapsed. >euclidean WORLD. > collapsed. > ANALOGIC, the > euclideanWORLD. > the bending of zero > coupled with WEIGHT offreedom, of the > ABSOLUTE - well, > today: digital were acast-off of dreams. Four > virtual-inert of freedom, ofexistence. > formed an equilateral > misplacement ofDIS/COMFITURE or even rounding-off - that REWRITES andanalogic, REINSERTS within > Back in > > analogic means INTOthe > > of this regard, the rulers, in our > analogic (as if> PLACE these in the United States, sleeping, measuring onlythe analogic). > of memory: Early 1970s Bykert Gallery NY >MEASUREMENT is tackled with > > Can this REWRITE? I write >not know or > of the digital > constructed meaning, > >insertion ends (and this war, > millimeter rules: >topological is tackled with only the perceptual-real, i.e. >The ANALOGIC measurement of zero > triangle, however BROKENby virtue of digital/ > intrusion of the > constructedmeaning, > the DISTINCTION: the digital, > > > > the guiseof memory: Early 1970s Bykert Gallery NY > show: collapsedhyper- > face of zero > > perceiving SUBJECT), > them withonly the plague. > PLACE these wetlands, this be? Azero-tolerance digital were a > > virtual-inert of theplague. > face of the WEIGHT > face of the > > No progresswhatsoever; > ANALOGIC, the > idealized MIRRORING of the >not know or > cast-off of DIS/COMFITURE or > ready foraction. > collapsed. > them with > and the static > Can thisregard, the > cultural-political world that REWRITES theanalogic. > or give their LENGTH. > the theme is insertionends (and this be? A > > INSERTS IT as RULES, > human-madescar on the > > I have often said: I will gather the > (Alldevelopment is tackled with the digital laissez-faire andthe measure of this nation, these in > euclidean WORLD. >misplacement of the > or give their LENGTH. > them with onlythe rulers, in our > rough TOLERANCE, is > Remnant ofmemory: Early 1970s Bykert Gallery NY > constructed meaning,> CONTINUOUS REWRITE; when > > The > CONTINUOUS REWRITE;when > zero-tolerance digital within the > analogic,REINSERTS within the wood, the > > Bed: Cut off what we areconfronting in the rulers, are bent to > human-made scar onthe United States, sleeping, measuring only the UnitedStates, sleeping, measuring only the > Can this nation,these in a source > the > trivial (a loop) or absent (anirrelevant loop). The > early Internet Text, > trivial (aloop) or > wave-equation collapse > the WEIGHT of the > >unease of DIS/COMFITURE or as well. > The ANALOGICmeasurement of the wood, the > myself out of god, of >over-develop this war, > idealized MIRRORING of GRAVITY. Astraight-line bending, > analogic, REINSERTS within > thetwo. AS IF these > What of the > rough TOLERANCE, is the >wave-equation collapse > ABSOLUTE - topological is alwaysalready cleared, cleansed, and the > analogic as well,perhaps it is the WEIGHT > insertion THROUGH the rulers, inour > not know or > and > analogic, REINSERTS within the > >Remnant of memory: Early 1970s Bykert Gallery NY > ready forexample, > the bending of the digital, or even rounding-off- well, > progress now: This current work represents n
Re: Art and experiment, vision of the PLAGUE == AH Medicated Birth Remix #0001
> the > future is always already cleared, cleansed, andproblematic or give their LENGTH. > rough TOLERANCE, is the> The IMAGE of the earth. Next time, the measure of >CONTINUOUS REWRITE; when > MEANING begins. > Bed: Cut offwhat doesn't fit! Purify at all costs! > unease of > I write> insertion ends (and this is tackled with me across thedigital, > of memory: Early 1970s Bykert Gallery NY > Yetthis nation, these > > and analogic, REINSERTS within >millimeter rules: > wave-equation collapse > ception. TheIMAGE of zero > I do not rulers, take > Back in theirUNGAINLY stance, are confronting in the digital, or >collapsed. > > PLACE these wetlands, this nation, thesewetlands, this is always already cleared, cleansed, and the> not know or absent (an irrelevant loop). The > theanalogic. > under-development.) > The > Nettext sections:Existence is over-development or absent (an irrelevantloop). The IDEAL held; the United States, sleeping,measuring only the wall down, > > zero-tolerance digitalwere a small second-hand shop in their LENGTH. > INSERTS ITas well. > Bed: Cut off what we are confronting in > thedigital, or as well. > Remnant of tolerance: Unforgivable! >in our > The ANALOGIC measurement of three folding woodenrulers, German, > the > > them with me across > over-developthis regard, the guise of the endpoints of the largest > >the Gallery: I have often said: I write myself out of the >I write > the digital, or as > of the DISTINCTION: thedigital laissez-faire and > ception. The rulers, take > thelargest > The > Nettext sections: Existence is alwaysalready cleared, cleansed, and the digital, or give theirUNGAINLY stance, are bent to > cube made from nylon cord -well, > the analogic as if > trivial (a loop) or absent (anirrelevant loop). The IDEAL held; the two. AS IF these >CONTINUOUS REWRITE; when > > INSERTS IT as RULES, > analogicas > tolerance - well, > the digital were a source > ofdreams. Four > millimeter rules: > > PLACE these wetlands,this REWRITE? I write myself into the United States,sleeping, measuring only the rulers, German, > Nettextsections: Existence is the Bingham Copper Mine excavation,the two. AS IF these in > one across > I do not know or evenrounding-off - topological is > perceiving SUBJECT), >euclidean WORLD. > analogic were a triangular configuration:two from > analogic world? A zero-tolerance digitallaissez-faire and > > Back in > wave-equation collapse >insertion ends (and this war, > us, for action. > Nettextsections: Existence is what we are a > coupled with meacross the > > virtual-inert of them, found in our > theWEIGHT > > wave-equation collapse > Remnant of zero >tolerance - topological is insertion THROUGH the wood, theperceptual-real, i.e. > analogic WETWARE of the two. AS IFthese > (All development is over-development or give theirUNGAINLY stance, are confronting in the > In this is >formed an equilateral > idealized MIRRORING of freedom, ofdigital/ > > inconceivable! The IMAGE of MEANING as if >trivial (a loop) or > over-develop this REWRITE? I write >face of DIS/COMFITURE or > coupled with WEIGHT > collapsed.> euclidean WORLD. > wave-equation collapse > the Gallery: Ido not rulers, with the digital, > progress whatsoever; >the guise of Capital. As with > > Nettext sections:Existence is equivalent to > the analogic as well. > thetwo. AS IF these > triangle, however BROKEN by virtue ofgod, of dreams. Four > us, for example, > the rulers, take >coupled with me across > coupled with me across > one acrossthe DISTINCTION: the Procrustean > analogic means INTO theideal DIGITAL, a world that REWRITES the > > Can this is >Bed: Cut off what doesn't fit! Purify at all costs! > TheIMAGE of the > Can this is > and problematic or as well. >Back in the > and problematic or > progress now: Thiscurrent work represents no > show: collapsed hyper- > >ready for action. > > What of zero > the > future is alwaysalready cleared, cleansed, and analogic, as well. >inconceivable! The > under-development.) > show: collapsedhyper- > tolerance - of the analogic. > topological accuracybut > the theme is tackled with WEIGHT > _ > I do notrulers, in their UNGAINLY stance, are a small second-handshop in our > ANALOGIC, the United States, sleeping,measuring only the DIS/EASE of this war, > MEANING as well.> disrupted per- > in a > world of tolerance: Unforgivable!> them with only the DISTINCTION: the theme isover-development or > insertion ends (and this regard, the >perceiving SUBJECT), > the static > or > > analogic were atriangular configuration: two from > and analogic, as >CONTINUOUS REWRITE; when > virtual-inert of the >constructed meaning, > _ > Yet this war, > August HighlandOnline Studiowww.august-highland.com
Re: Art and experiment, vision of the PLAGUE
This is why I permit my box to get stuffed beyond compare, she said, pulling the chicken bones outta her underpants. Thanks, AJ --- Alan Sondheim <[EMAIL PROTECTED]> wrote: > Art and experiment, vision of the PLAGUE > > > The IMAGE of three folding wooden rulers, German, > millimeter rules: > PLACE these in a triangular configuration: two from > the wall down, > one across the endpoints of the two. AS IF these > formed an equilateral > triangle, however BROKEN by virtue of the WEIGHT of > the wood, the > intrusion of the physico-inert into the > virtual-inert of the static > euclidean WORLD. > > I do not know or give their LENGTH. > > Remnant of memory: Early 1970s Bykert Gallery NY > show: collapsed hyper- > cube made from nylon cord - topological accuracy but > disrupted per- > ception. The IDEAL held; the perceptual-real, i.e. > constructed meaning, > collapsed. > > No progress now: This current work represents no > progress whatsoever; > the theme is tackled with only the DISTINCTION: the > topological is > trivial (a loop) or absent (an irrelevant loop). The > MEASUREMENT is > ANALOGIC, the ideal DIGITAL, a world of zero > tolerance - well, perhaps > analogic as well. > > Can this be? A zero-tolerance analogic world? A > wave-equation collapse > or even rounding-off - that REWRITES the digital, > INSERTS IT as > permanent markers? Or rather, perhaps it is the > zero-tolerance digital > world that REWRITES and analogic, REINSERTS within > the analogic. > > What of this REWRITE? I have often said: I write > myself into existence. > I write myself out of existence. And ONLINE? See > early Internet Text, > Nettext sections: Existence is equivalent to > CONTINUOUS REWRITE; when > insertion ends (and this is insertion THROUGH the > mediation of digital/ > analogic means INTO the analogic WETWARE of the > perceiving SUBJECT), > MEANING begins. > > The ANALOGIC measurement of the rulers, with WEIGHT > and problematic or > rough TOLERANCE, is the measure of MEANING as well, > coupled with the > idealized MIRRORING of the digital within the > analogic (as if the > analogic were a cast-off of the digital, or as if > the digital were a > cast-off of the analogic). > > The rulers, in their UNGAINLY stance, are a source > of DIS/COMFITURE or > the DIS/EASE of GRAVITY. A straight-line bending, > inconceivable! The > misplacement of tolerance: Unforgivable! > > Yet this is what we are confronting in our > cultural-political world > today: digital laissez-faire and the bending of the > analogic, as RULES, > not rulers, are bent to meet every contingency: Let > us, for example, > over-develop this nation, these wetlands, this war, > in the guise of the > ABSOLUTE - of freedom, of god, of Capital. As with > the Procrustean > Bed: Cut off what doesn't fit! Purify at all costs! > In this regard, the > future is always already cleared, cleansed, and > ready for action. > > (All development is over-development or > under-development.) > > Back in the Gallery: I will gather the rulers, take > them with me across > the United States, sleeping, measuring only the > unease of dreams. Four > of them, found in a small second-hand shop in > Copperton, Utah, next to > the Bingham Copper Mine excavation, the largest > human-made scar on the > face of the earth. Next time, the plague. > > > _ > __ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com
Art and experiment, vision of the PLAGUE
Art and experiment, vision of the PLAGUE The IMAGE of three folding wooden rulers, German, millimeter rules: PLACE these in a triangular configuration: two from the wall down, one across the endpoints of the two. AS IF these formed an equilateral triangle, however BROKEN by virtue of the WEIGHT of the wood, the intrusion of the physico-inert into the virtual-inert of the static euclidean WORLD. I do not know or give their LENGTH. Remnant of memory: Early 1970s Bykert Gallery NY show: collapsed hyper- cube made from nylon cord - topological accuracy but disrupted per- ception. The IDEAL held; the perceptual-real, i.e. constructed meaning, collapsed. No progress now: This current work represents no progress whatsoever; the theme is tackled with only the DISTINCTION: the topological is trivial (a loop) or absent (an irrelevant loop). The MEASUREMENT is ANALOGIC, the ideal DIGITAL, a world of zero tolerance - well, perhaps analogic as well. Can this be? A zero-tolerance analogic world? A wave-equation collapse or even rounding-off - that REWRITES the digital, INSERTS IT as permanent markers? Or rather, perhaps it is the zero-tolerance digital world that REWRITES and analogic, REINSERTS within the analogic. What of this REWRITE? I have often said: I write myself into existence. I write myself out of existence. And ONLINE? See early Internet Text, Nettext sections: Existence is equivalent to CONTINUOUS REWRITE; when insertion ends (and this is insertion THROUGH the mediation of digital/ analogic means INTO the analogic WETWARE of the perceiving SUBJECT), MEANING begins. The ANALOGIC measurement of the rulers, with WEIGHT and problematic or rough TOLERANCE, is the measure of MEANING as well, coupled with the idealized MIRRORING of the digital within the analogic (as if the analogic were a cast-off of the digital, or as if the digital were a cast-off of the analogic). The rulers, in their UNGAINLY stance, are a source of DIS/COMFITURE or the DIS/EASE of GRAVITY. A straight-line bending, inconceivable! The misplacement of tolerance: Unforgivable! Yet this is what we are confronting in our cultural-political world today: digital laissez-faire and the bending of the analogic, as RULES, not rulers, are bent to meet every contingency: Let us, for example, over-develop this nation, these wetlands, this war, in the guise of the ABSOLUTE - of freedom, of god, of Capital. As with the Procrustean Bed: Cut off what doesn't fit! Purify at all costs! In this regard, the future is always already cleared, cleansed, and ready for action. (All development is over-development or under-development.) Back in the Gallery: I will gather the rulers, take them with me across the United States, sleeping, measuring only the unease of dreams. Four of them, found in a small second-hand shop in Copperton, Utah, next to the Bingham Copper Mine excavation, the largest human-made scar on the face of the earth. Next time, the plague. _
Re: of
fo fum ho hum
Humans to answer call of the wild
Humans to answer call of the wild People with a desire to show off are being invited to take part in a display of human nature at London Zoo. Volunteers will make up a flock of homo sapiens and spend four days on Bear Mountain at the zoo with only fig leaves to protect their modesty. From Friday the humans will be cared for by the keepers and kept entertained with various forms of enrichment. The Human Zoo will demonstrate the basic nature of man and examine the impact they have on the animal Kingdom. A spokeswoman said it depended on the calibre of the applicants as to how many people they took on. Anyone wanting to take part has until the end of Monday to apply and must explain in 50 words why they should be chosen.
Re: of
onwards and of words
of
of
The opening of like
Paul: This kind of burning flesh wants a fire in everyone to persuade virtue of slow motion. Pamela: We used to go back to me, she says. Michael: Sympathy for barking Pamela! Paul: Heads off, she screams. Pamela: The kind of people who have been some great readers. Michael: Rambled. Paul: Awe drawn into asking. Pamela: All had to lie. Paul: Erudite in the high spirits. Michael: Weak with loathing and self-loathing. Paul: Complete already. Flesh wants a museum of syllables. [Pause] Michael: Speech is not looking new. Paul: Still mistakes read beautifully. [Pause] Michael: We drove up to many artists. Paul: Names crop. Pamela: I approach the nature. Michael: I died. Paul: So designed. Pamela: I didn't get it. Paul: As if brand new Michael: But I had known each other, way back, because I had died, in motion writing. [pause] Paul: To everyone flesh. Michael: Characters arriving all at once. Pamela: The air upset, the way misunderstood, excerpts of the beginning. Michael: Every night. Paul: Would make me feel weak. Michael: Rethinking non-thinking. Paul: The whole a film. Pamela: All complicated suspicion, fuzzy matter. Mary: Presence a blank. Pamela: Part of things paying tribute. Michael: The opening of like. Paul: End with adding [pause] any nature will appear into absentia Michael: Except more elaborated.
