bones text

[Alan Sondheim]

bones

btw - shuddernaf on YouTube @ http://www.youtube.com/watch?v=OCNb6_XegL8

(call mind 'body love 'flesh air 'mind soul 'skin text 'scar lip
'uuu) : uuu
(call body 1 flesh 2 mind 3 skin 4 scar 5 uuu 6): 6
mind 3 flesh 2 air mind soul skin lip uuu
lip lip soul mind air body mind skin text scar scar lip
uuu uuu skin 3 mind 1 3 4 scar 5 5 uuu
(call forms '(mind soul body skin lip text uuu uuu flesh)):
(mind soul body skin lip text uuu uuu flesh)
forms uuu skin lip text uuu uuu flesh forms body soul mind
(mind soul body skin lip text uuu uuu flesh)
6 4 uuu scar 6 6 2
(mind soul body skin lip text uuu uuu flesh)
1 skin 3 (third forms) body (third forms) (first forms) (first forms)
(mind) body mind undefined mind (third forms) (first forms) (first forms)
(text) body mind mind (third forms) (first forms) (first forms) (text)
body mind mind scar (third forms) (first forms) (first forms) + text body
mind mind (first forms) scar

Re: bones text

[Talan Memmott]

Alan, 

I think youtube is a good outlet for your work... I showed some today 
in class.


T.



On Fri, 8 Dec 2006 02:52:41 -0500
 Alan Sondheim <[EMAIL PROTECTED]> wrote:

bones

btw - shuddernaf on YouTube @ 
http://www.youtube.com/watch?v=OCNb6_XegL8


(call mind 'body love 'flesh air 'mind soul 'skin text 'scar lip
'uuu) : uuu
(call body 1 flesh 2 mind 3 skin 4 scar 5 uuu 6): 6
mind 3 flesh 2 air mind soul skin lip uuu
lip lip soul mind air body mind skin text scar scar lip
uuu uuu skin 3 mind 1 3 4 scar 5 5 uuu
(call forms '(mind soul body skin lip text uuu uuu flesh)):
(mind soul body skin lip text uuu uuu flesh)
forms uuu skin lip text uuu uuu flesh forms body soul mind
(mind soul body skin lip text uuu uuu flesh)
6 4 uuu scar 6 6 2
(mind soul body skin lip text uuu uuu flesh)
1 skin 3 (third forms) body (third forms) (first forms) (first forms)
(mind) body mind undefined mind (third forms) (first forms) (first 
forms)
(text) body mind mind (third forms) (first forms) (first forms) 
(text)
body mind mind scar (third forms) (first forms) (first forms) + text 
body

mind mind (first forms) scar

Re: bones text

[Alan Sondheim]

Thanks Talan. The real problem is the quality is so bad; I spend obviously 
hours 'n hours tuning the videos - then they screw up... - Alan



On Fri, 8 Dec 2006, Talan Memmott wrote:

Alan, 
I think youtube is a good outlet for your work... I showed some today in 
class.


T.



On Fri, 8 Dec 2006 02:52:41 -0500
Alan Sondheim <[EMAIL PROTECTED]> wrote:

bones

btw - shuddernaf on YouTube @ http://www.youtube.com/watch?v=OCNb6_XegL8

(call mind 'body love 'flesh air 'mind soul 'skin text 'scar lip
'uuu) : uuu
(call body 1 flesh 2 mind 3 skin 4 scar 5 uuu 6): 6
mind 3 flesh 2 air mind soul skin lip uuu
lip lip soul mind air body mind skin text scar scar lip
uuu uuu skin 3 mind 1 3 4 scar 5 5 uuu
(call forms '(mind soul body skin lip text uuu uuu flesh)):
(mind soul body skin lip text uuu uuu flesh)
forms uuu skin lip text uuu uuu flesh forms body soul mind
(mind soul body skin lip text uuu uuu flesh)
6 4 uuu scar 6 6 2
(mind soul body skin lip text uuu uuu flesh)
1 skin 3 (third forms) body (third forms) (first forms) (first forms)
(mind) body mind undefined mind (third forms) (first forms) (first forms)
(text) body mind mind (third forms) (first forms) (first forms) (text)
body mind mind scar (third forms) (first forms) (first forms) + text body
mind mind (first forms) scar






Check Work on YouTube. Check out blog http://nikuko.blogspot.com as well.
Work directory at http://www.asondheim.org . Email: [EMAIL PROTECTED]
Check "Alan Sondheim" on Google. For theoretical and other work, check
the WVU Zwiki and http://clc.as.wvu.edu:8080/clc/Members/sondheim . Check
"Alan Sondheim" on Google. Phone 718-813-3285. Write for information on
books, dvds, cds, performance, etc.

Re: bones text

[Talan Memmott]

The real problem is the quality is so bad; I spend 
obviously hours 'n hours tuning the videos - then they screw up... - 


Oh, yes... I warned students of this... and, since they are primarily 
film/video students, they can scopically compensate... I showed them 
some of the motion capture videos as well and they, as always, loved 
them!  They never think of this sort of thing...
 My agenda at the moment is exposing practices that do not fall under 
tradiational film/video practices... and showing some "cultural 
practice" correlations between literature, film, video, and new 
media it is a tough sell at the moment, because they have been 
conditioned against these sorts of practices and connections... But, I 
look for breakthroughs (as a pedagogical method) and remain 
hopeful that by exposing the students to work they are unfamiliar with 
they will make these connection, maybe not in class, but later, in 
their work...


My media history class covered everything from the magic lantern and 
perspective painting to optical toys( the phenakistoscope to the 
zoopraxiscope) and the advent of cinema, to vr, the jaquard loom, an 
array of 19th century technologies, to broader communication 
technologies -- including digital poetics / narrative / rhetoric, the 
misuse of tools, hacking and circuit bending, etc.  A huge survey and 
a challenge to teach... 

But, I think they got a lot out of it and I loved teaching it... It is 
a lot to metabolize for undergrads... but, they have done quite well.


Since the program is pretty film/video heavy, I think it is important 
that they realize the impulses of perspective and motion graphics... I 
revealed things, histories, works, they have never encountered... 

Speaking of challenges, it was a challenge to develop such a course -- 
requiring substantial research, but so many gaps were filled for the 
students, and the history, the legacy of past "inventions" was 
revealed in a (hopefully) coherent way my hope is that they carry 
this forward.


t.

Re: ()

[P!^VP 0!Z!^VP]

http://anaflexxxions.blogspot.com/2006/12/stupid-egosistic-mother- 
fuckers.html



On 7-Dec-06, at 11:43 PM, Bjørn Magnhildøen wrote:


###X  X###  =###
 -#;   ,#-
 a s XX+x-
  ##  #
  ++..++.
x-  -x.

-=#
  ;X
x=
-= X
level.
0080h: FF FF FF FF FF FF FF FF FF FF
FF FF FF FF FF FF ; 
21
26
7
compliants complaknts complain6s
complasints ep ijgnored igvnored rseach
###  ##  ##   ## ##


mute myosin natural neatress negative
nestle net neuter neutral news
wind windy and illuminating, so let above
absence abstract abstract
   if ($pos < $count_up) break;
04-01-2005 23:25:34.25 - Cinnostoin
egdøblisyod ad 115200vfg.


>>[ ee - k u n s t  ]

Gratulerer
>> > Bruk navnet mitt som det passer

deg/dere - men vennligst ikke på en

>> Det viser seg at Klas Monty eCantsin

faktisk er lønnet av flere

>> >> :
>> :


--..--   .. -. - . -. ... .--- --- -. .-
.-.. .. - . -   .-Roiiae : Rim han
avmineallerbesteaborter.»Rolfbefinneseg
selvover :Jeg kanvi harikke tilnesen


apostropheDouai Your rill windy to queued
ne? N3 He sdæe þaeh þæt


DELE 43




_ldsgiuserg.jpgopen






ødeleggende
AM sI ideCo
+:#Yi;;Bit### =
+#iXYX#BBBRVIIB##   h  en
t'is nolbut hvem the fryn�r we ha shuf
p�, tylle v�re, o ikkewtehher t'is


+linY8Y5


You do not the pl almost immedia  almost
immedia praise iAnd I al thousands
1
lost my new guitarheeler lurched th
tab shrill bank electrical charge

released a flood BACTERIA: living 2.3
billion yand turn it into carbon dioxid
ARTISTS: apparently w ri
  •   «



FAQ Life and itsp

of the act of another i my those of a
|| isNaN(randscript)){
su madre, que han virket snill, dvs
n n{
aekmopy
put the other at their mercy,


consolidation, 1chaos 0 andhguoht weiv ym
,taht ro siht ton ,etulosba erom eb
opitocipitetnemacipitoitotnirerbmitarreitnearreitarreitadneitpohsadneit 
o

representation,where.



violence>>> There's no end to the and of
it.rhetorical endstories are toldthe

objects inhabit the wheels of decay and
corrosion.he wants to believe in god>>>
   diffdiffe
bb661765bfbac77807193c7fc6d64a6e1fff8fd5.
billiard a yearnX  X  X  X  X  X  X  X  X
X  X  X  XB B B B B B B B B B B B B
embroidery between 0 aTheinstrucmedia. And this p n''
for a Contrary tcomposition on the
motregocregocogidocamacamacehcocococetneilcesalceuqoralcoralcdaduicrati 
c

cause and effect, movement and inertia,
form and content: without this credos
fron and contempt
0k

music/art installations and just about that
whatever I lef like reviewing" +
considered different sausages or executions
of the noexis p act.
misbilligelse, økt blodtrykk,
nysgjerrighet, misunnelse (mannen med
and belonging,  of leafing at ome



P!^VP

London Reading

[Helen Bridwell]

this friday, yt communication invades crossing tha
line, at the Plough on Museum Street, 7.30-9.00, and
says these words:::

Sean Bonney, Frances Kruk, Jow Lindsay

Frances only there in voice form cos of temporary
problems with the Atlantic Ocean. further
manifestations plotted for the new year. watch this
space.

http://www.myspace.com/franciscrot

ikon's true layer, horizon tale

[Lanny Quarles]

orange sequence
for skiff's chiaroboe
skewered erabesk

dissolute particulate
colloid call
O Id
o idiolexicon
carne' carny
arno vale

r
no valley
volley into mist
for voles
that kissed
the gently lapping
tides

teem orbroglio
spherlessonous
table in tabla'd
bladderwrecking
ectoflare

see being ladder
once
a fit for
backwind mas
king colon EL

nod
quiet
the cornerstone
will
core
near
bone's rusing gigue-a-boost

say they balcony
for taking air
but remote

how its path
would find

and din

roots forever longing
this flotsam
in become

Re: ikon's true layer, horizon tale

[Halvard Johnson]

Gotta love them osculating voles, Lanny--not to mention
the bladderwrecking ectoflare.

Hal

"A poet is someone from whom nothing must be
 taken and to whom nothing must be given."
--Anna Akhmatova

Halvard Johnson

[EMAIL PROTECTED]
[EMAIL PROTECTED]
http://home.earthlink.net/~halvard
http://entropyandme.blogspot.com
http://imageswithoutwords.blogspot.com
http://www.hamiltonstone.org

On Dec 8, 2006, at 8:33 AM, Lanny Quarles wrote:


orange sequence
for skiff's chiaroboe
skewered erabesk

dissolute particulate
colloid call
O Id
o idiolexicon
carne' carny
arno vale

r
no valley
volley into mist
for voles
that kissed
the gently lapping
tides

teem orbroglio
spherlessonous
table in tabla'd
bladderwrecking
ectoflare

see being ladder
once
a fit for
backwind mas
king colon EL

nod
quiet
the cornerstone
will
core
near
bone's rusing gigue-a-boost

say they balcony
for taking air
but remote

how its path
would find

and din

roots forever longing
this flotsam
in become

331/365, Don

[Dan Waber]

Don will always be, to me, the metallic tang scent of welding in his
brother's garage as they built open wheel dirt track race cars, and
the wild slide around the oval under the lights on a perfect summer
night.

40 words, 40 years
365 days, 365 people
http://www.logolalia.com/40x365

Re: Seeing things

[Thomas savage]

This poem is wonderful, Larissa.  I feel priveleged to have read it.  Regards, 
Tom Savage

Larissa Shmailo <[EMAIL PROTECTED]> wrote:.
  Abortion Hallucination
   
  A vision   of a snake  with glowing red eyes   
  formed by the light of  garbage trucks and   screeching  new cars   
  driven by men  who had once  bought me dinner   
  then hated me when I didn’t want to fuck them twice.
   
  Carlight passing late at night on a street of an ugly precinct
  lying  deceiving   the unwary  who think it leads home.
   
  It is late so dark it is almost light   that time of night when 
  the light hits the metal and the glass of summer windows left ajar
  make me want something   someone   I don’t know who.
   
  The metal gate to the yard refracts this message via Queens boys who 
  drive too fast too late at night refracts this message to the window  
  
  where I watch from the couch
   
  In the corner of the basement where my father used to lie I
   
  Watch, interested, as the snake
  grows larger and more menacing  I am
  taken slightly aback but remember him   remember that I like handling 
snakes  
  and smile
  and as always he softens  grows smaller
  becomes a hippopotamus  I have won again have stared him down
  made him warm
  and the Nile gives up its life to me
  animals carnivorous and calm   come home to me
  two by two
   
  I watch for the longest time
  until the largest fills the window with his face
  black as light
  Agnus Dei
   
  for this man’s baby   for this man's baby   for this man's baby
  came the flood.

   
  Larissa Shmailo [EMAIL PROTECTED]
http//:larissashmailo.blogspot.com
Listen to The No-Net World at http//:www.cdbaby.com/cd/shmailo
and on iTUNES


 
-
Everyone is raving about the all-new Yahoo! Mail beta.

Re: Seeing things

[Peter Ciccariello]

I agree, you work is very powerful Larissa, keep posting!

-Peter Ciccariello

On 12/8/06, Thomas savage <[EMAIL PROTECTED]> wrote:


This poem is wonderful, Larissa.  I feel priveleged to have read it.
Regards, Tom Savage

*Larissa Shmailo <[EMAIL PROTECTED]>* wrote:

 .
*Abortion Hallucination*
* *
A vision   of a snake  with glowing red eyes
formed by the light of  garbage trucks and   screeching  new cars

driven by men  who had once  bought me dinner
then hated me when I didn't want to fuck them twice.

Carlight passing late at night on a street of an ugly precinct

lying  deceiving   the unwary  who think it leads home.

It is late so dark it is almost light   that time of night when
the light hits the metal and the glass of summer windows left ajar
make me want something   someone   I don't know who.

The metal gate to the yard refracts this message via Queens boys who
drive too fast too late at night refracts this message to the
window
where I watch from the couch

In the corner of the basement where my father used to lie I

Watch, interested, as the snake
grows larger and more menacing  I am
taken slightly aback but remember him   remember that I like handling
snakes
and smile
and as always he softens  grows smaller
becomes a hippopotamus  I have won again have stared him down
made him warm
and the Nile gives up its life to me
animals carnivorous and calm   come home to me
two by two

I watch for the longest time
until the largest fills the window with his face
black as light
Agnus Dei

for this man's baby   for this man's baby   for this man's baby
came the flood.

Larissa Shmailo [EMAIL PROTECTED]
http//:larissashmailo.blogspot.com
Listen to *The No-Net World* at http//:www.cdbaby.com/cd/shmailo
and on iTUNES


--
Everyone is raving about the all-new Yahoo! Mail 
beta.

Re: if I am going to answer it is going to be now

[Obododimma Oha]

Sheila Murphy <[EMAIL PROTECTED]> wrote: 
 
"... what hurt
 will keep on hurting
 until it's named."

Great lines, Sheila. Quite philosophical. Would have to explore the sense 
further, and wryte back.
Obododimma.


  





**
Obododimma Oha
  PhD (Stylistics/War Rhetoric)
  MSc (Legal, Criminological, & Security Psychology)
  Senior Lecturer in Stylistics, Semiotics, & Discourse Analysis
Department of English, University of Ibadan
  &
  Fellow, Centre for Peace & Conflict Studies
  University of Ibadan, NIGERIA
   

 __
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

Re: Gestalgarades, Tollerably Well All Day, but the Noise in the Attic Unremoved, or Moving.

[Sheila Murphy]

Zounds! This is wonderful!! Sheila

On 12/8/06, phanero <[EMAIL PROTECTED]> wrote:


 boscage,

BRIMOS/
favor
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
flavors a wish-
bone dash
to crack in a
symmetric wash
ing gnash
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
cuple
fie
cuple~fore th'
tin grist's grith-stool
haunt
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
pabble
pabble lo
d'un genre dont
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
le nom est emprunté
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
au mot
le nom
les mit au monde
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
in air of gallant cello
bond
the leitmotiv of the campaign (it's jest play..)
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
was a busy Polynesian husky? Bromios, you cad!
TS SAID (nack-nack-nack-nack-nack-nack-naciciciciciijijij
the perfect wife of auchtermuchty
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
kissing sing
the bull-voiced mimes
our sad dream is
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
plaster
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
folded fall
& foals
th' 'fol et folle'
of loveswim fools
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
men wist in thilk time
known
so faire a wight
as she was
stone
and dead kin kind
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
a heart explode
in twisted revelrishi bade
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
OMADIUS MY HEART
inferned in tyrannic rituel une
ritournelle un chahut
de force assez brutale
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
WON
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
the still flock
storking in the attic
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
ribbon slithering
through the shawm
of knees and braid these
head-pegs
vielleicht allée
㍨ _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
and to
foopfooptub
i stink the monster
of Dr. Onions
and doom seems brighter
than the secret

Re: if I am going to answer it is going to be now

[Sheila Murphy]

Thank you very much, Obododimma! I appreciate your kind words. Sheila

On 12/8/06, Obododimma Oha <[EMAIL PROTECTED]> wrote:




*Sheila Murphy <[EMAIL PROTECTED]>* wrote:



"... what hurt
will keep on hurting
until it's named."

Great lines, Sheila. Quite philosophical. Would have to explore the sense
further, and wryte back.
Obododimma.







***
Obododimma Oha*
*PhD (Stylistics/War Rhetoric)*
*MSc (Legal, Criminological, & Security Psychology)*
*Senior Lecturer in Stylistics, Semiotics, & Discourse Analysis
Department of English, **University of Ibadan*
*&*
*Fellow, Centre for Peace & Conflict Studies*
*University of Ibadan, NIGERIA*


__
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
http://mail.yahoo.com

Vocabula Review (fwd)

[Alan Sondheim]

might be interesting

/ /skip
Skip Mendler.   BIG BROTHER LOVES YOU *SO* MUCH
NEW STUFF: www.skipmendler.com  .   HE CAN'T KEEP HIS EYES OFF YOU

-- Forwarded message --
Date: Fri, 8 Dec 2006 09:06:21 -0500 (EST)
From: News of New Electronic Journals <[EMAIL PROTECTED]>
To: [EMAIL PROTECTED]
Subject: Vocabula Review


Vocabula Review

http://www.vocabula.com/

Publisher: Vocabula Communications Company

Along with the evolution of language - the thousands of neologisms that new
technologies and new thinking have brought about, for instance - there has
been a concurrent, if perhaps less recognizable, devolution of language. The
English language has become more precise for some users of it while becoming
more plodding for others. Not a small part of this new cumbrousness is due
to the loss of distinctions between words, the misuse of words, and other
abuses of language.

That a U.S. presidential candidate can cry Is our children learning, an
admired basketball star can use the word conversate, a well-known college
professor can say vociferous when he means voracious, and another can scold
a student for using the word juggernaut because she believes it means
jigaboo is disturbing. The Vocabula Review strives to combat the degradation
of our language.

Equally important, we celebrate its opulence and its elegance. The English
language is wonderfully expressive and infinitely flexible. There are many
thousands of words and many hundreds of ways in which to use them. The
Vocabula Review seeks to promote the richness of our language.

In sum, The Vocabula Review battles nonstandard, careless English and
embraces clear, expressive English. We hope we can encourage our readers to
do as much.

The Vocabula Review - not meant to be solely a forum for our prejudices -
invites readers to submit articles about issues related to the English
language. In the spirit of thoughtful inquiry and personal essays, we wish
to encourage writers to submit articles about what they themselves think.
Well-written, insightful, creative articles are far more appealing to us
than overreferenced, overannotated articles. What's important to us is not
what everyone else has ever thought but a clear presentation of one's own
thoughts. Today, there are few opportunities for people to enjoy the freedom
that comes with writing for oneself and others in a nonacademic way. The
Vocabula Review offers one such opportunity.

We are also interested in publishing poetry so long as it observes some of
the strictures of scansion and musicality. We seek poems that have a
palpable form - but not so palpable, obviously, that the structure screams
louder than the words sing. We further want poems that insist on being read
aloud; their rhythm or rhyme demands they be read out loud. Finally, we seek
poetry that shows us something we've not seen before; we want some
connection made, perhaps, between things that few have thought to join.
Form, music, and insight, then, are what we are looking for.

ISSN 1542-7080

Editor and Publisher:

Robert Hartwell Fiske
The Vocabula Review
5A Holbrook Court
Rockport, Massachusetts 01966
United States

Telephone: (978) 546-3911
Email: [EMAIL PROTECTED]

Content available by subscription.

Current Issue: Volume 8 No. 11 November 2006

Date: 8 December 2006

[no subject]

[Bjørn Magnhildøen]

http://noemata.net/cached_text/295ct.png

+=   ;x
###;  ,  ,###
   ##  ##
   .###x##,
#  ##. #
# #
   ;++-..-+x-
####
##
,-;
#  #
SA DFAS DFASDFSDFSADFSADF   .x

__

__




behalf he left fifth high-heeled how her

behalf of of the
 or
AHHNNMMM


NNNM

ø edø   t
.DUNNMMMNMMMNMMMNNM##H#YND (
4NNNMNMMNNMNN
.AHNNM
MMMMNNMHH#HH#HNNNHMMMN0
ogr

(`
 n
   i
(MHYQUQHMMMHNA0AUMNNNMMMNNM
e   b
d
¨  ¨
J$DQHHNMN###QA0$
19-4 nkb
-hvít 'white' fem. ô-st. ; dat. and
acc.(!) -u
Feminine suffixes
while waiting and waiting for win to
boot
http://cryptome.org/zks-v-tcm.htm
wats tht
other some assimilations occur. In some
of the names sound changes
-guðr (stem -gunn-) fem. iô-st.



Re: 11. Section VI.
-fríðr 'beautiful' fem. iô-st.

= Ön- + -leifr
advisee coupler messinghusbandry tattler
seared bonze t  hourly breaking
0  0  0  0  0  0  0  0  0 M
 MM
ehT 0 ok 0 enuJ 1 ,V 0 ,U 0 .T 1 ,S 0
,Rthe 1 14.285714285714 Fossil 0 0
44. tahw 1 33.
earoh 0 0 ed symr : = dewed
sootiewnnumber:  /^~(_\/#=Yewurcre
[_arc.hive_ >  From:   "+ lo_y. +">
Responsibilities






23:20 - cave/ 15-Apr-1993 23:01 -
   //\ /\
 /\

id
isn't>accounted for at all; that the
mechanism of memory isn't
stood,

I can dream anyway. I would love to be
t
GCAZGAGZZZ

TPNMTNTKSJPKFJMNPTS
 _ _ _ _
  ___   ( )  ___
// //  ___   /
.tojlE miraK ,tseb eht llA   atameoN |
emoH noitcelloC emordnilaP
   / /  /  /


http://arkivnett.no/alias/HJEMMESIDE/b%6aor%6ema%67/term/tt02/gnsdjlkb43564.jpg
que
d41d8cd98f00b204e9800998ecf8427e
 rms



elektroner m� v�re sm�demoner- hva
med fotoner, fotosyntese, sola, de er

"Daphne Castle"Dawn E. Whiting
"Donnie Duncan"and still be any, one,
tips[dR_lOVELAZY] Hvem er
Waldemar?[maria] p�gripe dere har
fremelsket et

Re: Gestalgarades, Tollerably Well All Day, but the Noise in the Attic Unremoved, or Moving.

[Alan Sondheim]

I agree with you - and at least on my monospaced Unix terminal, the waves 
flow out beautifully - Alan



On Fri, 8 Dec 2006, Sheila Murphy wrote:


Zounds! This is wonderful!! Sheila

On 12/8/06, phanero <[EMAIL PROTECTED]> wrote:


??? boscage,

BRIMOS/
favor
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
flavors a wish-
bone dash
to crack in a
symmetric wash
ing gnash
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
cuple
fie
cuple~fore th'
tin grist's grith-stool
haunt
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
pabble
pabble lo
d'un genre dont
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
le nom est emprunt??
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
au mot
le nom
les mit au monde
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
in air of gallant cello
bond
the leitmotiv of the campaign (it's jest play..)
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
was a busy Polynesian husky? Bromios, you cad!
TS SAID (nack-nack-nack-nack-nack-nack-naciciciciciijijij
the perfect wife of auchtermuchty
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
kissing sing
the bull-voiced mimes
our sad dream is
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
plaster
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
folded fall
& foals
th' 'fol et folle'
of loveswim fools
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
men wist in thilk time
known
so faire a wight
as she was
stone
and dead kin kind
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
a heart explode
in twisted revelrishi bade
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
OMADIUS MY HEART
inferned in tyrannic rituel une
ritournelle un chahut
de force assez brutale
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
WON
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
the still flock
storking in the attic
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
ribbon slithering
through the shawm
of knees and braid these
head-pegs
vielleicht all??e
??? _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*  _.,-*~'`^`'~*
_.,-*~'`^`'~*
and to
foopfooptub
i stink the monster
of Dr. Onions
and doom seems brighter
than the secret














Check Work on YouTube. Check out blog http://nikuko.blogspot.com as well.
Work directory at http://www.asondheim.org . Email: [EMAIL PROTECTED]
Check "Alan Sondheim" on Google. For theoretical and other work, check
the WVU Zwiki and http://clc.as.wvu.edu:8080/clc/Members/sondheim . Check
"Alan Sondheim" on Google. Phone 718-813-3285. Write for information on
books, dvds, cds, performance, etc.

Re: bones text

[Alan Sondheim]

Along this line one might develop the notion of roving or pickup audiences 
- what happens with outdoor video projections, laptop performance, 2nd 
Life performance, and so forth.


Beyond YouTube I tried Metacafe but as I think I mentioned somewhere, I 
couldn't upload - I kept getting the message 'unrecognized file type.' I 
tried various types and compressions, all to no effect.


But if you or anyone knows of a site which portends quality work, please 
pass it on - Alan



On Fri, 8 Dec 2006, Talan Memmott wrote:

The real problem is the quality is so bad; I spend obviously hours 'n hours 
tuning the videos - then they screw up... - 


Oh, yes... I warned students of this... and, since they are primarily 
film/video students, they can scopically compensate... I showed them some of 
the motion capture videos as well and they, as always, loved them!  They 
never think of this sort of thing...
My agenda at the moment is exposing practices that do not fall under 
tradiational film/video practices... and showing some "cultural practice" 
correlations between literature, film, video, and new media it is a tough 
sell at the moment, because they have been conditioned against these sorts of 
practices and connections... But, I look for breakthroughs (as a pedagogical 
method) and remain hopeful that by exposing the students to work they are 
unfamiliar with they will make these connection, maybe not in class, but 
later, in their work...


My media history class covered everything from the magic lantern and 
perspective painting to optical toys( the phenakistoscope to the 
zoopraxiscope) and the advent of cinema, to vr, the jaquard loom, an array of 
19th century technologies, to broader communication technologies -- including 
digital poetics / narrative / rhetoric, the misuse of tools, hacking and 
circuit bending, etc.  A huge survey and a challenge to teach... 
But, I think they got a lot out of it and I loved teaching it... It is a lot 
to metabolize for undergrads... but, they have done quite well.


Since the program is pretty film/video heavy, I think it is important that 
they realize the impulses of perspective and motion graphics... I revealed 
things, histories, works, they have never encountered... 
Speaking of challenges, it was a challenge to develop such a course -- 
requiring substantial research, but so many gaps were filled for the 
students, and the history, the legacy of past "inventions" was revealed in a 
(hopefully) coherent way my hope is that they carry this forward.


t.





Check Work on YouTube. Check out blog http://nikuko.blogspot.com as well.
Work directory at http://www.asondheim.org . Email: [EMAIL PROTECTED]
Check "Alan Sondheim" on Google. For theoretical and other work, check
the WVU Zwiki and http://clc.as.wvu.edu:8080/clc/Members/sondheim . Check
"Alan Sondheim" on Google. Phone 718-813-3285. Write for information on
books, dvds, cds, performance, etc.

Re: Fwd: [syndicate] BRILLIANT HARP CONS

[Alan Sondheim]

Of course he said yes - I'll pass on any feedback. Thanks, Alan


On Fri, 8 Dec 2006, Alan Sondheim wrote:


-- Forwarded message --
From: Alan Sondheim <[EMAIL PROTECTED]>
Date: Dec 6, 2006 10:22 PM
Subject: Re: [syndicate] BRILLIANT HARP CONS
To: "ctgr-pavu. com" <[EMAIL PROTECTED]>

This is just amazing - Can i send this out to some of the other lists I'm
on?

Thanks, Alan -

On 12/6/06, ctgr-pavu.com <[EMAIL PROTECTED]> wrote:


> On Wed, 6 Dec 2006, ctgr-pavu.com wrote:
>
>> alan's speed + cons
>> direct outovmouthed
>
> with a LISP -

hi alan

did you try the link to speed + con sung by me ?
http://ctgr.free.fr/speed/

best
--
OG





--
http://www.asondheim.org
http://nikuko.blogspot.com
http://www.asondheim.org/advert.txt

--
http://www.asondheim.org
http://nikuko.blogspot.com
http://www.asondheim.org/advert.txt




Check Work on YouTube. Check out blog http://nikuko.blogspot.com as well.
Work directory at http://www.asondheim.org . Email: [EMAIL PROTECTED]
Check "Alan Sondheim" on Google. For theoretical and other work, check
the WVU Zwiki and http://clc.as.wvu.edu:8080/clc/Members/sondheim . Check
"Alan Sondheim" on Google. Phone 718-813-3285. Write for information on
books, dvds, cds, performance, etc.

[techbooks] REVIEW: "Kim", Rudyard Kipling (fwd)

[Alan Sondheim]

-- Forwarded message --
Date: Fri, 08 Dec 2006 09:25:34 -0800
From: "Rob, grandpa of Ryan, Trevor, Devon & Hannah" <[EMAIL PROTECTED]>
Reply-To: [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Cc: [EMAIL PROTECTED], [EMAIL PROTECTED],
funsec@linuxbox.org, [EMAIL PROTECTED], [EMAIL PROTECTED]
Subject: [techbooks] REVIEW: "Kim", Rudyard Kipling

BKKIM.RVW   20061124

"Kim", Rudyard Kipling, 1901, 0-812-56575-4
%A   Rudyard Kipling
%C   49 West 24th Street, or 175 Fifth Avenue, New York, NY  10010
%D   1901 (no, it isn't a Y2K joke)
%G   0-812-56575-4
%I   Tor Books/Tom Doherty Assoc.
%O   [EMAIL PROTECTED] www.tor.com
%O  http://www.amazon.com/exec/obidos/ASIN/0812565754/robsladesinterne
  http://www.amazon.co.uk/exec/obidos/ASIN/0812565754/robsladesinte-21
%O   http://www.amazon.ca/exec/obidos/ASIN/0812565754/robsladesin03-20
%O   Audience n+ Tech 3 Writing 3 (see revfaq.htm for explanation)
%P   307 p.
%T   "Kim"

Kipling packed a great deal of information and concept into his
stories, and in "Kim" we find The Great Game: espionage and spying.
Within the first twenty pages we have authentication by something you
have, denial of service, impersonation, stealth, masquerade, role-
based authorization (with ad hoc authentication by something you
know), eavesdropping, and trust based on data integrity.  Later on we
get contingency planning against theft and cryptography with key
changes.

Beyond all this, and repeatedly throughout the story, we have social
engineering: misdirection, analysis of situations and characters, the
maneuvering and manipulating of people so that they do what you want,
all the while thinking that it was their idea.  The explanation given
is at once subtle and lucid, and is both more useful and much more
entertaining than that given by Mitnick in "The Art of Deception" (cf.
BKARTDCP.RVW).

Kipling is, perhaps, too gentle a writer for the thriller genre.  He
is, though, a better wordsmith than most of those who work in that
idiom.  His command of dialogue is unparalleled: in "Kim" there is no
need to identify the individual speakers, for they are as instantly
distinguished in the text as they would be by speech.

I heartily recommend "Kim" to anyone in the security field, or anyone
who wants a decent read.

copyright Robert M. Slade, 2006   BKKIM.RVW   20061124

Merry Christmas

==  (quote inserted randomly by Pegasus Mailer)
[EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED]
As long as the world is turning and spinning, we're gonna be
dizzy and we're gonna make mistakes.- Mel Brooks
Dictionary of Information Security  www.syngress.com/catalog/?pid=4150
http://victoria.tc.ca/techrev/rms.htm

thanks Ana!

[P!^VP 0!Z!^VP]

http://anaflexxxions.blogspot.com/2006/12/welcommen1129-12806-551- 
bytes.html


P!^VP

....

[Jukka-Pekka Kervinen]

x persnicket
achable mote
fessionalism
f-regulating
terly Pharis
chantman war
briation coo

By Now / As Yet

[Sheila Murphy]

By Now / As Yet

One adjusts to loss,
while one condones the symmetry,
the air with dry to meet,
as yet a norm.
The hype of forth.
And some of us and some of it.
Appreciation happens whitely.
Deep love comprised without the long hop.
Work demeans fulfillment.
All that we could ever.

Her coincident compliance longs for.
Brimming.
Summa cum. *Laudate.*
Crumbs under the scope.
Surrender to *worked through*.
As commingled and then lingering.

The breezes are a comfort yes and yet.
I look at her and she is. This
is where I think.
And this is where I pray the dream.

Sheila E. Murphy

#fixed-realities 06:54am 09/12/2006

[mez breeze]

--
--
Fix[r]e[ality]d #06:54am 09/12/2006
--

Fixed #00379, Location.of.torn.plastic_bag.poultry.stuck.dancing.on.fences
Fixed #00458, 
Problems.with.unspecified.biology.trapped.under.blistering.heat.co[at]vers
Fixed #17869, Add.[s]late.cracking.in.tandem.chaos[ocial.net].streaming
Fixed #22389, CharcoalLinedImaginations.should.have.a "draw this,
please" property attached


--


---
/join (br)0wn(ian>n0se-tech-<-tral.snuffling
/macro skin.wanders.thru.video.sn->-ip-<-pings
/leave juice.gagging.on.p->-(v)o(cal)w-<-er.chuggings
/camp + tingle.sl->-ash-<-ed.with.flick->-ringit-<-ing  


--

---
]][s[creen]hot.in.my.(er)god(ic).heart][[ 03:35pm 03/12/2006
---
_future||taste.dis.so[|a]lving.on.a.visionary.tongue_
_b.li[|u]sta[mina].packing.in.padded.amb[ulanc]er_cells_
_[sneak.p][review+]scratching_skin_pads+soft.plodding.h[bio.sp]urts_


--


-- MMO trick.L --07:09am 30/11/2006


[l]1.bomb[(the.hip-hop)bard.ment] - - soc_x.traction.vi[not]able
--- - - momentari_n.T.grate.ion.in[evit.able]nit
fixed.+.chilled.stereo.attitudinals- - -
my.mouth.fo{gend}(|a)rms.attach.wurds


--

---
diamond()pixel()iz()e(yespls)   05:20pm 21/11/2006
---

()h_over.sn_ow.saline.dust.drip(age)[h(o)w.bathetique]()
()cur(ipp)led.pressure.fur.creepage.in.bare_line_toes()
()drying.ice(land).pats+notes.breaking(h[ilt_filled]earts)
(sy)nap(se)ping.realities.as.drop(e)ping.cubed.pixelize.tears() 
--




--LFG Curiosity, Play, or Xperimention PST--
-http://netwurker.livejournal.com/ --
  sharding.ur.reality.purples

Re: Seeing things

[D^Vid D^Vizio]

You poets are all the same.
Eye's all about the poessy.

http://anaautobioyinphy.blogspot.com/2006/12/poessy-possy-1329-12806-866-bytes.html

D^

--- Lanny Quarles <[EMAIL PROTECTED]> wrote:

> where do i meet girls who don't want to fuck twice?
> Not to brag, but I've never met one..
> It could be interesting!
> 


d^Vizio

__
Do You Yahoo!?
Tired of spam?  Yahoo! Mail has the best spam protection around 
http://mail.yahoo.com 

[no subject]

[Alan Sondheim]

Notes on the parenthetical vis-a-vis LISP


1 The comfort of LISP, maternal enclosure of forms; results leak out like
residues, programs huddle. (Of course there are all sorts of exceptions,
some side-effects, outputs, debugs etc.)

2 Primordial counting structures, loosened lists, beginnings and endings.

3 Is there really any need to run a program's perfect framework? Running
a program: _Time stays out of it._

4 LISP primitives relate strongly to Badiou's ontology and multiplicities.

5 What constitutes ( and )? Or the NULL, NIL, ()?

 -z.
(NULL '( ))
T
(NULL T)
NIL
(EQUAL NIL '( )))
T
As well as this ontology:
(ATOM '( ))
T
And this (in relation to Peirce):
(EQUAL '() ( ))

 a. Generally the parenthetical is considered subordinate, an addendum.

 b. Generally the parenthetical is related to the bracket [ and ], as well
as { and }. The bracket is a building-block, a support; { and } are always
subordinate. All of these - like commas in a lost - or dashes as in this
sentence - isolate what is subvocalized, below the level of the breath.
Part-object, not abject.

 c. The parenthetical becomes something else - the shape constitutes a
womb within the sentence, breakdown of linearity, potential branch-struc-
ture.

 d. In LISP besides the leak, the parenthetical is _all there is._ Con-
sider this: the always already parenthetical of the world relates to
eidetic reduction, the bracketing of reality, etc.

 e. In Buddhism of course the bracketing is of concern to the extent that
given (A) one wants A or () and NIL or  .

 f. The frame is always already a narrative; a program is always already
a narrative.

 g. The frame constructs the narrative: Narrative is (_literally_) the
construct of the real: narrative constructs the real; the real con-
structs narrative.

 h. Without the frame there is nothing.

 i. LISP is frame. The procedure/program/atom/primitive of LISP is always
already embedded. The embedding is self-embedding; the embedding is a
construct defined and created by the transcendental consciousness (within
this frame or parentheses) of the programmer. It makes no difference
whether LISP exists or not.

 j. Frames are never empty; emptied frames to frames are beings to Being.
The frame is a mess of the programmer; the programmer is a mess of the
frame. All code is dirty code. Emptied frames are abandoned frames, their
residue excreted.

6. The above relates to thought, not LISP necessarily. (Of LISP I am
ignorant.)


To be watched:

http://www.youtube.com/watch?v=6ZouSU1W9N8

Maud Liardon choreographed or not by Foofwa d'Imobilite or improvised or
not with or without background music videography perhaps by Alan Sondheim
or not or his mise en abyme or not. Production of the symbolic from the
imaginary. LISP of course produces the imaginary from the symbolic. Enjoy.



(Check Work on YouTube. Check out blog http://nikuko.blogspot.com as well. 
Work directory at http://www.asondheim.org . Email: [EMAIL PROTECTED] 
Check "Alan Sondheim" on Google. For theoretical and other work, check 
the WVU Zwiki and http://clc.as.wvu.edu:8080/clc/Members/sondheim . Check 
"Alan Sondheim" on Google. Phone 718-813-3285. Write for information on 
books, dvds, cds, performance, etc.)

B: The Clark Ashton Smith of Zane Grey

[Harrison Jeff]

CHAPTER I. LASSITER


A sharp clip-crop of iron-shod hoofs deadened and died away, and clouds of 
yellow dust drifted from under the cottonwoods out over


I, a poor scrivener

sage

it has no likeness to the beasts of earth, to the creatures of air and water

She wanted the sleepy quiet pastoral days to last always

It was impossible to surmise their actual appearance, for, even as the 
taverner had hinted, their very hands were concealed by fingerless gloves; 
and the purple gowns came down in loose folds that trailed about their feet 
like unwinding cerecloths. There was a horror about them, of which the 
macabre masks were only a lesser element; a horror that lay partly in their 
unnatural, crouching attitudes, and the beastlike agility with which they 
moved, unhampered by their cumbrous habiliments


Tull put out a groping hand. The life of his eyes dulled to the gloom with 
which men of his fear saw the approach of death. But death, while it hovered 
over him, did not descend, for the rider waited for the twitching fingers, 
the downward flash of hand that did not come. Tull, gathering himself 
together, turned to the horses, attended by his pale comrades.



*


CHAPTER II. COTTONWOODS


Venters appeared too deeply moved to speak the gratitude his face expressed.

Among them, they carried a curious bier, made from interwoven strips of 
leather, and with monstrous bones that served for frame and handles. The 
leather was greasy and blackened as if from long years of mortuary use.


"Some men once roped an' tied him, an' th

I have never acquired the diary-keeping habit — mainly, because of my 
uneventful, mode of existence, in which there has seldom been anything to 
chronicle


held white-iron close to his eyes."

Loath were the fishers to touch the dead men

somewhere a robin sang its evening song, and on the still air floated the 
freshness and murmur of flowing water


Naught but the raiment of the marble corpses had been consumed; and they 
shone white as moon-washed marble above the charrings of wood; and nowhere 
upon them was there any blackness from the fire


specters, and they, too, melted into the night.


*


CHAPTER III. AMBER SPRING


No unusual circumstances was it for Oldring and some of his men to visit 
Cottonwoods in the broad light of day, but for him to prowl about in the 
dark with the hoofs of his horses muffled meant that mischief was brewing.


My name is Pharpetron, among those who have known me in Poseidonis; but even 
I, the last and most forward pupil of the wise Avyctes, know not the name of 
that which I am fated to become ere to-morrow.


unusual circumstances was it for Oldring a

No unusual circumstances was it for Oldring and some of his men to visit 
Cottonwoods in the broad light of day, but for him to prowl about in the 
dark with the hoofs of his horses muffled meant that mischief was brewing.


d some of his men to visit Cottonwoods in the broad light of day, but for 
him to prowl about in the dark with the hoofs of his horses muffled meant 
that mischief was brewing.


using ignorantly a dire formula;

"It's Judkins, your Gentile rider!" he cried. "Jane, when Judkins rides like 
that it means hell!"



*


CHAPTER IV. DECEPTION PASS


The rider thundered up and almost threw his foam-flecked horse in the sudden 
stop. He was a giant form, and with fearless eyes.


hapter iv. dece

Turning to regain his path, he crushed others of the toads to an abhorrent 
pulp under his feet. The marshy soil was alive with them. They flopped 
against him from the mist, striking his legs, his bosom, his very face with 
their clammy bodies.


tio

My poems have appeared in 30 or more magazines, in 10 or 12 anthologies; and 
some have even been used in school readers. I have done a number of 
translations from French poetry, amid have dabbled, rather ineptly no doubt, 
in the writing of French verse.


p

Venters sent him for meat, bread, and dried fruits, to be packed in 
saddlebags. His own horse he turned loose into the nearest corral. Then he 
went for Wrangle. The giant sorrel had earned his name for a trait the 
opposite of amiability.


Expansion and contraction of eye-pupil under light a test of obsession, 
since an obsessing or intruding spirit cannot secure control of the eye. 
(Rosicrucianism.)


The Masked Rider huddled over his pommel slowly swaying to one side, and 
then, with a faint, strange cry, slipped out of the saddle.


_
Visit MSN Holiday Challenge for your chance to win up to $50,000 in Holiday 
cash from MSN today!  
http://www.msnholidaychallenge.com/index.aspx?ocid=tagline&locale=en-us

W: GRANDUNCLES OF THE CATTLETRADE

[Harrison Jeff]

Virginia never Neaera never Ne'erginia never Everest Pallas
Neaera never Ne'erginia never Everest never brand knuckles
Ne'erginia never Everest never brand never near await
Everest never brand never near never nepenthe subservience
brand never near never nepenthe never wolves improbable
near never nepenthe never wolves never clapboard hundredth
nepenthe never wolves never clapboard never nation more
wolves never clapboard never nation never cotton wolves
clapboard never nation never cotton never crease cursive
nation never cotton never crease cursive never kenning table
cotton never crease never kenning never anyone's guess
crease never kenning never anyone never...

_
Visit MSN Holiday Challenge for your chance to win up to $50,000 in Holiday 
cash from MSN today!  
http://www.msnholidaychallenge.com/index.aspx?ocid=tagline&locale=en-us

Re: By Now / As Yet

[Peter Ciccariello]

It is a joy to see these two Sheila.
There is such a mystifying some thing about your work.

Thanks!

- Peter Ciccariello
Image - http://invisiblenotes.blogspot.com/
Word - http://poemsfromprovidence.blogspot.com/
Photography - http://uncommonvision.blogspot.com/




On 12/8/06, Sheila Murphy <[EMAIL PROTECTED]> wrote:


By Now / As Yet

One adjusts to loss,
while one condones the symmetry,
the air with dry to meet,
as yet a norm.
The hype of forth.
And some of us and some of it.
Appreciation happens whitely.
Deep love comprised without the long hop.
Work demeans fulfillment.
All that we could ever.

Her coincident compliance longs for.
Brimming.
Summa cum. Laudate.
Crumbs under the scope.
Surrender to worked through.
As commingled and then lingering.

The breezes are a comfort yes and yet.
I look at her and she is. This
is where I think.
And this is where I pray the dream.

Sheila E. Murphy






--

Re: Seeing things

[Larissa Shmailo]

 
 
In a message dated 12/8/2006 11:57:46 AM Eastern Standard Time,  
[EMAIL PROTECTED] writes:

I agree,  you work is very powerful Larissa, keep posting!

-Peter  Ciccariello

On 12/8/06, Thomas  savage <_ [EMAIL PROTECTED] 
(mailto:[EMAIL PROTECTED]) > wrote:   
This  poem is wonderful, Larissa.  I feel priveleged to have read it.   
Regards, Tom Savage 




Thanks, Peter.
 
Larissa  Shmailo_  [EMAIL PROTECTED] (mailto:[EMAIL PROTECTED]) 
http//:larissashmailo.blogspot.com
Listen to The  No-Net World at http//:www.cdbaby.com/cd/shmailo
and on  iTUNES

John Lennon's Legacy (fwd)

[Alan Sondheim]

-- Forwarded message --
Date: Fri, 8 Dec 2006 23:03:49 -0500
From: [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Subject: John Lennon's Legacy

John Lennon's Legacy

Jon Wiener


On the anniversary of John Lennon's murder (Dec. 8,
1980), I've been thinking about his famous argument with
Gloria Emerson in December, 1969 -- filmed by the BBC,
and included in the recent documentary The U.S. vs. John
Lennon.

Emerson was a celebrated war correspondent for the New
York Times who had just returned from the bloody
battlefields of Vietnam; Lennon had just written "Give
Peace a Chance" after he and Yoko declared their
honeymoon a "bed-in for peace"--they had stayed in bed
for a week, "in protest against all the violence in the
world."

Emerson told him in her haughty upper class voice,
"You've made yourself ridiculous!"

"I don't care," Lennon replied, "if it saves lives."

"My dear boy," she said, "you're living in a nether-
nether land. . . . You don't think you've saved a single
life!"

"You tell me what they were singing at the Moratorium,"
Lennon shot back -- he was referring to the biggest
anti-war demonstration in American history, which had
been held in Washington DC a month earlier.

Emerson wasn't sure what he was talking about: "Which
one?"

"The recent big one," Lennon explained. "They were
singing "Give peace a chance."

"A song of yours, probably."

"Well, yes, and it was written specifically for them."

"So they sang one of your songs," she said with some
irritation. "Is that all you can say?"

Now he was angry. "They were singing a happy-go-lucky
song, which happens to be one I wrote. I'm glad they
sang it. And when I get there, I'll sing it with them."

The film presents the exchange as an example of the
mainstream media's relentless hostility to Lennon's
peace activism, and celebrates his put-down of Emerson.
But 37 years later, it's worth reconsidering Emerson's
question: did "Give Peace a Chance" save a single life?
Did the anti-war protest of 1969, or any other year,
save any lives?

Of course the Vietnam war didn't end in 1969, even
though Nixon had been elected the previous year after
declaring he had a secret plan for peace. The Paris
Peace Talks were already underway, but the American war
didn't end for another four years -- during which 20,000
Americans were killed, along with more than half a
million Vietnamese and Cambodians.

You might ask Gloria Emerson's question about the anti-
war demonstrations on the eve of the Iraq war, in New
York, Los Angeles, London, Rome, and elsewhere. They
were the biggest anti-war demonstrations in world
history, but Bush invaded Iraq the next month anyway,
and as of Dec. 8, 3,000 Americans have been killed
there, and perhaps 650,000 Iraqis, according to the
Johns Hopkins study published in The Lancet. Did those
demonstrations in 2003 save a single life?

Maybe not, or at least not yet. Stopping a war takes a
long time. But apathy in the face of an unjust war is
simply unacceptable. As Rebecca Solnit argues in Hope in
the Dark, you have to keep trying to win people over,
because you can never be sure the forces of darkness
will triumph, and because the most impossible things
sometimes happen.

Lennon did come to the US, and eagerly embraced the
steady work of anti-war persuasion and organizing. "Our
job now is to tell them there still is hope," Lennon
said at an anti-war rally in Michigan in 1971. "We must
get them excited about what we can do again." It was
hard to see it in 1969, but eventually the US did end
its war in Vietnam. And today the people who were
singing "Give Peace a Chance" in 1969 can be glad they
sang it.

_

Portside aims to provide material of interest
to people on the left that will help them to
interpret the world and to change it.

Submit an article: portside.org/submit
Frequently asked questions: portside.org/faq
Subscribe: portside.org/subscribe
Unsubscribe: portside.org/unsubscribe
Account assistance: portside.org/contact
Search the archives: portside.org/archive

disappearing.act.one

[Alan Sondheim]

disappearing.act.one

When I was young and even now I wanted to disappear and still do, I
thought I'd wander through the world and still think I'll wander through
the world, invisible to one and all, and I'd see what everyone was doing
and I still see what everyone is doing and I thought no one could see me
and I thought no one could catch me and I still think no one can see me
and I still think no one could catch me and I hid from death and I still
hide from death, and I was scared of death and I'm still scared of death,
and I thought if I made sound death will stay away and death stayed away
and I still think if I make sound death will stay away and death still
stays away http://www.youtube.com/watch?v=AIs593pieac


===

please check youtube & nikuko.blogspot.com thank you from time to time