how misery infiltrates the wor(l)d
how misery infiltrates the wor(l)d [ http://www.youtube.com/watch?v=VH_GOu71AjY Mummy http://www.youtube.com/watch?v=-RkJSwGp6Xc Jumpy replaces prosthetic video: mapping of avatar body against abstracted body both produced from the same motion-capture file original dance Azure Carter ] r, mi. .i...e .i.. ...es missi.. ..eir es, i.s.r...i.. mi., .y...i., mem.ry, m.r.me i.i..! .. .. .. ..is is s. mi. ... .ri.e, ... 's ... i.s:..r..y:...:mi.:...y: ..i.. .. ...; .yermi.; .e..e..y r.s ..e mi.; .e..e..y r.s .yermi.; .e..e..y r.s ..e mi.; .e..e..y r.s r..e.ess ... .ies .re ..ere ..r ..e .e..i.., ...e i .r. y.. i. misery ... ..m.e.- ..er ..m.. misery, ..i.. ..e. is re.. .e..ri..y, .es.ri.e. .. .es.? misery:.e...:...ie.y:i...ess:s...ess:.. yes:235713:0:s.rr..:s...ess:misery misery:..e...r.:...m_.e...y:yes:28335:6::...m_.e...y:..e...r. M.. ..rries ..e .ei... .. .er's misery; .is misery is ... .is s..r...i.. ... misery .m... .yr...s ..rse ..e .r.mise. .e.. i.se.. ...se. ...i.s. ..e ..ise ... misery .. ..e s.ree.. N.ys .e s. s... (A...) .. .e ey...e .. .es.er..e misery ..e misery I ...e ...se. ..e S...e; I ... ...y ...e my ...is.me.. .. JENNIFER: J...'s ..r.se is .ere .e..re .s: P..r, ...r J...! My misery ## ##misery, Je..i.er, J... s.i.; s.e ..y ... .ee.s ... .i.e ... se, ... .i..e..e, ... misery .r...i.. ... . .i.. e..e r..e is e..y, ... .e..i.. ... .e.. .. ..mes.i. misery. .. ..mes.i. misery ... .er. ...i.. .r. ser.i.es i. ..e s..erei.. i . m.r.e. misery. i . .i..ime res.rri... .i.e me ..r...se ..- ..me .i.. me, i . m.r.e. misery. i . .i..ime res.rri... .i.e .re..e. misery ..r... ..e ..r... H..i.. ...se. ..e .e... .. s. m..y J.24..% e... "..e .i..i..r...i. .i.. is . .. .. misery" >> ..e .i..i..r...i. .i.. is . .. .. misery misery. i . .ri.e . s... . ..i.. ... .i.e .e.i.. my .ri.i..; ... ... my s...i. .ri.i.. my .ri.i.. s ... s.r.i.e; i.s misery is my .er .re. misery; s.e ... .i.e. .. ... ...e. s.e ... ..e .e..er .ree. .er .r.m ..e misery .. .er .ri...e.e. s...e.ir. .i.e; i. re..r.e. misery, .se.ess.ess, s...i.i.y, ..me, ..e ..r.. is .. ..i. ... misery, .. ... ri...e .. misery, .r.y ..r ..e s.i.. .. ... .ei..s, rei.e ..e s.iri. i. ..er, ... ..e s...eme..s ..emse..es, .y misery. i .m ..e .. ..e .e. misery .. ..e ...: ..is .i.. .e ..s. ..re.er. ..e ..se, ..e m.re .. ..e s.me misery - misery. ..r. ris.i. i.. m.re .e.eri.r..i... ! misery, m.re ..e.s.re ..i., i. ..e i.i.. .. m..." ..e misery .. m.si. my si.e..e i. misery misery .i.s se.., ..e..e ..e mismis miseryery ery .. .. .. m.sm.s m.si. .. i.. ..em ... .. ..r misery. ... i.'s .re.m..r. ... 's .. .. i.. ..em ... .. ..r misery. ... i.'s .re.m..r. ... 's .. ../..rs.i. .re.ms ..e ..em .. misery. ... i.'s ..r .re.m..r. ../..rs.i. .re.ms ..em misery. i.'s ..r .re.m..r. re..r. ...i. .. misery .. ..es. ... si... - ...i. re..r. misery .. .. misery ..es. .. si... ... .e..e ..e .rey is e..e re..r. ...i. .. misery .. ..es. ... si... - ...i. re..r. misery .. .. misery ..es. .. si... ... .e..e ..e .rey is e..e .r. ..r misery. T.e ies .. y .re ..e .ir.. .. ..e ..r.., r... misery .. se. ... ...e me.i...i.. .r. misery. ies y .ir.. r... r.. .e..- ..i.e. misery .r..e..i.. is r...e s... .r... ..i.ersi.y. ...s .. .ry . sy ... .i.. m..i.e er. .. misery s.re.. i-.. i. ... .r.e i-..e-.se .. misery. i-..e-.se .e.r.e misery. ..s. .--.. misery. ..-.y .e.r.e ...-ir ..s. .-re ..-.y .r.e ...-ir ... .r.e misery. .e.ie.ers. ..-... i ..ey .-... .-re ..is .-..i. ..r .. ..-... -.i.-.s. i-..e-.se .e.r.e misery. e.e-. ...y. se-.se e.ery .i..e..e, ..r..res, ..r...i.e misery. .e ...'. s... .i..i... ... ..ey're misery. .. .. ... ..e - .. .i.m MURDER ..i.. s.me. IS .. ..i..? - ..e e..i.me.. ...e .e...e. ..r misery. ... ...'. . .i..e..e, ..r..res, ..r...i.e misery. .e ...'. s... .i..i... ... ..ey're mi..s, ..ese . ...ies. .i..e..e, ..r..res, ..r...i.e misery. .e ...'. s... .r ..ri.y ... misery. .i.m ..i.. s.me. ..ey ...'.. .r. ... .ir..ms.ri.es ..e ..i..; i.'s misery, ... i.'s ese.. ... ..ri.. ..i.. ... ..s i..e. .i.. misery. I. .ie. ...er i. ... .ee. .i.i.., e.r.. ..r ..is misery, ... .r. ..em .. misery, misery,... .i..s. misery. misery .e..mes e.ery..e i. ..e ..r... .r.ss ..rr.r misery e..i...i..s ..ri.. .er..rm...e ..e..is..ssi.. e... .i..s. misery. .., misery! ://y.e...m/.?.=VH_GO.71A.Y M.mmy rees .r.s..e.i. .i.e.: m...i.. .. .r ...y ...i.s. ..s.r...e. ...y .re. .r.m ..e s.me m..i..-.re .i.e .ri.i... e A..re C.r.er ://y.e...m/.?.=-R.JS.G.6X. J.m.y
New Financial Obstacles for Young Adults
FOR IMMEDIATE RELEASE DECEMBER 13, 2006 CONTACT: Demos Timothy Rusch, Demos (917) 399-0236, [EMAIL PROTECTED] http://www.demos.org/home.cfm America's Young Adults Face Serious Economic Challenges 18-34 Year Olds Confronted with New Financial Obstacles Not Experienced by Previous Generation NEW YORK - December 13 - Today's young adults are feeling the full, deep impact of a massive shift in the US economy, and are no longer able to start and sustain a family, build a career and grow assets in the same manner as the previous generation, according to a new report series published today by Demos, a national, nonpartisan public policy center. The new five-part "Young Adult Economics Series" shows that America's young people are feeling the full effect of a 30- year shift from an industrial to technology- and service-based U.S. economy. The series shows that the combination of stagnant wage growth, growing debt, and high costs of education, homeownership and healthcare are new realities. These are now common factors that challenge the ability of America's 20-and 30-somethings to start, and sustain, an economically stable adult life. "Young people today are being hit by a one-two economic punch," said Tamara Draut, director of the Economic Opportunity Program at Demos and author of the series as well as a book entitled "Strapped: Why America's 20-and 30- Somethings Can't Get Ahead". "For the young generation of workers, the economy no longer generates widespread opportunity and security, and our public policies haven't evolved to pick up any of the slack. In fact, many of the problems we see today are a direct result of a disinvestment in the policy investments meant to ensure that the opportunity ladder is firmly in place." "This research shows that, unless we address these problems-- and we can--this will likely be the first generation to not surpass the living standards of their parents." The series provides a comprehensive portrait of the economic status of today's young adults--and offers policy solutions that Congress and state legislatures can act on. The five-part series covers the following topics: 1. HIGHER AND HIGHER EDUCATION. In today's knowledge-based economy, a college degree is a necessary qualification for entry to the middle class, and more young people than ever before are going to college. Yet, serious gaps remain for lower-income young people and for middle-class students facing high student debt burdens. -Inflation-adjusted per-semester tuition at public universities has nearly tripled since 1980, up from $1,758 in 1980 to $5,132 in 2004. Thirty years ago, the average cost (tuition, fees, room and board) of attending a private college in 1976-77 was $12,837 annually, in inflation-adjusted dollars. Today, the average cost of attending a public university is $11,354. -Since 1992-93, the average college graduate's student loan debt has grown from $12,100 to $19,300 (in 2003 inflation- adjusted dollars). Over a quarter of graduates had debt higher than $25,000, up from 7 percent in 1992-93.5 One-third of community college students borrow to pay for school, with an average debt of $8,700. -The Pell Grant Program, the nation's premiere student aid source for lower-income students, now covers less than one- third of the cost of tuition; 30 years ago, it covered three- quarters. -Despite record enrollment, too many college--qualified high school graduates--about 168,000--are not planning to attend college at all, and more than 410,000 more go on to community college because of the high-cost of 4-year universities. -Every year, more students who start college do not complete their degree due largely to rising costs, a majority are from lower-income and African-American and Latino families. One out of five student loan borrowers drops out before completing their degree. 2. PAYCHECK PARALYSIS. Compared to their generational predecessors, young adults' incomes have largely been on the decline. Typcial incomes for workers without college degrees have dropped by a third, while young workers with college degrees have seen their incomes remain flat. In addition, young workers are less likely to have employer sponsored health care, retirement benefits and other employment-related benefits. -In 1974, the typical male high school graduate in the 25 to 34 age group earned $42,697 in inflation-adjusted dollars. In 2004, earnings had declined to $30,400. In 1974, a young adult male with a bachelor's degree or higher earned, on average, $51,223 (in 2004 dollars). In 2004, young male college grads earned $50,700. -Retirement and health care benefits have been slashed across employment sectors: In 1987, 68 percent of 25-to-34-year-olds had employer-based health insurance; in 2003, this figure was down to 61 percent. Young adults are the largest group of uninsured America--over 18 million. In 1974, 44 percent of workers in the private sector were in a defined benefit pension plan. Today, only 17
Kalahari Bushmen win ancestral land case
Kalahari Bushmen win ancestral land case By Alex Duval Smith December 14, 2006 Independent/UK http://news.independent.co.uk/world/africa/article2073037.ece The Botswana High Court has given more than 1,000 Kalahari Bushmen the right to return to their ancestral hunting grounds by ruling they were wrongly evicted by the Botswanan government four years ago. Campaigners said the landmark decision will advance the rights of indigenous people all over the world. Supporters of the Bushmen - traditional hunter-gatherers whose proper name is the San - accused the government of evicting them to exploit the potential diamond and mineral wealth on their reserve. A panel of three judges in the southern Botswanan town of Lobatse ruled that the San were illegally moved from their ancestral land in the Central Kalahari Game Reserve. After a 2-1 ruling, Judge Mpaphi Phumaphi, who delivered the swing vote, said the government had forced them out of the reserve by depriving them of their livelihood. "In my view, the simultaneous stoppage of the supply of food rations and the stoppage of hunting licences is tantamount to condemning the remaining residents to death by starvation," he said. Miriam Ross, of the London-based pressure group Survival International, said the ruling was historic because it added to a "growing body of case law and a mounting international consensus that recognises the rights of indigenous peoples". She said a similar case in South Africa three years ago had granted the San rights to mineral revenues from their ancestral land. But the Botswana case marked the first time a modern African court had recognised the ancestral land access rights of indigenous people, she added. The Botswana government would not comment on the ruling but said it was considering appealing. There are estimated to be 100,000 Bushmen in southern Africa, and about half are in Botswana. None live the 20,000-year-old traditional hunter-gatherer life centred on tracking and killing game on foot using poison arrows. Because of their change in lifestyle, it is unlikely that many San will return to the Central Kalahari Game Reserve, which is the size of Belgium. The ruling gives them the right to do so, but does not compel the government to provide services such as water, clinics and schools in the park. The San have suffered decades of discrimination at the hands of the local Setswana population whose name for them, Basarwa, means "people without cattle". White settlers once hunted them for sport. Renowned for their ability to track game by reading delicate signs in the sand, the San in South Africa were used by its armed forces as frontline "trackers" in the Apartheid era. Yesterday's ruling reverses 20 years of a Botswana government policy to "encourage" the San to leave the reserve. From 1997, the authorities began to cut services to them, such as mobile clinics, in the park. Payments were offered to those who volunteered to move to a resettlement camp 30 miles away. For that reason, the government has always argued that it did not evict anyone. However, human rights campaigners in Botswana say the authorities took advantage of the San's low levels of education by spreading rumours that boreholes in the park would be sealed and those who remained would be killed by the Botswana Defence Force. San advocacy groups say they have been watched by police. Most anthropologists have been denied research permits to study them in the park. But it is unlikely that many San will return to the park. Even before the evictions began 20 years ago, most had given up their nomadic existence in the park and had settled around boreholes in it. Nevertheless, life in the park - close to the ancestors who are crucial to the wellbeing of the San - was better than at the New Xade resettlement camp, where residents have no jobs, resettlement grants are spent on alcohol, and Aids is rife. Desire for tourism in the Kalahari and concern for its dwindling wildlife are the government's principal motives for resettling the San. Claims from European pressure groups that the government is motivated by a desire to allow diamond mining in the park have been discredited. Even if true, the move would produce such an international outcry that it would be unlikely. But it will take major investment to make the park viable for tourism. Animal populations, down to a mere 5 per cent of levels 30 years ago, were decimated by government-built cattle fences around the park, which cut off game from natural migration routes and water. De Beers boycotters ask DiCaprio for support The creators of a new website designed to promote an international boycott of the De Beers diamond company have placed a full-page advertisement in Variety, the Hollywood entertainment newspaper, appealing to the actor Leonardo DiCaprio to help with their campaign. The site, www.boycottdebeers.com, accuses the company of complying with the government of Botswana in forcing bushm
VOODOO TRUCKING COMPANY
T-BONE ANGIE TO GROSS BONE ANGIE HEY THERE GOOD BUDDY YOU GOT YOUR CHOCOLATE EXOSKELET-ON 13 LITTLE VAMPIRES IN ROW BABA BABY SALSA MIX FRO'IN FROM THE NOSE SUPPUR FOR SAL MINEO IS A HOT CHOCOLATE CADILLAC THATS T_BONE ANGIE"S CALL LETTERS NAY NAY BOS COMM LEGPA HELICOPTIC BONE DANGLE FOR GROSS BONE ANGIE T-BONE ANGIE ELVIS MAKE HOTROD PAPA PROUD HOLEY ELECTRICIAN 18WHEELER JUNCTION RIGHT INSIDE A CHOCOLATE EXOSKELETON RADIO THATS BABA BABY SALSA MIX FRO'IN THE NOSE SUPPUR FOR SAL MINEO T-BONE ANGIE GOT A RITE TO KRY FORTY FIFTY FRENCH FRY WAGONS ALL WEALIN BYEBYE GROSS BONE ANGIE HAVE YOU ANY SPIDER WOOOLD YES SIR YESER TARBELLY JELLY WHOORL MOVE THE CRUD BUCKY BUCKY BUICK THUD HAPPY HOBO PRISON SAUCER SAGAS SUPPUR TO SAL MINEOS CAMPFIRE COCHLEA CHOCOLATE T_BONE ANGIE's NAY NAY BOS COMM LEGPA RIGHT INSIDE AN 118WHEELER CHOCOLATE EXOSKELETON RADIO VVIVVEY PLATE YOU GOTAGET ALOT OF LITTLLE VAMPIRES TO MOVE THESE CHICKEN SKEL:ETONS HELICOPTERS DANGLE BONES TO GROSSBONE ANGIE's SWEET SWEET BABA BABY SALSA MIX FRO'IN FROM THE NOSE SUPER SAUCERS FOR HOBO HOTROD PAPA PROUD NAY NAY BOS COMM LEGPA THATS T_BONE ANGIE"S CALL LETTERS IS A HOT CHOCOLATE CADILLAC EXOSKELETON HEY THERE GOOD BUDDY HOLEY ELECTRICIAN SUPER MART BUCKY BUCKY BUICK THUD MOVE THE CRUD TBONE ANGIE WITH SPIDER JELLY WOORLDS GROSS BONE ANGIE DOESNT GIVE A DAMN
Re: This is for Marlon Brando
http://anaflexxxions.blogspot.com/2006/12/rumi-n-ate.html P!^VP On 14-Dec-06, at 11:15 AM, phanero wrote: THIS IS FOR MARLON BRANDO I could I could I cud [eye cud. have been a contender] 'the socket cuds the eye' 'looking is chewing' 'the ego is a cud to the mind' 'the body is a cud to the earth' h-ave' h-ave' h-ave' [toss sticks] I could I could I cud 9* Aye could have been a CON-TENDER bo-xing box-ing catty organizing the doggone agony of de feat what a feat! what a cud! 'the socket cuds the eye' I cud I cud cudda ben coo da bend coo dab end cold ab end c light's circular boundary it's callypygian strut the turbulence of its pregnancy Wittgenstein and Bakhtin are the same cud that cud is the Rebelisian cud and in the cud [the cud] which is always an arcimboldesquire [ie Limited] one finds [contrary to the fetishized and 'spectacular' notion of lineage] THE REAL LINEAGE the cud here is a cud: a.. a focus on ordinary language a.. meaning as use a.. the language-game and context a.. function a.. speech activities a.. the connection of language to life a.. the role of customs and rule-governed activities a.. the indeterminacy of meaning a.. an antipathy to reductionism a.. a focus on moves in a game a.. i could have been a contender
[CC] Net.tv (update) by Garrett Lynch (fwd)
-- Forwarded message --
Date: Thu, 14 Dec 2006 20:35:20 +
From: Garrett Lynch <[EMAIL PROTECTED]>
Reply-To: Cyberculture
To: cyberculture@zacha.org
Subject: [CC] Net.tv (update) by Garrett Lynch
Announcing the update (version 1.0?) of net.tv an art browser (browser
as art work) by Garrett Lynch:
http://www.asquare.org/project/net-tv/
---
Net.tv is a cross between a browser and a streaming media player
designed to view the internet as it really is, code or more
specifically markup, not a series of web pages designed under a print
metaphor. It makes no attempt to interpret the code into an organised
layout as do conventional browsers, instead it displays the code as an
audio-visual stream of indeterminate length.
Why reduce the internet to an audio-visual stream? Simply to provoke
thought around our use and consumption of different media, linear push
media such as television and non-linear interactive pull media such as
websites, which have been converging for sometime now. Net.tv's purpose
is to highlight the way we as users continually construct self made
narratives when we use the internet through choices based on an
interact / react model. It does this by removing our ability to chose
and act on those choices. Users enter a chosen url, click go and from
there on the experience of 'surfing' is automated and dictated by a
preprogrammed rule:
On start
{
retrieve webpage url entered.
Visualise webpage as an audio-visual stream.
Spider to first webpage url available on current webpage url.
Repeat while new url available.
}
When we use a browser to surf the internet what we view and how we view
it is controlled by the browser. It functions as a framing mechanism
and for net.art this can be considered a problem or challenge depending
on your point of view. The creation of a browser as a work of net.art
allows an artist to not alone create an artwork but control how and
under what conditions it will be viewed.
"After the first experiments with web sites, the browser rapidly became
the unavoidable framework for Net art [sic] in the eyes of the artists.
Webstalker, created by the London-based art group I/O/D and introduced
in the first part of net.art, was the first 'art browser' to call into
question the conventions of representation on the internet on a much
more fundamental level than any work on the web was able to. After
Webstalker, a whole series of art browsers appeared...they show
precisely what 'normaly' browsers try to hide. Instead of Web sites
with pretty designs, one sees what lies beneth the surface: the code
the pages have been written in and the structure of the Web sites
appearing on the screen as complex diagrams which most definitely have
their own aesthetic appeal." (Baumgärtel, T. 2001)
By denying the user any possibility of interaction with or control over
browsing content when using net.tv, the possibility to surf the
internet, the user is in fact denied the status of user and becomes
simply a spectator of a broadcast medium much like television. Web
pages, net.art works themselves (including the artists own) become
input, the equivalent of a signal for the browser, suppling a constant
feed of content which controls the browser and the path it takes
through the internet. Linking from page to page or site to site is no
longer a controlled or chosen decision by the user. Instead the
application decides constantly spiraling off onto new pages as soon as
it finds a link.
Unlike most browsers which exist and are defined by the content they
depict, their message, the internet as viewed / interpreted through
net.tv is no longer a source of information. It is a browser which is
viewed solely for its aesthetic form, an abstracted composition of
sounds and images.
Net.tv is available to download for Mac OSX 10.2+, Mac OS 8/9 and
Windows 98 / Millennium Edition / NT 4.0 / 2000, or XP from the artists
website:
http://www.asquare.org/project/net-tv/
a+
gar
__
[EMAIL PROTECTED]
http://www.asquare.org/
--
Cyberculture@zacha.org
http://www.zacha.org/mailman/listinfo/cyberculture
Feature: Comets as Toolkits for Jump-Starting Life (fwd)
-- Forwarded message -- Date: Thu, 14 Dec 2006 12:15:41 -0800 From: NASA Jet Propulsion Laboratory <[EMAIL PROTECTED]> To: "[EMAIL PROTECTED]" <[EMAIL PROTECTED]> Subject: Feature: Comets as Toolkits for Jump-Starting Life Feature December 14, 2006 Comets as Toolkits for Jump-Starting Life Just as kits of little plastic bricks can be used to make everything from models of the space shuttle to the statue of liberty, comets are looking more and more like one of nature's toolkits for creating life. These chunks of ice and dust wandering our solar system appear to be filled with organic molecules that are the building blocks of life. The discovery of two kinds of nitrogen-rich organic molecules in comet Wild 2 is the latest addition to the set of bits and pieces useful to the origin of life that has been found in comets. These discoveries were made by members of the Stardust Preliminary Examination Team, a group of scientists who have been studying the samples returned from comet Wild 2 by NASA's Stardust spacecraft in January 2006. "These results show that comets could have delivered nitrogen rich organic compounds to the early Earth where they would have been available for the origin of life," said Scott Sandford of NASA's Ames Research Center, Moffett Field, Calif. "This discovery shows that the menu of compounds available for the origin of life was richer than had been previously thought," said Jason Dworkin of NASA's Goddard Space Flight Center, Greenbelt, Md. "The two molecules we discovered in comet Wild 2, methylamine and ethylamine, provide a source of fixed nitrogen, a commodity which could have been rare on the ancient Earth. Nitrogen fixation is the conversion of the very stable nitrogen (N2) gas in our atmosphere to a biologically usable form, like an amine or nitrate -- the same compounds found in fertilizer. Enzymes that fix nitrogen appear to be ancient, so finding a source of fixed nitrogen would have been an early challenge for life from the time of its origin. We determined that at least one type of comet would have provided significant quantities of stable, fixed nitrogen in the form of methylamine and ethylamine," added Dworkin. This is the first time these molecules have been detected in comets. As the Stardust spacecraft sped through the comet's tail at nearly 21,000 kilometers per hour (13,000 miles per hour), a set of aerogel tiles mounted on a boom trapped dust and gas from the comet. Often referred to as "frozen smoke", aerogel is the world's lowest density solid. Its low density allows it to slow and capture comet dust particles without vaporizing them. Although the mission's goal was to return samples of comet dust to Earth, the researchers looked for organic molecules that were embedded in the aerogel itself, rather than trapped in dust grains. "We found that the aerogel acted like a sponge, absorbing organic gases from the comet nucleus," said Daniel Glavin of NASA Goddard. "And just like squeezing a sponge, we squeezed out all the good stuff -- the water-soluble organics -- by boiling samples of the aerogel in ultra-high purity water," added Glavin. The team analyzed the aerogel water extract with a liquid chromatograph mass spectrometer instrument to identify the organic molecules. Since Earth is crawling with life, the team had to rule out contamination from our planet before it could say the molecules likely came from the comet. Glavin and Dworkin analyzed dozens of "pre-flight" aerogels that were not flown on Stardust in order to understand the organic background levels within the aerogel. The team found high levels of both methylamine and ethylamine in aerogel that was exposed to comet Wild 2. While they did find small amounts of methylamine and trace levels of ethylamine in the pre-flight aerogel, the total amount in the unflown aerogel was over 100 times less. Also, the relative amounts of the two molecules were very different from that found in the comet-exposed aerogel. The different total and relative amounts convinced the team that most of the two chemicals in the Stardust sample came from the comet. However, since Stardust was in space for seven years, the team had to be sure that the two chemicals weren't simply picked up while the spacecraft was cruising toward Wild 2. Since the pressure in space is so low, the spacecraft can release gas or volatile materials acquired during its manufacture on Earth. This is called "outgassing", and it could have contaminated the aerogel as well. To reveal the levels of contamination from these two sources, the Stardust team included a special piece of aerogel called the "witness tile" on the spacecraft. It's a piece of aerogel located behind a dust shield that protected the spacecraft from high-speed collisions with comet particles. This location kept the witness tile from being exposed to gas and dust from the comet. But the witness aerogel was exposed to everything else Stardus
....
et d'art lof tter RFD chl idolize ast ossible lint n Tuesday gr inative henc orporated te
Re: some random links
OK... which one of you two went there http://www.dauriapresepi.it/ before me... Or the counter isn't working...? ...and aren't we always forever gonna be in the seventies? D^ feeling like an old fart On 14-Dec-06, at 11:15 AM, Allen Bramhall wrote: jinkies, Larry Fischer!!! nice fetch! and there's a Wikipedia entry too. not to say that there isn't a fine line between genius and psychosis, and an audience happy to blur that line. phanero wrote: Hangin' out in Dayton, Nevada in the late '70s http://www.houseplantpicturestudio.com/HPS/dayton/dayton.html Music For Maniacs: WILD MAN FISCHER & SMEGMA http://musicformaniacs.blogspot.com/2006/12/wild-man-fischer- smegma.html Gregory Jacobsen http://gregoryjacobsen.com/ Neapolitan Presepi Shop http://www.dauriapresepi.it/ P!^VP
Re: some random links
jinkies, Larry Fischer!!! nice fetch! and there's a Wikipedia entry too. not to say that there isn't a fine line between genius and psychosis, and an audience happy to blur that line. phanero wrote: Hangin' out in Dayton, Nevada in the late '70s http://www.houseplantpicturestudio.com/HPS/dayton/dayton.html Music For Maniacs: WILD MAN FISCHER & SMEGMA http://musicformaniacs.blogspot.com/2006/12/wild-man-fischer-smegma.html Gregory Jacobsen http://gregoryjacobsen.com/ Neapolitan Presepi Shop http://www.dauriapresepi.it/
Neurotic-Machine Event Translated into Wash-Day Blues
Neurotic-Machine Event Translated into Wash-Day Blues 1 Washing 'ry-cleaning polka improvisation fluff cleaners mise-en-abysma cap by ' ry-cleaning polka improvisation fluff cleaners mise-en-abysma cap by ry-cleaning polka improvisation fluff cleaners mise-en-abysma cap by unable to w= return-path: the steaieunable to w= return-path: the stea ie rhythm of cap's cap-enunciation of ie rhythm of cap's cap-enunciation of rhythm of cap's cap-enunciation of 'ry-cleaning or improviseance-is to or cap water ance-is to ance-is to ate: geneve. water, ' ate: geneve. water, ry-cleaning or improvise eotape by rying resonates with was by rying resonates with was location above the voi rying resonates with was .) if cap's vi cap water before choreographe or most one to whew... cap water before choreographe or most one to whew... o say hello to cap or most one to whew... o say hello to cap o say hello to cap water 'ry-cleaning polka cap almost the cap ry-cleaning polka cap almost the cap cap water tub an night-time rying*2, fluff, cap, starch where it all startenight-time rying*2, fluff, cap, starch where it all starte. city of she rying*2, fluff, cap, starch where it all starte . city of she . city of she - cap. the alps trip riges of hunger finally a - cap. the alps trip ri ges of hunger finally a iscussion bottle left the ges of hunger finally a iscussion bottle left the iscussion bottle left the be of say goobye reply-to: bottle working with you anbye reply-to: bottle working with you an bye reply-to: bottle working with you an 2 Drying intense work woul rying of making '' ry-cleaning mise en abyme by fluff cap, i think the e of rying the series country its present water rying the series country its present water rying the series country its present water rying o rying o rying o wash, outsi uet: 'ry-cleaning the performance ry-cleaning the performance avatars, pre- ance rying! rying! rying! epth, o epth, o epth, o avatars! my little d'dry-cleaning d'dry-cleaning polka polka improvisation improvisation fluff fluff cleaners cleaners mise-en-abysma mise-en-abysma cap cap by by 3 Folding trip. hi subject: cap re: - hi cap - bottle-enunciation bottle-enunciation trip. unable return-path: to the w= steadied return-path: rhythm the of steadied cap's rhythm cap-enunciation of of cap's unable cap-enunciation to or cap improvised water water date: dance-is geneve. date: d'dry-cleaning geneve. or water, improvised location if above cap's void.) by if drying videotaped with drying location resonates above with the was void.) before whew... choreographed do most hello one to whew... cap do water say before hello choreographed after time about ... an the hour inspiration uneasy i time you'll ... get inspiration about and an i hour you'll of get uneasy taut and tub cap almost cap night-time starch drying*2, where fluff, it cap, all starch started. where city it of all she started. night-time city drying*2, she cap, likes i'm work, sure what if i've to i'm pre-duet: not new sure likes avatars, what pre-duet: i've new cap performance conquerest thou cap! conquerest table thine to cap! cap table water signs, not toppling "bottle" against performs from: folk "bottle" or performs this. a signs, folk almost this. against are cap we cap meeting [EMAIL PROTECTED] tomorrow, water [EMAIL PROTECTED] are for meeting me tomorrow, hope and light of talking, of upset virtual occupation light virtual cap space talking, cap. hunger alps a trip discussion ridges bottle hunger the finally - discussion the bottle alps left trip intense say work goodbye would reply-to: be bottle goodbye you reply-to: and working work you be think d'dry-cleaning making by mise cap, en i abyme think wash, the outside series series water country drying its o present wash, o drying had had avatars! my avatars! little my dance little drying! dance depth, drying! mise-en-abysma improvisation cap fluff by cleaners cap subject: cap hi hi cap bottle-enunciation - of the cap's steadied cap-enunciation rhythm d'dry-cleaning date: to cap date: water geneve. dance-is water, to the was cap's the by if resonates videotaped with by was drying water to hello whew... i the you'll inspiration get and and the polka and almost d'dry-cleaning city it she started. if i'm avatars, sure pre-duet: if new to before to drying water cap! thou table conquerest almost or not almost folk "bottle" this. a me [EMAIL PROTECTED] ... - virtual the space occupation a of bottle finally left a say would bottle say you bottle cap, abyme abyme d'dry-cleaning o present finally d'dry-cleaning avatars, finally pre-duet: bottle drying! my depth, little "depth" Alan Sondheim
This is for Marlon Brando
THIS IS FOR MARLON BRANDO I could I could I cud [eye cud. have been a contender] 'the socket cuds the eye' 'looking is chewing' 'the ego is a cud to the mind' 'the body is a cud to the earth' h-ave' h-ave' h-ave' [toss sticks] I could I could I cud 9* Aye could have been a CON-TENDER bo-xing box-ing catty organizing the doggone agony of de feat what a feat! what a cud! 'the socket cuds the eye' I cud I cud cudda ben coo da bend coo dab end cold ab end c light's circular boundary it's callypygian strut the turbulence of its pregnancy Wittgenstein and Bakhtin are the same cud that cud is the Rebelisian cud and in the cud [the cud] which is always an arcimboldesquire [ie Limited] one finds [contrary to the fetishized and 'spectacular' notion of lineage] THE REAL LINEAGE the cud here is a cud: a.. a focus on ordinary language a.. meaning as use a.. the language-game and context a.. function a.. speech activities a.. the connection of language to life a.. the role of customs and rule-governed activities a.. the indeterminacy of meaning a.. an antipathy to reductionism a.. a focus on moves in a game a.. i could have been a contender CUD PART II: The peculiar interpretation of games in Rabelais' time must be carefully considered. Games were not as yet thought of as a part of ordinary life and even less of its frivolous aspect. Instead they had preserved their philosophical meaning. Like all humanists, Rabelais was familiar with the ancient conception of games which held them to be far better than ordinary idle pastimes. Therefore, Ponocrates did not exclude them from young Gargantua's education. On rainy days they devoted themselves to painting and sculpture, or revived, as Rabelais tells us, the antique custom of playing dice, following the description of this game by Leonicus of the example of Lascarus, the King's librarian. While playing, they would recall the ancient authors who mentioned this game (Book 1, chapter 24). The fate of the imagery of games is similiar, in part, to that of abuses and improprieties. having been absorbed by the sphere of private life, the images of games lost their universal relationship and were deprived of the meaning they formally conveyed. The Romanticists sought to restore these images in literature (as they sought to restore the forms of carnival), but they understood them subjectively within the structure of personal destinies. The tonality is entirely different in the Romantic period; it is usually in the minor key. What has been said explains how it happens that the images of games, prophecies (as parodies), and riddles are combined with folk elements to form an organic whole. Their common denominator is gay time. They all transform the eschatology of the Middle Ages into a "gay monster." They humanize the development of history and prepare a sober and fearless knowledge of this process. In the "prophetic riddle" historic events are represented with the help of all these forms (games, prophecies, and others) presented in a carnivalesque aspect. Let us take a closer look at it. The author of the "riddle" declares that if it is possible to foretell the future with the help of the stars and divine inspiration, he will predict what is going to happen next winter in this very place. There will appear "unquiet men" (las du repos et fachez du sejour). They will bring strife and rebellion among friends and relatives, they will divide all men into hostile parties, they will arm parents against children; all order will be disrupted, all social differences erased. Inferiors will lose their respect for their superiors. Never has history, which has witnessed many wonders, told of such dreadful happenings. Let us stress in this prophetic picture the cud, the eye cud h-ave' ben con tender.. the aye so tender the I so tender this is for Marlon Brando this is a cud to prepare a sober and fearless knowledge of process.
some random links
Hangin' out in Dayton, Nevada in the late '70s http://www.houseplantpicturestudio.com/HPS/dayton/dayton.html Music For Maniacs: WILD MAN FISCHER & SMEGMA http://musicformaniacs.blogspot.com/2006/12/wild-man-fischer-smegma.html Gregory Jacobsen http://gregoryjacobsen.com/ Neapolitan Presepi Shop http://www.dauriapresepi.it/
Re: him- ( not meaning to repeat my self ) future-proofing, n.
OED online Word of the Day For 13-Dec-06 future-proofing, n. DRAFT ENTRY Mar. 2002 Brit. / fju t pru fi /, U.S. / fjut r prufi / [< FUTURE-PROOF v. + -ING1. ] Esp. of a product or business: the action or process of equipping for or protecting against future developments, esp. in a manner intended to prevent rapid obsolescence. 1989 PC Week (Nexis) 10 July 69 It's another form of future-proofing if somebody comes out with an object-oriented database in the future and they stick to the container class, it will work with other systems. 1992 Times 27 Mar. 33/1 Anybody buying new telephone equipment..should for many months now have been asking the sales staff some very important questions about future-proofing. 2001 Electronic Engin. Times (Nexis) 9 July 1 Now they can simultaneously design for all regions and upgrade their design in the field as those standards evolve... The result is faster time-to-market and, for the final product, a degree of future-proofing. On 13-Dec-06, at 8:21 PM, P!^VP 0!Z!^VP wrote: I wish I'd seen this before posting news of David Divizio's death, I worked on at http://anaugury.blogspot.com/ http://anaugury.blogspot.com/ This just in case there were any question as to the veracity of Ana's ability to Augur. My birth name is not Divizio. I chose the name Divizio after reading in Carolyn Cassady's book "Off the Road", of their (she and Neal... and the boys I suppose) living on Divisadera street in SF. I liked the sound of the name Diviz...IO And so, I made a performance in Japan in August, '98 to take the name "David 2 Divizio". Only today did I learn of the incarnation of another David Divizio. He died on May 16, 1998. On that day I remember riding the train in Tokyo... the Joban line actually... Kita Senju station headed North out of Tokyo. I was thinking how to get information out of process... when I held the pen in my left hand and Ana firmly in my right. As the train jostled out of the station a line was registered from my allowing the stylus to float freely on Ana's screen. The single word that appeared from that "line" was... 'him-' with the hyphen. I made the note at the bottom of the screen, so I would remember the process... more than the content... and carried on with other engagements. Today, I know why. Now you have to know that this whole thing blows my mind. Happy to have lived longer than David Divizio, will the real David Divizio please stand up? him- P!^VP P!^VP P!^VP
Shelley Jackson interviews Vito Acconci
Never knew Acconci went to the Iowa Writer's Workshop... http://www.believermag.com/issues/200612/?read=interview_acconci
337/365, Linda
Linda was the smartest girl in gradeschool and growth spurt gawkily athletic. Her face had a spritz of birthmarks, her hair was so thick it could only be worn short, she talked as fast as not too fast can be. 40 words, 40 years 365 days, 365 people http://www.logolalia.com/40x365
