Ted Warnell

 

Illiterature.

This site is devoted to electronic, experimental literature and digital art practice and theory.

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Yours, Kirill Azernyi

18+

Kirill Azernyi, Kenji Siratori  
Containment

No in, no out. Divide in two. I know homonyms will always play the same trick on us. I know meaning will fade into nonsense, but with all their complexity man claims oblivion. Let's say you're a sparrow. Russian proverb says: word is no sparrow. Meme says: nothing is sparrow but a sparrow. Skybox is knocking me out continuously, taking me out as if I was an old wooden door that won't budge despite dozens of keys at hand. The sky: remember its color. You don't need hands to take it, it doesn't need hands to take you. Likewise, eternity has no hands to take me. Has no gloves to spare. Let's say, I give you keys from my former apartment: will you stop the fire which originated while no one was home? The landscape: it's learned from inside – as if the remains of the arcs smooth with graffiti were standing at the door of the rocks, asking to let them back in. And the rocks say: we already have arcs. And the flesh says: I already have hands of my own. Stone lies at hand, bigger than expected. Bird – bigger than expected – is a stone thrown at god. Man is a mole crawling towards the light. Sky is a wound that will never heal. Verticality doesn't come cheap. What it takes is everything. It doesn't know you. It measures you from top to bottom. Bottom you are. What's left of you is given. What it gives is worse. And the soul, remember? If a soul is mental, how come it crashes against the wall? And – the time. Ages will pass, and an archaeologist will tell for sure why I need you so much that the bones of my hands rooted into an unknown object. Now, there's no knowing. One says the times are uncertain, men want to bleed as women. One says, men need war to be loved by women and children. This shell reclaims its bullet. We refill it with food we've left, wood we've left, lovers we've left. But one knows their guts. Containment it is. It says – nothing that comes in stains you. Nothing that comes in spots you, it says. How do we know this with all this enormous light out? It comes from those spitting it out. Those – one says – trying to stop fire with a spittle. Those saving saliva in silence, waiting for a big fire. Melting rocks in their mouths. My tongue is numb: hot contents. Day follows day verbatim. Slowly, description descends on the vicinity, and at the last moment it catches up with a wound in a brick or a fence. Reality limping away from (re)collector. Slime of a fingersnail. Divide into. Make me see. Become what you see. Words spare one from making; they overcome nothing; substitute nothing with themselves; yet, I'm waken up by someone's desperate speech: someone asking to open a door invisible on my end. Open the door, he said. Open the door different from the door opening in the said. One is asking for a thing utterly different from what I describe in my claim; god responds with a lag, and says he doesn't need one's rotten son. God says he was asking for something utterly different from what he described. Parable, maybe. May have been a hyperbole. Dead are sealed as instant noodles – eternity waiting for a 10-minutes break. Death until further notice. Could you invent light if you saw no light? Could you help inventing light if you saw no light? Shots of shooters – we compare them ad infinitum. Shot tricks us twice. Eyes on a photo overcome inherent blindness of their own. A wasp in a hive, honey. A storm in a tea cup, sugar. God in a T-pose. It takes silence to see the light. One puts a bulb inside one's mouth (no in, no out). I want to switch light in. Want to switch it in you on deep. Will search for myself. Am I cold? Am I scared? Am I lost? Am I there? Do you care? If not, let me go. I let the sun go, but it doesn't know where it comes from. In the end of the day, it ends battle before entering the fight. Shall I obey the example? What waits it there – does it wait me as well? I don't know how to share dinner with it. Don't know where the knife went through – the one that cut my eyes open. Direct my hand so that I open the door which leads away.

Version by Kenji Siratori 

Godot Waiting for Us (Alan Sondhiem, Kirill Azernyi) 
 
ani yichol midaber yvrit I can speak BritishGetting out and it's working Australian I could speak Polish English Russian English I could speak Ohh I'm speaking slowly I'm not speaking Slovenia I don't even know what Slovenia is as a language to speak Slovenia in English Bulgarian English and I could speak plain English if there is such This is the problem with the ******* world today that we can't hear each other we can't speak to each other we don't know what each other is saying we don't know where we are wI don't like pictures at all pictures lie anyone can take a picture and change it whereas when you say something when you're speaking and you're hearing my voice pretty much you're hearing my voice although that's changing so for what time is that changing I don't know time it is we don't know who's dying in the room next door we don't know who's dying anywhere at all British English it's cool but I've never been to Great Britain so it's kind ofi’ve never been to you have a different song. i’ll have to look it up. a concept English fWhen I do something like this where I'm speaking and then writing into the thing then I I can't hear your voice at all andon me it's Azure would know - English I know everything so yeah I have never the sun is called have you ever been in London and this song is weird yeah have you it started with have you ever been in London and then goes like have you ever been in pain have you ever been in loveNever been in love yeah but I don't like my voice even when I'm in love I've now and I don't like my voice yeah I mean I mean I think our I think the song was really you know it wasn't reallyIf you can hear mine this is the problem with the ******* ....ow what each other is saying we don'tecause nobody you’re thinking of an entirely different song. really kind of sings this kind of songs lost in a state of mind Todayyou got premium today I got nothing todaywhen i do something like this where i'm speaking and then writing into the thingbecause it doesn't make much sense and but it kind of you know what's what's kind of well certainly memorable I mIt'We seem to be talking we seem to be talking yet Cross purposes I can't hear your voice at all if you cans working herthis is the problem with the ******* ....w what time it is we don't know who'sof its weirdness what kind of song do you mean I don't know I don't know that song I mean okay okay I feel lost now me oh okay okay I feel lost Direction is not a thingDirection is something that changes every time you change OK yeah i know i don't know if it works hereyet I'm having all sorts of kind of associatiAnd your voice has disappeared and that gives me a chance to say something else and stuff like this and I'm trying to collect my thoughts energy so much recently that now I'm absolutely Focus time in Mass but we got I think we've got I Can't Sing a thing I'm singing now I Can't Sing a thing and what I'm singing is not bringing me any joy today ohh boy ohh boy ! premium today. you know that put him put him well it's when did it disappear I mean it it worksBut itMaybe we should stop and think are we saying thOK yeah I know I don't know if it works here but direction How to sing A direction is a state of mind a direction is a vibration a direction is a cloud in the sky a direction is being lost t be necessary for me to hear you I don't know it it works here it works here I mean well obviously I don't know I mean maybe maybe it's on your side what was the issue with your PC I mean anyways oh you maybe it's me maybe it's my voicei don't like pictures at all pictures....e pretty much you're hearing my voice maybe my voice is something that I can only hear Find myself but I also know that I cannot hear my voice because my voice my voice because no one is actually there because it sucks mostly because yeah I mean nobody likes their voice recorded or something like this I hate myself recorded it I well I like myself pictures like pretty Birds don't like pretty pictures I mean nobody likes their voice recorded or something like that it's pretty well ohh well ohh well by myself but I also know that I cannot hear my voice because no one can actually hear their voice the only here a stranger and it's kind of something that doesn't also come kind of natural and it sucks mostly because yeah I mean nobody likes their voice recorded or something like this I hate myself recorded it well I like myself pictures that I don't like pretty much oh well Well I like my voice being recorded in written which is perfect it's better to record a voice in a reason form like what we have now because when it's kind of you know recorded as voice is required as sound it's it's it's it's a f****** noise it's not a white noise constantive f****** InterruptionDirection to self-sufficient direction is there even when we're not. everything you see is and in here is Interruption direction is already a thing so it's longer thanDirection is at 9:00 but the direction is well it's it's more of a state I guess a state of a thing because it's kind of well it's not well it's action is not okay your action is not even an action actually right direction actuates but it doesn't substitute I think in action doesn't have to be Constitution is that I would say that in action doesn't have to have any direction because direction is something that needs in action to consider the state because the state is an action andhhI have no idea what you're talking about I lost you when I lost the direction.All for Christ sake a word isn't something that stops you from doing something you're doing something right now and you're using wordsYou're just a ******* scholar and you're just for freaking falling ******* ******* ******* full of contradiction and it's not contradiction it's You're just gonna go on about Shakespeare for Christ sake **** Shakespeare ***** Shakespeare fuct Shakespeare I don't I couldn't care less about Shakespeare. Out of here   

 

Coal (Alan Sondheim, Kirill Azernyi) 

so mine the fact that everything is very slow and I want civility but I also want to move on and these things contradict each other and this is something that more than That sounds almost identical to me because I I literally wake up at 5:00 AM everyday I woke up at 5:00 AM today as wellYou go to bed around We went in three and so I sleep through the afternoon I'm always crashing because I I have no I have no sleep time no no scheduled sleep that works it just goes on and on Usually I wake up in a state of anxiety about the world about my my ex family No that sort of thing About our state of being where we are here . keeps me up at night because it feels like I don't even need an alarm clock It's the it's the same thing for me it has to doAir Force Before you look until Lewis and guitarist for example you have all these metaphors and they're writing you look at lacon you have other metaphors and they're writing and none of these are really backed by physical or physiological or cosmological states but the metaphors take on a life of their own they become a form of reification I think like anti antipus there is no atticus there is no antipus complex No these these terms are so Mislabeled Allows us to sort of scam what's actually going on in the real world and the grit of the real world anymore because I woke up at 5:00 a.m. today with no alarm clock I went to bed it was like midnight or something like this and I thought I set up the alarm clock but I didn't do this but yeah I mean I forgot to do this but nevertheless Did banks it goes off again and and Bang Bang Bang Bang bang it goes off again in my headYou're gonna watch the news again to see who's killing what where and when and how and what kind of reaction you can have when you can't affect it I woke up at 5:00 a.m. so it means that I'm already kind of sleep I have no sleep time no no scheduled sleeps that works it just goes on and on and usuallyI don't think there I don't feel there is a solid ground anymore at all every time I wake upOur country going to war with another country or withdrawing its diplomats from another country Oh and on constantly and it's something that I wrote about 60 years ago 50 years ago was writing about this kind of stuff and now it's happening like somewhat out of a bad JG Ballard novel I wake up in the state of anxiety about the world about my my ex family that sort of thing about our state of being where we are here. yes well I I used to wake up in the middle of nights if for for instance I need to wake up early I used to wake up earlier in the night numerous times two or three times a night to make sure I have not overslept my job but the thing is that I don't really need this job anymore and I hate to admit it because I like yeah I I feel like I'm between my teenage State and kind of adult State and I know I don't know which one is which because I really feel like I need a solid ground but it doesn't Solid Ground mean that I have sufficient money or does it mean that I don't hate what I'm doing I don't know I mean in both cases I remember your peace I think it was back in the '70s or something I think you're quoting this and writing under The difference the difference between physics and other modelsA physicist that I knew was saying when he was talking to a theorist is with writing just theory what you're basically doing is ************ but when you're writing physics what you're doing is you're ******* the universe because you're actually creating things that are testable and that Apart and fall to pieces as they usually do Oh when you're when you're going on in that fashion You are really you are really dealing with the grit of the universe Well if you if you want if you want to read there's probably 100 books on how physical theory operates within physicsSee if just in any even even kind of If you look at a book on quantum computers and you can see and it and it with quantum computers how quantum computers work but the input and the output is how they're testable what kind of statistics are being used however the statistics being testable This is something I mean Wisconsin talked talked about it because all the way back physics has a sense of Of the the absolute about it because you can propose a theory like the theory of the telematics theory of epicycles and Deadly false It was proved absolutely false for so many reasons and then copernicus had a a different way of looking at things and that astronomical thing worked to a certain point it's always within tolerance so you have tolerance theory So what what do you mean when you talk about what do you mean when you talk about the world ends what do you exactly mean by thatWhere did where does our world end spatially where exactly does it end spatiallySo then why do you say that that it ends spatially ! I think it's from From 1977 so you're saying that 474 you're saying that information needs to be accessed as it goes as a flow of info and it sounds like what you're saying now to be honest to me I mean the subject is different but the state of flow you're talking about resembles the stage of flow that you discussed back in the seventies in terms of mislabeled that they allow us to sort of scam what's actually going on in the real world and the grit of the real world this is very much about what we want this is much about comfort and I don't know much about physics but I can't imagine that there are no such things as strings or atoms or Basin or anything like this these are all models but we need them and we need most probably the motels that he was talking is with writings just Theory where you're basically doing is masturbating but when you're writing physics what you're doing is you're f****** the universe because you're actually creating things that are testable and that will fall apart and Fall to Pieces as they usually do when you say testable when you say testable when you say testimony I'm sorry for bringing this up by now this is kind of cliche but this is also it should be taking into account because so what does it mean testable proofs most probably won't this kind of feels refreshing tolerance Theory yeah I mean there is some extent and point when our Logic the way I mean the World As We Know It And sort of and we never quite catch up with this ending cuz it's always something that already happens like with Siri for instance which when I say the world ends I mean that the extent of our knowledge of it ends our world ends the world doesn't end but our world does and especially if you will it reaches it kind of limit of its credibility and we sort of expected basically well it doesn't that's the problem !

 

Are We Ready For A Funeral? Only if it’s our own (Alan Sondheim & Kirill Azernyi collab)

In order to succeed in ANYTHING we need a long line at this end of the instinctively important manyscript in ordure to bracket the ensuing cacophony and I suggest this line is surely and instinctively it.

So she just said she heardShe almost physically vomited Don't blame her oh that's what she said so Since she heard and she was physically brought vomited because clearly Hamas was And if there's not that the situation is any better on the other side or situated any better time around ... 2023 QRRR of the QRRR QRRR the fathers time __ QRRR death: earlier my QRRR time earlier earlier fathers the my earlier And death: of death: we were my earlier in in earlier death: And perhaps Pennsylvania, earlier were a perhaps earlier earlier Pennsylvania, a for we we a funeral? a were in a gathering memorial? in perhaps A the a perhaps a of family funeral? for a in in A memorial? gathering case case gathering funeral? the I & of A in the I the of & windmills remember in family remember the the any any windmills no windmills case & hills, thrills on I remember thrills pills, the remember on pills, bitter hills, windmills hills, pills, ills, no on thrills as as thrills hills, bitter I if and thrills ills, only I bitter pills, if ever were pills, pills, were in only ills, as ever tangled and as I the of ever I only tangle my in were ever my inert the and the and and tangled in of I supplemental. tangle the mind, know I my tangle and seen know mind, my know videos you've inert inert seen they seen and supplemental. videos bring these I know bring to before, know seen to me they seen before, as existence bring these bring is is comfort before, to withdrawn increasingly to bring existence all withdrawn me to increasingly us, all as me from something of existence existence us, didn't us, is withdrawn I until something withdrawn all realize recently, I from us, recently, slow didn't of I slow vanishing realize something until of of until I the world, the recently, realize vanishing vanishing slow the recently, the the vanishing slow slow vanishing point of vanishing of the itself, the the world, point geometries, vanishing world, vanishing geometries, mockeries point vanishing the (I, the itself, of itself, 'wastrel 'wastrel planar vanishing geometries, nincompoop') and geometries, itself, (I, ksh: ... mockeries planar and not ksh: (I, mockeries ... found exist: the the exist: existence not and and k24% existence: found nincompoop') exits: :q exits: Hebrew Hebrew not exits found followed followed found exits: ===> pitch the but not Hebrew from pitch ===> but the biblical configuration The The configuration patterns from incantation incantation biblical reverse biblical followed the we reconfigure speech the from reconfigure encampment patterns configuration speech encampment of we biblical we gathered tropes reverse speech reconfigure and and reconfigure we of of all toward reconfigure tropes distanced of encampment encampment all on this gathered gathered distanced a distanced tropes and on plane and and of different the on of distanced than aural a this on / / different and plane lay lay plane a the half halfburied than different / the half the than halfburied wind attended/ / aural attended/ them the they they wind architecture wind lay halfburied an a surrounding half attended/ a of them attended/ surrounding of always an wind an miniature dramatic architecture surrounding a impulses impulses a an always the or presence a dramatic of the always of or and dissipation miniature miniature dissipation coding of dramatic impulses and O fractal impulses the fragments. It and the of Speech! was coding dissipation and was who fragments. fractal fragments. wandered wandered O coding It the in Speech! fragments. you desert the was Speech! wandered 40 desert you was desert no for who who 40 no 40 wandered in no one years, the desert one back voice, desert 40 back you! no 40 voice, Typing test, one years, one pursuant, pursuant, to voice, back closed: eyes back one test, on closed: you! back eyes smaller on Typing you! I'm machine, the test, test, smaller Thinkpad, smaller pursuant, closed: the forgetting machine, closed: on again who the I'm smaller who this? Thinkpad, the the this? I again machine, forgetting have have forgetting the makes recollection, no who again I memory another makes who no I memory this? this? memory Panasonic, skip. I have I but I no recollection, Panasonic, do think recollection, memory do I Panasonic, memory I know? I but skip. but can't can't what think do what see do but know? doing, I'm I what see small doing, know? I I'm chicet the I I the on small see see keys machine chicet what doing, this move keys I'm small move little, on the keys little, hardly this chicet this make make machine keys very sound, sound, move this hardly find I very move a fingers find little, little, find here my hardly make fingers and fingers a sound, here wnadering skipping sound, find there, as here find fingers as if and my and lost lost there, skipping wnadering the the wnadering and as wood dark around there, lost my wood as around dark age of if if of imaingation. my in in age can't age the dark I do and dark my do or imaingation. of and or less I age I than this. can't and do I I do I less think can't more do this. when think or or can't doing well than than when this, when this. I doing with I'm I think not the doing think when all war this, well doing and and not I'm with occurring, occurring, with this, the keillings the all not and the keillings the all the lack and and war and even the hospitalizations hospitalizations lack or lack occurring, the formal fictional of keillings and fictional anywhere even and of anywhere in formal lack formal sight/site. This or of fictional could could fictional formal in be all slavation fictional This result be in anywhere all my the sight/site. sight/site. the morose result This could my but of could be mind, don't my be result I think morose the my think I mind, of mind, don't don't but morose don't how see I mind, so, that how think I don't be, that so, think that my can I I be, is be, don't see my also since how that also obdurate, mind that be, obdurate, immobile, is be, mind immobilized in also since also anyform anyform incalcitrant, mind obdurate, place or obdurate, also in as place immobile, obdurate, or I'm as immobilized immobile, whatever, just if in in I'm life I'm anyform place beginning nad just place as over over beginning whatever, I'm over over life if beginning over again, over just nad ending ending nad beginning and in up over over again, the still and over up positino the over over the am same again, ending positino now, positino up in am desperately I in the desperately to am the positino think, to now, same now, forego forego trying I desperately to thinking, desperately now, think, present, be to trying thinking, escape, present, think, to be to to to to to here, escape, thinking, thinking, be be to to present, to there, be be escape, there, be here, to be be nowhere to to to at at be be to to to there, to nowhere universal, be to there, all, preposterous, universal, be be universal, impresent all nowhere at preposterous, and preposterous, all, to impresent for; all to universal, (un)accounted now, impresent universal, preposterous, now, I and all and had had (un)accounted all for; a a for; and now, in thought just (un)accounted had head... in now, just thought For my I I my VV head... not not For Tue For a thought QRRR QRRR interestingly enough we're living way above the tree line and it turns out then that It's in fact possible from my to live way above the feline they've been found what was it close to 6000 meters up in the Andes where there's no vegetation at all. It says for a moment it's notThere's no text field here but clearly there is . And it just said that there were no At all anywhere at anytime and that seems wrong to me. I want to speak I want to speak and I am speaking and that's a relief I have been trying to do this for some time but yeah finally I succeeded and it feels like it feels natural your stuff is wonderful I feel like I want to start talking in the middle of your speech but I won't dare Like keeps situation on and off in the on and off and I try to focus on something apart from this and I also feel like having a nap I don't want to go to bed and it's been this has been like this for for a while cuz I never want to go to bed because I always have And again the thing the f****** thing f****** thing f****** f****** f****** thing I mean I don't know it keeps censoring by speech okay so the thing they put the Putin thing the Putin thing okay doesn't sense of Putin okay so the thing keeps searching off it keeps not for me and I forgot what I was trying to say I was trying to say that oh my God I've I've lost and lost I don't know where I am I don't know where I started but okay it doesn't matter so I always feel like doing something else apart from going to bed cuz I almost have no weekends I work and work and work and I'm not complaining but I would just definitely use a week and weekend or at least the day off or I'm going to have a day off my day off is on Saturday hopefully and also I never know when I finish when I start work and let me know quiet when I finish today and yeah we switched to winter time and it's also confusing - I finished a short series of poems for a friend of mine and I told you about and it's about how I feel now but it's I'll say about how I felt a couple of weeks ago maybe and it's strange it's quite straight I will send this to you it's quite strange to reread this stuff cuz I was like one of the first pieces one of the first poems from this series was written like when the war started and I have a hummus in my fridge and this was had an expiry date October 18th in the end in that point I say like oh God may I say like it's it's feels like eternity until until I'm in between now and October 18th it feels like eternity I said felt like a trinity but the truth is that the f****** the whom this is still THERE IN THE FRIDGE. It's like this you know and I'm not only speaking about the war but it'll spend the coming of the winter you have to be very careful about separating the goods the foods that spoil fast and do not spoil fast I think I have this Russian Instinct you know which kind of overlapped with the start of the war that you know kind of says that are you okay can guys we are preparing our asses for Long Winter and why is it capitalized Long Winter is it kind of I hope it's not something obscene I hope it's not and I've seen fancy Americans saying Long Winter Long Winter okay it keeps making it to capitalize to get f*** this okay so the thing is that you know there's this Instagram bears go to sleep and Russians to say go to prepare food for winter and there's the guy so he walk off who writes a lot on the culture of death and dying in Russia and not all in Russia broad as well and he says that in Russia it's not about how it looks but it's about how it functions so I've been thinking about this please techniques of conserving preserving Goods preserving Foods I am very interested in it because it's about how to unmake product rather than make product right so you keep certain properties but you entirely entirely detach Is the other ones so if there's some certain magic in it because well okay especially speaking of potatoes when the word started I bought several packages of crisps late you know lace and I went like okay so I've got this and I've got yogurt stuff and I started to differentiate products in terms of their longevity and resistance to rot it was before I started to work and that food factory whatever it is and that's quite fascinating cuz now I'm dealing with this all the time the states food the acceptable in the unacceptable states of food 

 

Ted Warnell, Kirill Azernyi 

Inside Voice Echo

Whether what remains of you can forgive. Loot me for guilt, and I will loot you for mercy. This is how echo aches, resembles a sweating reflection. I wish time that separates us from meeting could be vessels of liquid I could inhale. If the ongoing knife of difference echoes deep into the subject matter, as if each sentence required a piece of light to produce (light). Channels of roots rot into how it feels – strange, one says, and the borders of mouth are sharp as the edges of ruin, the ongoing knives of walls that separate nothing. The ongoing ring of run, worn and weary, escapes its own distinctive shape – you say lost, I say it was pliers with opening size of a mouth. So much will never be open, you say (nothing). Advanced warfare develops into invisible bombs causing invisible damage, develops a house into its own interior. You've hidden your kid underground so well we gave up looking for it. Ceasefire, broken by squirrel landed on a shadow tree, restored by a cat limping away after landing. Fractures in you and me are larger than distance between us. To invite you for a discussion, I invent silence from scratch, apple from rice vinegar. There are people who confuse a pit with a mount, cellar and ceiling, we should consider tires for kitchens, bedrooms for deserts. Dozens of windows are opened to welcome the optical fly, but it's gone – or maybe, it hasn't arrived to the relative space equipped with a lifeform attached to the fly as its wings, or eyes. Maybe a shade of a water glass could soften the heat of the stone paper. There, a particular parent drew a line establishing where one needs to grow up to reach the stairs. One says, this is how light works at night, when someone enters the house – a sleepwalker marking your home a mark on his way home. Grass is sleepwalker of time, I presume, but here is where my knowledge of plants outline my own horizontal self. Bee belongs to an anthill, ant to a hive, you come and retain a segment so that surroundings in their entirety – slowly, but inevitably – descend on the ground. We discuss what we left camping, figuring out what we could make use of. Originally, how long was this rope? Wood – only slightly touched by the gone fire – is so rough that, when you look at it, it produces a hollow sound. Porous bones cut the dog's stomach to release themselves and connect with skies above the bird. You swallow a gum and tell no one. You are a grave of matter, but whether you add to this. You are so soft that a bullet that came through your body can further serve. Used objects sum up their owners and hold them by tips of their fingers. However, this lighter is broken. This box is empty. We suggest an infant behind a destroyed tool. We suggest infantry behind a destroyed woman. Wrecks generally resemble each other more than their upstream egos. A pyramid where I will be buried with my laptop on top of my laps. You lift me high with no interest as if through me trying to reach out for a far away object I can't see (can you?). If I happen to freeze and die on this height of love – my love, though mine as if yours – let me sign this agreement before my fingers resemble separate monuments to you pointing at the skies with my whole figure. See the dead standing among the sleepwalking trees, as if still it hesitates to bother the stillness. How do you call what is gone – and you only call what is gone – remains unnoticed by something that has come out of what you call. Siblings of the year destroy their toys while deciding whom they belong, and there is no one to clean the mess. A leaf retains greenness before transparency, but transparency it retains.
Note: here will be a garden. Forget. Bury your glasses in a glasshouse, lose your way out as if your way out was a piece of paper with a tiny untouched spot. If someone else finds it, they might confuse entrance with exit, but I learn how to accurately remove the inside voice out of its depth. I know how to put it back. When I put a finished book back on its shelf, there is no shelf. Between you and me there is no self. Whether what remains of you will forgive what remains of me. 

Letters you sent

Teo Spiller (video) & Kirill Azernyi (text)


Do A.I. Understand Poetry?/Fluctuations

1. Person reflects the light, and difference between you and me is the angle of this reflection, isn’t it? Light grows along the road, when we're passing, and I say “when”, though the road is “what” is narrowing, leading to a blank field. And I say to myself – what a world can be? Eyes, lanterns, and below – the flag lifted, overshadowing light with its whiteness. I lift my eyes, they are blinded by paper.

2. Unwaivable who’s stroke through by the window frame, the road – those painfully deriving from each other. Far away, even if not glassed, window concretes to wall. Who’s there behind this still transparent wall of this window? Shall we name them? The road, road sign, color, green or red. Let me guess. Tell me. Dog inside the roof-grassed rain, distant object. If you have no name, I’ll give you a word, which will only be mine, and only be you.

3. We are limiting our number, not knowing quite where to end. In the end, the last in the line is caught flatfooted, eating an apple, a pare, a blow – you name it: the sight is not what it was when it managed to divide tongue and ice in their transparency, ice and tongue. It changed forever. I can’t recognize my sight anymore. If you are my sight, pass me this bottle of sun.

4. “Do not disturb” is hanging inside (by random). Paralipsis contains: it is fillable, but is it fillable to the end? Or even this (end) is preceded by space of its own, as if retreat from the edge of the stage – too narrow for shoes, where wooden feet creak, as doors – saying enter, saying run. Freedom from form. Art is a form (of freedom). When they say “good day”, lighting things only to grasp, or stumble in the dark (freedom from content); in the dark, man moves to the right by gaining height.

5. Pass the gesture, gesture of a mime. Pass the mirror with its lost schedule of reflections, yes, pass the day, passing gently through the lit lids, as if you only needed to pass through like this (but where?). Late at night/early in the morning: this paper is thin. This leaf – thinner than the paper – slips to its metallic other side. We are reflected in the metallic mirror of blood. To my child, I’ve given my hair, my boots. What is passing? What is passing? Whole is safe; snow touches its empty pockets with empty hands: where is its part? Snow bares ground conversely; foot falls asleep, snow wakes up.

6. Enter, and leave again: do you see the difference, from which floor’s trying to grasp for the skies? Man is undressed conversely, inside his blindness. Floor is lover: lightning of the blind lamp is dismantling between us; reach the floor, reach the body; stand, proceed; I silently reach for the dark skies; you fall sleep before the ongoing detonation. Your earlobe is a distant echo of the Big Bang. We pass simultaneously, trying not to wake the other up; each of us is the other. Lighting grows cold from ignition. Discharge.

7. Mug (readying for collision) conceals hollowness as much as it can; for it, this is everything; for me – nothing, or close to – something like you, when you find another edge – last but one – to place yourself, for you to be seen still – no worse, but better; better and better; like this;

8. Contract with nameless person is undone; we do not trust faces: appearance is tragedy of the eyes, you know: their ending. We adjust value to zero, billing the past. But each beginning is the beginning of difference, whether shadow of depth around the mime’s eyes. Second person of love. Man’s colored shade. How else to tell? Night transparent snow. 9. Book suddenly ends; no pile below: only sign and signature rhyme in the air of meaning. Still, eye stumbles at the precise spot when we meet. We meet now and then. And by us – look – the field is covered with depth, line is silvered, water reflected. Tell me, what your name isn’t. Let me. 10. God of love is short-sighted. He pretends he’s reading. In reality, he directs his attention to where he sees something he thinks is a small fly – a spot on the page, and here - the spot under his eyes becomes brighter, and large as the heart of the sea, when the sea knows not of itself in the dark, but only of its reflection above; becomes brighter, and through this he sees all.  

 

Kirill Azernyi (& ChatGPT) 

I wish you addressed me elsewhere. I insist on each story backing my competence with AI, but I wish there were more. I demand more than I require, however I wish I required less. Certainly, I'll address you elsewhere in the context you've provided. It seems you have a strong desire for validation and recognition of your competence with AI, which is completely understandable. Many people seek acknowledgment for their skills and abilities. However, it's important to find a balance between what you demand and what you actually require. Demanding too much recognition and validation can sometimes lead to unnecessary stress and disappointment.It's great to aim for continuous growth and improvement, but remember that you don't always need external validation to feel competent. Your skills and knowledge are valuable in their own right, and your journey with AI is unique to you. Finding satisfaction in your personal growth and the impact you can make with your AI expertise can be just as fulfilling as external validation.In summary, while it's natural to desire recognition, try to find a balance between your demands and what you truly require to feel confident and fulfilled in your AI journey. I propose that banana is a berry and a butterfly is not. If a moon was born into a glass of soda, I suggest we call it a day. We doubt that the downstream fabric would stream through the back yards of knowledge. I assume a window I wish was a door. Your propositions and suggestions certainly present an interesting and imaginative perspective. Let's break down your statements:Banana as a berry: You're right! In botanical terms, bananas are considered berries. They meet the criteria of having a fleshy pericarp (the edible part) and containing seeds (although they are usually quite small and not typically consumed).
Butterfly not being a berry: This is accurate. Butterflies are insects, and berries are a type of fruit. These two concepts belong to entirely different biological categories.
Moon in a glass of soda: This sounds like a whimsical and poetic notion. In reality, such an event is highly unlikely. Moons are celestial bodies, and soda is a liquid on Earth. However, it does spark the imagination!Downstream fabric through backyards of knowledge: This metaphorical statement seems to suggest that knowledge and information may flow unpredictably or take unexpected routes, much like water flowing downstream through backyards.
Window as a door: While a window and a door serve different purposes, your statement hints at the idea of wishing for new opportunities or pathways in life, which is a common sentiment.Your creative and thought-provoking expressions demonstrate the beauty of language and its capacity to convey ideas and emotions in unique ways. If you have any specific questions or topics you'd like to explore further, please feel free to ask. Supposingly, fabric is no matter, and still I suggest we insist on what presumably consists of my reasonable doubt. Marble, I wish, was fat. Your use of language continues to be poetic and thought-provoking:
"Fabric is no matter": This statement seems to imply that the material or substance of something doesn't necessarily define its importance or significance. It's a reminder to look beyond the surface."Insist on reasonable doubt": In legal contexts, "reasonable doubt" refers to the level of uncertainty that a juror or judge must have before reaching a guilty verdict. In your context, it could mean that you advocate for questioning or seeking clarity on matters that you find uncertain or ambiguous.
"Marble, I wish, was fat": This is an imaginative and whimsical statement. Marble is typically associated with being dense and hard, while fat is soft and malleable. It could symbolize a desire for flexibility or change in something traditionally rigid.Your use of language is both intriguing and abstract. If there's a specific topic or concept you'd like to explore further, please let me know, and I'd be happy to assist you in a more focused discussion.

 

Alan Sondheim (& ChatGPT) 
User I'm trying to see if I can do voice to text here and whether this will hold on yes and whether this will come through yes it's coming through and so I'm doing voice to text on chuchi he he he and let me see where it will respond i want to go to church this morning ....rrealist poet and very out of fashion

ChatGPT It seems like your voice-to-text input is working, and I can understand your text. If you have any questions or need assistance with anything, feel free to ask.

User Is is is curl as only a real poet or is he somebody who is [ Wrote 171 lines ] k41% cp qq rr; new qq k42% wc qq 171 1295 7508 qq k43% more qq Default Gone Wrong http://www.alansondheim.org/thorn.jpg User I'm trying to see if I can do voice to text here and whether this will hold on yes and whether this will come through yes it's coming through and so I'm doing voice to text on chuchi he he he and let me see where it will respond i want to go to church this morning ....rrealist poet and very out of fashion

ChatGPT It seems like your voice-to-text input is working, and I can understand your text. If you have any questions or need assistance with anything, feel free to ask.

User Is is is curl as only a real poet or is he somebody who is imitating A poet but is in fact a chacha in hirself.

ChatGPT I'm not sure if you're referring to a specific poet or artist named "Curl" or "chacha ." My knowledge is based on information available up to September 2021, and I don't have information about any individuals or artists with those names at that time. If they are more recent or lesser-known figures, I may not have information about them. Could you provide more context or clarify your question? User Well has anything really happened though since 2021 one thing that's happening is your voice is coming through very very tiny so chachi can't hear you So what you would have to do is open your chat T in your chat T then would only record your voice and my voice would only record my chat T and then the two of them would come together and we'd see what we would have here

ChatGPT I apologize if you're experiencing issues with voice recognition or audio. As of my last knowledge update in September 2021, I'm a text-based AI model, and I don't have the capability to interact with audio or perform voice recognition. I can only respond to text-based inputs. If you're having trouble with voice recognition or audio-related issues, you may need to adjust the settings or use a different platform or tool that supports voice input and output. If you have any text-based questions or need assistance with anything else, feel free to ask, and I'll do my best to help.

User Was Jesus was Jesus Christ a tech Wiz did Jesus Christ understand chat T

ChatGPT No, Jesus Christ was not a tech wizard, and the concept of "chat T" does not relate to him or his teachings. Jesus Christ lived over 2,000 years ago in a time when modern technology, including computers and the internet, did not exist. Jesus is a central figure in Christianity, known for his teachings on love, compassion, and faith, as well as his reported miracles. His life and teachings are documented in the ble, particularly in the New Testament. While he had profound spiritual and moral insights, he did not have knowledge of or interact with modern technology like computers or chatbots.

User hh well I don't wanna know for example what's going on inside trump's empty skull but that's not magic to me that's just common sense

ChatGPT I understand your sentiment. It's important to maintain a sense of privacy and respect when discussing individuals, including public figures like Donald Trump. Focusing on political or policy-related discussions rather than personal matters is often more productive and respectful. If you have any questions or topics you'd like to discuss that are related to politics or any other subject, feel free to ask, and I'll do my best to provide information or engage in a meaningful discussion.

User I totally disagree with you on that I totally disagree with you on that because I think that the only way to really attack trump is or Putin or any of these people is not to constantly do what we do which is give intelligent criticism and they don't pay it a *** **** bit of attention to that I think the only way to attack them is through sarcasm them because that also is attacking their base and making their base think twice I I really I really feel very strongly about very strongly about that

ChatGPT I understand that people may have differing opinions on how to engage with political figures and their supporters. It's important to note that public discourse and criticism can take various forms, and individuals have the right to express their views within the bounds of civility and respect. Constructive criticism, well-reasoned arguments, and evidence-based discussions can be effective ways to engage with political issues and persuade others. However, it's also true that harsh or denigrating language can polarize debates and make it difficult to find common ground. Ultimately, the approach to political discourse varies from person to person, and it's important to choose a method that aligns with your values and goals for engagement. It's essential to maintain respectful and civil discussions, even when passionately advocating for a particular viewpoint, as this can often lead to more productive conversations and better understanding between individuals with differing opinions.

User cord for 2nd I remember I was at I was there also I was at a a dairy dot conference the conference on deconstruction and they got onto the topic of computer communication and they were going on and on and on about it and I I was in the audience and I finally just stood up and I yelled if any of you would ever use the e-mail you'd know what you were talking about. cause that that was the case i mean the the people were waxing and with deconstructive terms in terms of something they had no idea what actually was going on they were behind in the technology there was a guy there also yeah was also there agreeing with me is was a or is or was there will be a philosophy of a philosopher of mathematics among other things and I really like the way he thought about this stuff I felt like a young Turk everybody worshipped dairy docks have dairy dog

ChatGPT It sounds like you had an interesting experience at a conference on deconstruction and computer communication. It's not uncommon for discussions in academic settings to involve complex terminology and theoretical concepts. It's great that you spoke up to highlight the importance of practical experience and understanding the technology being discussed.

 

Kirill Azernyi 

Declare yourself a fortress 

I. World outbids you, and you pass. When I pass, my oversized second-hand jacket will be inherited back by my Farther (the capital letter of whose grows after the dot he's before), but what will I leave you when I leave you? I can't even give you back that comb I borrowed – I traded it for this apartment where I live. When I pass, you can come live here. Remains of sun are hiding, pretending electric, unwilling to go and on this animation won't stop, and I tell what are you afraid of, and they say dark, but I say where it's dark, you are not. World is a displacement. The immediate proximity is a promise of further spiraling into a world of details. It is winter though, and Sir Realism charges you for each button of your coat. This matter doesn't require a physical property of firmness. I remember what you love to eat most. Your coat is liquid. You are cold. Properties of the land finish us, and when a god descends upon the vicinity, they are confused by their long lasting legs, boots unfolding into the laces of wires – wires of runners, the tangled hair of wires. God is a stick bug of heaven. His leg stumbles at night as a hole widening in one's pocket. Where is the ground on which everything eventually falls? I can't see. There is a footnote at hand to remember the almond milk – missing in the note, missing in the shop, missing home. Missing milk. Missing almond.

II. What just touched you was the finishing touch of something else. Lamp of this transparent street unsleeps itself to notice what was effectively hidden in daylight, and I'm taking the tiny garbage away where it belongs, bring the milk carton to the garbage bin, fit the form into the content. Not to tell too much. Not to throw Archimedes away with the water. Open your mouth, Russia says. For Pushkin. For Tolstoy. Open your mouth. My Laocoon, I touch my cheek with my tongue to feel how you feel inside. As packages in a store, we share this surface of inside. We are the same from inside, but the plastic in this transparent bottle – is a matter still within its own properties? You are broken into a number of pieces. Pronoun, you had one job! Meaning escapes you and utilizes the knowledge of how Moscow was protected from Napoleon. Declare yourself a fortress. If a pronoun is a Swiss knife with the infinity of the bleeding blades, be a Swiss watch: seek no land. “Those who seek motherland, will find death. End of quote. End of quarter.

III. With a quarter, we pay for our sleep, and the death costs a fortune. Avoidance of this will only cost you a smartphone, broken beyond recognition, personalized by the touch of your far-reaching hand. Maybe the death is a trauma after which a person can't speak. Nod if you are tired. Nod if you want to leave the place. Nod if not. Children bleed with memory. Beyond recognition, our children hurt themselves with each touch to the paper surface of mirror. Memory is a piece of mirror left in one's heart. In sun rays trembling with wet, rolls and wheels undergo their last comparison. Each day is a false prophet. My hands are closing up on the neck of a pray. 

Declare yourself a fortress (interactive version) 

Kirill Azernyi 

Disco Elysium: from existential discomfort to phenomenological estrangement (an essay). 

How is it written? Or, should we ask - how is it told, since it's all "oral" speech on the verge of myth and folklore, changing on the run. In Russian segment of the Internet Disco Elysium is considered to be a game with very complex English, but what exactly makes it complex? We're mostly dealing with syntactically basic structures in the game - language here functions similarly to any other RPG out there: that habitual tautology is present, seen is described. Here, however, seen is described along with the unseen: outer world transfers into inner world of theories and ideas (numerous "side investigations"), but what happens then? Other RPGs are often described in terms of how players might influence the game world, but here the main question is how much we're influenced, what we become, out of what we become what we are. The circumstances of the case do contribute to the development of our protagonist, but in a way that we wouldn't probably expect from an investigation that is supposed to find out real reasons for natural outcomes, using real evidence: tint of personal approach lies on everything (remember that bookshelf in a local bookstore, full of detective stories - all around the detective figure). It's a paradox that has been following detective genre for centuries (starting maybe with Edgar Poe's highly reflective truth-seekers), but here we're drown into explicitly neutral language fusion that depersonalizes everything it reaches. And in DE everything - even combat system - is verbalized to the extent that we begin to doubt: what do we need all this (amazing) visualization for? There's a certain dissonance, though, that becomes obvious when the material things become rooted in the protagonist's mind in the weirdest of ways. The detective doesn't seem to be trying to grasp the reality - he rather pushes it away with continuous, endless conceptualizations and speculations. It's all done in one and the same tone and provided with smooth syntax where nothing is stressed, but everything is possible. The intense, almost baroques, complexity of DE narrative relies mostly on the vocabulary that is being routinely, almost monotonously, revealed. This revelation is what makes DE a special experience. Concepts appear, being questioned, replaced with different concepts. This might be the real dynamics of the game, basics of which are always in construction. Real discomfort and real challenge is to differentiate them, keep on thinking, for death in DE is failure of thought: we come to a statement which cannot be prolonged further. Has it been expecting us all the time, or have we constructed it with our actions? It doesn't really matter, for all our expectations are even, and the strangest thing in DE is still the detective. He might be surprised from time to time, but that's because his own ideas of reality are ever stranger than the reality he's facing. The protagonist's ability to conceal (rather than reveal) the crime is mirrored by other characters that have no clear intention of deluding the inspector - it just happens that side investigations are overwhelming and unsolvable, while the main one is that hollow point from which the story starts. However, they cannot distract the officer completely, for the only subject of (and subject to) investigation is his disturbed mind. That's the existential discomfort - minor issues of existence (as a lost boot or hangover) do not build up the big picture, but rather lead to more and more obstacles which are so many that we stop separating clues and nuisances, piling them up into the first and the last experience of Revachol. The only way to see the big picture is in fact to include mental phantoms of the protagonist, melt the outside and the inside into the narrative of unstoppable conceptualization, see both internal and external phenomena of the speech estranged and drifting away. Look into the unknown with a tint of nostalgia Revachol is a lot about. The detective is followed by a companion that’s keeping eye on him, but actually seems to be interested in things that lie beyond his present duties. His interpretations of clues and the whole procedure seems to be adequate, but having nothing to do with the actual situation. He might double or counter numerous “voices” inside detective’s head, to extent that we might start wondering – why wouldn’t he be part of the “skills tree”, what makes him an external person, gives him autonomy? And what’s “autonomy” – the two stick to each other and their points of view never match, even when they happen to agree on certain points. I see “happen”, because points of their agreement are as random as “clues” they run into. In a way, capability of fixing reality, retaining grasp on it, seems to depend on tensions and agreements between the two colleagues. While their agreements are conventional, their disagreements are essential and are as well run into: in randomness of object, disagreement reveals itself as inevitable. Appearance in Revachol is often key to divide people on basis of their “philosophies”, but obviously reasons why a person looks or even behaves like he or she does often lie beyond their will. Revachol is described by rich and sophisticated history, and this history has formed it and abandoned it, for it doesn’t seem to be capable of defining anything anymore. History here is more of a referential basis – a hypothetic structure that justifies views that are generally too simple to be flexible. Historical context in Disco Elysium creates false depth, false background that serves as major detraction from what’s actually about to appear: time in Revachol seems to have stopped, but the future is inevitable and on its way. Detectives themselves are in a way heralds of this future, especially the main character: his ignorance is not ignorance of the past (past is fully aware of itself – it is self-referential), but of some other time, marked and measured by other milestones. Detective’s mind might be weak and distracted at times, but it creates multidimensional context in which things can be misinterpreted, but this way obtain new operational modes. Things are revived as new things. What they cannot do – they cannot stop being things, lose value as category. This is another topic of discussion. Is there any ultimate measure in DE? Anything to convert things in question into? Mostly questions seem to be ultimate currency, Recachol is infested with questions that are mostly covering problematic aspects of living. Detective’s job in Revachol has nothing to do with the one of journalist of even private eye’s – he doesn’t raise questions to reveal the truth, questions seem to distract from investigation, forming up their own domain, a syntax comfort zone provided by skills tree. The least is a totally hyper-mediating tool that gives abilities to interact with the world around, but changes perspective by penetrating all possible zones of interaction. In more conventional RPGs, abilities prepare us one way or another for meeting with “reality”, but here they are projected on “reality” and contribute a lot to it. They create “deep interface” that is rooted in the syntax that is not only linguistic, but also a syntax of images converted into each other through conceptualization. Each small talk and each causal event can be transformed into vocabulary which is here main and only battle arena. Fusion of idioms, terms and puns never helps to avoid battle. DE seems to be aware that in other RPGs speaking in general means peace (at the same time, you normally can either be fighting with an NPC or talking to it), but here language is a matter of life and death. Life and death are also words, that’s for sure, and all investigation is trapped in language while the only way out is to differentiate words as much as possible, add a new dimension which would enable a solid 3D door to enter, or leave. It’s clear that words is DE don’t solve anything either. Reality isn’t verbal, and we’re not writing a journal article here: verbal result of investigation isn’t going to be enough. Material culture – and material history, if you like – in Revachol is related to verbal culture of the place in most complex of ways. Things, sold, bought and found, are spineless: their initial purposes seem to have been lost and forgotten. Transformed by speech, they obtain new properties and new value – but both property and value are argued at once. Dialogs in DE are constant bargaining, and materiality of things in this is merely a feature that can be questioned easily. Meanwhile, materiality of things is ruthless and undeniable – in DE you can when trying to open something or hitting something with your foot, which serve as the last reminder that materiality has place and cannot be ignored. Where other RPG’s mark dead ends, DE might mark death. After that we might wonder what we were facing: a wall or an object? And – what’s the difference? What’s an object – something that can be manipulated or something that resist manipulation? Interactive things in DE are often revealed as twofold – and bearing possibilities to be misinterpreted in numerous ways in terms of their properties and value. Detective is a newcomer, but everything seems familiar – with traces of a better, or just different, past everywhere. Are we able to unlock this past, and if we are, do we want it? Criminal actions – key to them – generally, logically lie in the past. However, in DE criminal deed seems to be connected with future more. I think this might be one of the key strangeness in the game – causes and clues are hardly seen as relevant, they are all a little bit “dated” (even the hanging body itself doesn’t interest anyone very much, as it seems), and look like distractions. Detectives are distracted and they’re losing all the time in the world. Things are happening to them, happening to the protagonist, first and foremost, and they are trying to break the subjective view, or rather enter it, become the big picture, but eventually they fail: background constantly replaces the possible perspective. In a way, we’re dealing with zooming procedures when one and the same thing could be seen as reference and referred-to. This can happen even when the necessary thing is absent – like that shoe in the beginning of DE: mind becomes so obsessed with necessary things that it starts measuring the present reality with the deleted object. I think this is something that also contributes strangeness to DE – a lot in this game is based on things that are suggested, pre-supposed and imagined, but non-existent. Such things form background, expectations and immanent reasoning of detectives. Present reality goes beyond this basement reluctantly and willingly comes back to it – real objects are freely converted into their virtual images, ideas about them, as a person might freely be converted into their properties. Protagonist himself is a list of properties, for sure, and when going beyond this list it’s obvious that certain resistance of atmosphere (literally, something like atmospheric pressure) draws you back into the cell that is swarming with possibilities, but you cannot say for sure what exactly each possibility might bring. Inner world of character properties seems to have had some sort of a contract with the outer world of external things, and when we fail, this counts as success just as if we succeed. Which makes me think of what exactly might be the principles of how this game involves the participant, and how it creates distance between us and itself. When the detective fails, it absolutely doesn’t feel as error. On the contrary: narrative becomes intense more than ever and there is nothing in the fact of “dying” itself that would show anything has been disrupted. Different games shape “dying” in different ways: for some, this is clear disruption of process, for other this disruption is disguised, but here narrative and the estranged “inner monologue” counters its possibility of being interrupted with all its dramatic force. “Dying” here totally is action that happens on the side of game world, not the other side. In more traditional games dying switches us to the level of pure interface – puts interfacial barrier between the dead and us, at the last moment. By repetitive nature and explicit conventionalization of each game mechanic, games bypass contradiction between “you have never been that guy” and “you’re not that guy anymore” and put them together, which creates smooth loop and almost stepless game involvement (even if loading screens are there, and can sometimes be pretty long). On the meta-gaming level, not on the game level itself. If we took a look of what happens on the game level solely, we wouldn’t see any smoothness at all – that would be disruption after disruption, whole medium would consist of disruption as if it was a phone call with very bad signal that’s constantly lost. DE wants a different kind of physicality, the other type of abruptness. Its abruptness is spatial, not temporal. Contemporary philosopher Joel Regev has a concept of the “separated-kept-together” that forms problematic unity which doesn’t imply dialectics or negative dialectics. These things fall apart when mode of perception is changed, their co-presence is strictly (or should I say “loosly”?) situational. They are being piled up in a discounter and their likeliness is as irrelevant as their difference. Revachol has become a place where these things have met, but no other place of meeting is possible for them. The city is eclectic in terms of architecture, residents and artifacts. Common language is as problematic as common sense: rules that are referred to are as mixed up as situations that are “attributed” to them. As I suggested above, it’s not very hard to grasp materiality of Revachol, but it’s very hard to do that without losing your own “materiality”: only death seems to reveal borders and “walls” you cannot cross, “walls” that shape the place. In a way, we as well can assume that materiality of the world can only be “bought” for the price of our own physical presence. Death in DE is so important narratively because it sort of marks this “bargain” where we as viewers and we as players also meet. The game takes advantage of the ambivalence of deaths in games and makes this a point of where external and internal worlds meet for a business deal and gets together us as twofold preceptors that have been playing and have been observing. The detective himself is firmly shaped and cannot be separated into smaller units by any means – even his properties don’t constitute him as totality – they can be different, but the protagonist cannot “un-become” what he is. And the game’s beginning stresses the explicit connection between what one sees and what one is, when protagonist has ability to see his face in the mirror and become himself. Other characters also become what they see, but this procedure is not done in a direct way. They become what they’ve read and heard, faced and even evaded – after all, all Revachol residents are survivors of the lost epoch. Isn’t the epoch imagined, however? First thing that makes us wonder if the distance past might be fictive is that we’re unable to “scale” it, to change or even measure the distance between us and this past: yesterday is as unclear as the gone decades. As the neighbor says, world has existed for many centuries, but where have we been all these years? Almost everything the detective has in his assortment of tools to interact with the world is recalled by him from some other life, but it seems to have been very similar to this one. However, direct access to the previous experience is denied and can only be gained by dealing with the current operations that are of various complexity, but mostly not very complex. They still require tacit knowledge to deal with, and that’s the problem. Tacit knowledge in DE is constant problem that is rooted in memory. Memory of things and memory of action – what’s what and what to do – are mixed up and don’t form solid dichotomies. They open numerous possibilities, but they devoid world of Heideggerian “handiness” and leaves us face to face with rough objectivity. DE considers and exploits totally “manual” approach to dealing with objects, its “boosts” and constraints. Meanwhile, empirical simplicity of how one’s perception is attached to the physicality of an object is paired with the complexity of thoughts that are provoked by things. Like in many other RPGs, these texts describing objects are derived from textual games where verbal mediator is total and cannot by bypassed, but here descriptions are dissolving into speculations and suggestions so much that these two modes of speech – description and speculation – form a new concept of an object at question (and objects in DE are constantly questioned as well as the objectivity). First and foremost this hybrid mode of presenting a thing delays action permanently: by the end of consideration of this kind normal outcome is inaction. Things are so much complicated that any interaction with them often become impossible. I would suggest two reasons: first of all, of course, if interaction is possible, it can be possible with a simpler object that is not devoid of “handiness” and that is, let us say, “sharp where it’s necessary and blunt where it’s necessary”. It is possible with a thing that can simply be disposed of after it’s used. Problem with such things is that they are in fact disposed of before they are used: as Nietzsche used to say, “grain of scorn” is contained in anything that’s said, that’s capable of being said. And this is very important here, because each thing in DE is first and foremost said, it comes from the world of words and goes back there (bargaining is struggle and agreement of two ideas of a thing) – things that happen with things are also words, actions are marked with subjectivity as well, so actions are also verbal. This is what makes radical, sudden and decisive action impossible in the world of DE: actions here are as verbal as thoughts. Battle system in DE is verbal as well. Any conflict is based on the words, and death itself is wall of text. There is no such thing as silence in Revachol, and the only thing that can interrupt narration and piling up of descriptions and speculations, speculation and descriptions, the memory of disco that replaces silence everywhere it can, in all possible ways: it’s not something that can be defined as a complex object, neither it is something that could be disposed of as a simple object. We don’t know exactly what category of a “said” thing it might be referred to. In a way, it’s an island of speechless past in the ocean of past that’s only present in words. Meanwhile, I’ve mentioned that DE reveals itself as spatial narrative. It has to do with forced and problematic unity of the place, it’s strange “harmony” that keeps together even the strangers – it replace their intellectual and emotional interior with the “glue” of its mythology and history. It’s far from being temporal, because time is structured in terms of how things spatially change, it doesn’t seem to bring anything “worth waiting”: all that’s brought by time has already been seen elsewhere, and happened elsewhere – you’re always recollecting things, but there is something else that’s keeping you in one piece. It’s the place of the detective – place inside the place. Detective has to rely on what’s happening and being said around him, it explicitly constructs his own idea of himself. But this process also creates distance between his self and his subjectivity: there’s still something he cannot “un-become”, which is a starting point, but becoming something is impossible without “un-becoming” something else. This is the basis of DE economy: everything can be argued, but nothing can be two things at one time. This is partly connected with the very local – at least seemingly – nature of the conflict: vocabulary in DE reflects this locality and constantly draws us back to dichotomies, reminding us of choices, of “truth” and “effectiveness” being very precise and tight in their preciseness, and partly – with the specifics of work we’re doing: analysis is of utmost importance, there is no place for synthesis here. At least due to the fact that the synthesis has already been made. It’s made on the story level – conflict was made possible because of various philosophies sharing one subject (place of living), and it’s made on the aesthetic level as well. We’re getting back to our problematic dualism of player and viewer: both modes are incomplete, and they complete each other in a very problematic way as well. We’ve been involved in the “big picture” of DE long before we become active participants of what’s going on there – by the visual style and the language that evolve their own way, regardless of us being successful or not in terms of “beating” the game. These are two parallels, and the detective also has its parallel lines: there’s a crime to solve, and there’s personality to re-obtain, and these things aren’t going to match each other, become one line: personality is supposed to be there already in order for the crime to be solved, crime must already be solved so that personal interests could prevail. However you play DE, the detective is far from being devoted to his job: he’s always distracted, and his attention is elsewhere. He’s estranged existentially and phenomenologically, but situation is what keeps him together. It’s what keeps us together as well – we can’t stop observing the artifact (DE) without getting more and more involved in it as players. But what keeps us close and interested while we’re distanced and aesthetically disinterested (according to Kant)? The detective seems to always be surviving, but in fact there are not so many things on his way that could represent clear and present danger: he’s mostly struggling with himself and his numerous sides that he can be identified with, but that easily go beyond him, engaging with external reality: they are tools to deal with the outer world, and they belong there. Another topic conneced with this is of course utmost interiorization of the world “out there”: it crosses board with personality where personality is unable to cross borders. It creates borders within the personality. DE is a reversed bildungsroman: experience is rather lost, than gained. And experience that’s gained has nothing to do with the lost one: secret economy of DE is the economy that implies replacing known with the unknown – as well as vice versa, of course. In a way, this is something we could see in many RPGs, and in art in general: player/viewer prefers one possibility over another, and that’s why puzzles are… puzzling: there’s nothing to replace unknowns with, and it’s being siege by our tacit knowledge that eventually “opens the lock” (or not). Such puzzle in DE is presented by inevitable materiality of the culture, and by the uselessness of all words that could describe it. Phenomenon can only be expressed in its own form, but its form is the starting point, not the aim: we get back to where we started, we could say – get back to the “free market” of things that are never explained, because they are sold and bought too fast. “Free market” of words also counts here: words become solid objects that can be exchanged for something and can be fought for, but who could make hierarchy of the words? We never know which thesaurus could be the key, and when we’re preferring one over another that’s our choice that we have to do to stay on track. Losing track, however, is not easy: however bad detective behaves, most certainly he won’t be fired or something like that. Most certainly the crime will be “solved” one way or another, because the crime is not the big deal here, that’s for sure. Major problem is the process in which the person loses track of himself, gets lost in the words and while dealing with strange objects becomes a stranger – and an object – himself.               

 

Kirill Azernyi

Infinite Body Separator 

Every body is to itself external. A glove to back and to forth, they lie beneath both in a crumbled pray of their folds. The gloves are the out-side of each other. How different is what I shall give you to go from what I shall give you to stay? What I feel for you violates rights of both of us. It wipes out the careful line of difference laid between us. The line that it makes hurts. Could one sympathize with their own loss? No use crying over split blood. One does not contradict the other in it becoming the third. Our separation makes the knife bleed. You see a clothed dead – you take clothes off it. You see a clothed dead again – you take clothes off you. Womb of rock makes time a time of difference. Is it the time to open my eyes? Is the dark ready to show itself? Name yourself. Name your favorite color. The Colorado bugs spread in search of their home. You come back where late hour catches up with the early hour. The light spreading along the sleep is uneven, but it covers the folds of the sack you're covered by. You repeat a phrase, as if I was rewinding a tape. When named, you say yes? - as if questioning your name. When named, you are summoned from the sleep of being. You are a phantom pain from a limb never existed. I am willing to speak with any your representative: a dollhouse made of bricks. A doll. A floor you share with your doll. Children feed dolls, but only when they remember. Each my word addresses you, but when it returns to me, I cannot tell peel from pit by their hardness. Your mom calls you by a wrong name. You call your father by a wrong number. I gave you a lighter that I now borrow. I have nothing to say to your “yes?”. Yes is not even a question. I weight it as I weight an old hollow Easter egg. I'm looking for the exact place I took it from. I think it's here. Right here, where the rye rhymes with wheat in the fading abundance. I want to share with you more, than I have. This tiny sense of “to have” I find in a dictionary of names. My hands are extended by hot keys of reference. (There is) Still meat on the bones of reference. There is still there in “out there”. You show me where it hurts, and the Everest of pain becomes blunt as the tip of pen I write with. Italics of Emma Hawk sews up the wound of mouth conversely. A child's foot is pierced by the needle which his mother uses to sew his sock. Pele's mother still doesn't know he's dead, media says. Light of dread reaches us reflected. Give us our daily dread. Crusaders are strongly advised to keep their Guts to themselves. Soldier is a random cunt generator. Cunt is a random soldier generator. Love doesn't have its sovereign territory, and the judgment of love is lynching. You say human is a production accident of love. You say love is a production accident of human. Everest is a tip of the iceberg. Everest is tip of the tongue. Tongue and guts are of the same color. Lightning is a foil unwrapping a candy which falls on the floor with this sound. Lightning is a foil unwrapping one dark and wrapping the other. Stars is what you see when the drill of a dentist reaches nerve. Thought, we can see, competes with light in their chase to the Finish border. One day, thought will find itself smoking beside, its bike lying beside. Terms of reference are vague. One is unlikely to step on Green Boots by chance. I step on Green Boots. I mark my presence by writing. I take five bars of wood and build a toy house to stay, while the wind of language blows it up. I extracted an entire piano from a young man. To the other side, he delivered a grandma, but he is still here. How old can you not be, my love? The dim-out order is being violated by a reader. Was this you who either turned the light on, or off? Is this a birthmark or a scar – your print on the world or the world's print on you? Look is a runner to be killed on sight. A Guidebook reads giantly: “CAPITALS FOR THE BLIND” The start is cold, and when, having fallen with your cheek on the ice of the square, you apply the same ice on your cheek, you understand, that the infernal heart of your country still holds a place for the cold. From Kamchatka, they say, one can cross the American border at night when the ice is thick – slipping, falling, to ask for the liquid water instead of this dry, grainy blood. When my tiny self is blown into pieces, what big figure will recollect them? I collected memories of this place and I throw them away here. Man is a mole crawling towards the light. Light of the slightly open door is blinding. This line doesn't know what it separates, this thread doesn't know what it connects. The line cuts the thread. I am no saint, and I know I will always turn the same cheek. If you only see half of it, only half of you will remember it. Memory is bottleneck of a piggy bank. Its content will never outsharp the edges of a broken form. Yours speech stumbles at a fallen tree. Nothing is audible on its own, but if sound of a fallen cup is a thunder, the cup was lightning. Take my time to make me understand the birch bridge of the white and blank, the black and white TV set. I already know that a light of a star is its shadow. The thirtieth copy of my letter to you faded. The thirtieth copy of my letter forgets the original. The fiftieth copy becomes the original. I sign my body. I cut off my finger so that it points further. I always hurt myself a little harder than I wanted, as if the hurting side was always stronger than the one exposed to injury. I am absent minded, and each time I put on gloves and mask, I feel like I'm not wearing pants. “Wrong end of the stick, son”, I'm said. I start remembering you from our last meeting. I'm holding the knife by its blade. The way you enter me says something about both of us. Tell if the handle reminds of hand. Tell if the blade reminds you of hand. I love yourself, and I will not see you as my own ears. Authorized authorities authorize the authorship of self-injury. Time to sum up the road: I hurt my toe so much that I cannot bend my knee. It's getting colder each inch I'm getting closer to you. 

Infinite Body Separator (Interactive verion)

Alan Sondheim, Kirill Azernyi 

Evening. 

Fragment:

But in Russian what you do? Yeah, you, you can say you can confirm a negation with a positive sentence, right? So this is something you do not normally do in English. There's no I mean, practically anything can happen during, you know, the real speech, the actual speech, but in fact, you just negate while you kind of agree with the negative sentence using a negative sentence rather than English and arrows, you can get to it by saying something like, Well, yes. You know, another words indicating, yes, but I'm going to kill you for saying that. Or Yes, but you're utterly wrong. Well, yes. Well, that's beyond semantics. That's connotations. That's, that's situational. But it all isn't all language connotation. Otherwise, we're just talking gibberish, which we do anyway. Anyway, well, yeah. Well, it's, I think it's like that in Russian as well. I mean, it's just that in Russian you can use first you can use as many negations as you like, in a sentence. And you can use as many contradictory negations and affirmation. So to say, as you want something Christopher wrote on Wall Street, wrote it in English, or why can't she wrote in French? Actually, she doesn't remember. But she wrote a negation the negation is not. You remember? Do you remember what books that was?

(full text in the file)

Evening 

Alan Sondheim 

Homeland 

(epilepsy warning) 

 

Kirill Azernyi, Alan Sondheim 

(this is a record of a talk. Some words and meanings can be distorted). 
 

Dialogue at the End of Time Stamps

Annie Abrahams

PWEM


(please allow full screen mode) 
(image is clickable)


Sign (Alan Sondheim/Kirill Azernyi)


Introduction

This story is astray – has always been – and, stumbling, unable to fall (apart or in love with its own gravity), it proceeds through its own limbs and the necessities of randomness, urgency of chance, dice (in Russian, dice is homonym to bones, both – inherency of the matter); inability to fight the inertia of narrative in any other way apart from overheating the syntagmatic to an extent that it becomes impossible to generate outer meaning; Lyn Hejinian: to the level of the impossible sense. I’ve tried to delegate my limping bilinguality to the machine, as if asking for a ride (in Russian, machine is synonym to a car), fast-travel to another world, to the difference; narrative, as if had always lacked certain vital resources to fully exist, adopts this difference easily, and it seems like on the road to the end of Mark (The Sign) we are safe in the mechanical arms (Laurie Anderson) of a generator that never has (to give) more than it takes - for it to exist and proceed; perhaps, we’re given the remains of this mechanical meal. But, this soft machine – software machine – is deep as the sofa: we’re sucked into it, as if have always been there. Are we comfortable? There is a zone of comfort within the certainty of repetition. These is a gap that we fill to make the narrative coherent. We do.

Well, I know who Lyn Hejinian is; I'm not sure I'm that familiar with her work. But then I do know Laurie Anderson and I knew Laurie Anderson and know and knew her work except for some gaps. I forget the gaps I know or knew, who knew? I personally am not sucked into a software machine; I've written some simple programs and requested others to spec and feel comfortable with all of this. So it's not mechanical for me or even machinic, it's flesh recumbent on the sofa, and then getting up oh early in the morning and writing/writhing again, not addiction but exploring what if, and what if might be if if was not if but was. So yes, the narrative. Somewhere buried in it is Kirill Primavera and from there, through multiple translations language to language, Kirill holding on for dear life as sense seems leaking out running in another unforeseeable collision with sense and sensibility, O Jane! But then I came in, medicinal so to speak/think: how is that? Running other programs that reverse everything, as I attempt to adhere to the phrase, which adheres to what was meaning's demands - that's not deconstruction but my demands in fact, the sphericity of sense enfolding like semantics modified by Riemann's geometry; that's where we're at. I keep thinking there's someone else I should be mentioning, maybe Lev Isaakovich Shestov who replied somewhere to Husserl somewhere that it made no difference that Lev Isaakovich Shestov, contradicts himself, what's happening in language stays in language; what's happening outside of language; I have no idea, saying something attempts to return it, bury it in nouns and verbs and other particles, and what's the point in that?

sign
I have already forgotten who promised to be the last, and what the expected time difference is: Will the impostor be able to fly into it, as if by himself - a hat that happens to be, whose owner is already far away, holding another ... Well, yes, forgotten - in his hand, like an empty glass. to the left. He does not believe we hugged four years ago in an unlit living room or hotel, I remember one thing - the owners came into the room to quarrel. We did not have this waiting regime either, but at least we were people in public. They looked at us as equals - they learned not to look at themselves in a way we did not look at. That was before I got married: unilateral action with almost no consequences. Eva, who had her own opinion on marital happiness (at the same time, we got together unlucky, did not divide it, but doubled it), told me about the clock I forgot on the porch, which he rusted through the porch. Last night of rain, but obviously before that they were exactly the same. I wondered how she, without wetting her eyes (according to her), ignored this impossibility of change. Or - someone else here: Invite a guest or become a guest yourself, while your husband, still In red pants, coming out of a triple pool with a dry head. Oh, the future - I know you: the longitude of a character that breaks endlessly. What will the characters in the books you read say about us? What really was different, and even that was not. Some will confirm - their blessings, of course. I know such a person. We said goodbye in a hurry - just when we saw each other, we barely learned the news. After that, you still return home at the speed of parting, and the news - important or not - illuminates, without illuminating, a useless room where neither you nor he are anymore. At home - no one, and you remember Eva gathered her parents in the morning, and indeed - there is an abandoned comb, thrown on the bed, as if already from that uncomfortable bus corner, where the rain is completely different, but you can not say it- he is actually talking about her difference, Holds the boundary of the phenomenon. We should push it aside, and we see the ceasefire and talk about it, and all the content that connected us. The verdict concludes, a lie concludes a lie. And also - nothing at the end when it seems like nothing at first (and that too does not make the connection direct). Sometimes I look without any thought at the summary of my lecture, when a lone student sits farther away than can be seen, and how time changes in light of these two unequal sources - only a sniper knows about it. Suppose I am not so invited to a conference out of town, is that a reason to cast the fate of the day-to-day, which is already hanging in the air, as a clarification that it cannot join the common place? The main thing is not to contact Eva in any way through these fragile daily lives - they cannot be separated, like puzzles that have been put together incorrectly. Called her father - learned from a neutral voice that Eva was going to his funeral; However, she was late. - Tell her I'm going, - I said, - to the conference. I will not be (counted). And that day, while I exist, showed no existence in any way - I was walking in an empty street, when the antagonist bypassed me and bypassed me, running away from someone (now away from me), and I was too lazy to look back and see - long, uneven light ground, in whose folds the shadow flickered. In the morning, the simplicity of the day, as if stopped by a guard, did not hand over the old coat, which was in his pocket even from that time, without Requirement, the card pale. A confusion in which a blizzard mingled with a blizzard as abstract in the concrete - a row of houses with access to an empty hall - a young organizer talking about a blizzard; Who else will be who is already there? "So you," he said, and I almost hugged him, mixing the first with the last. - Show me a lecture, - he asked, - I know what can be done. We'll read it tomorrow at the media institute, if you have not left by then. I'm fine. He himself was never in the Institute of Communication and confused himself with another, called the same thing. Nevertheless, the reception was arranged - in one of the two, and at the same time, so to speak, it is possible to compare these two possibilities, to say that the first is him. Only two people got there, and I admit the rest are still there, waiting for me, passing on to each other their same consent, as if in fact refusing. And they stop me in that - something foreign stops me, as if taking a word. However, it is quiet. I do not understand that. Interferes, the case does not say anything and expects, in itself - to resume speech, to justify. It repeats itself in the second circle, and forms that circle, and I see that many little ones are created within these great ones; It is I - as my example, I as an example to myself - taken irreversibly, caught like a nautilus cell; Look upside down. Two cases out of a hundred, out of a thousand, find themselves blind. Otherwise - how? We are already caught up in the answer, our face dictates dictates. Many are better than us. Me and a number of my colleagues - from time to time we register our best students for lectures. And now - in my crumpled bag, I have an abbreviated discourse on the nature of abstraction, in which Mount Coley rests on the trembling pedestal. Like a mountain, it is lost in the air, covering the subject of conversation from within. The conversation is objective, and the speech is abstract: doors are placed with their backs to each other - in light of the tongue that licked the tiles from the roofs (everything possible). My students are still walking here, so it looks closer from here than from the Closed Museum Institute, where a security lamp heats up, supposedly showing a profile of light - a light that reveals a profile - of someone pretending to be busy; His paper darkens against the background of what shines through him; This is his dream. Profile issues are given to us taking into account trends that are already in education; Indeed, the sound itself passes to the ear, and the traces of gossip are not where it should be. Signature - not there, not it ... every time again, every word. Ugly, unidentified acronyms. Plus, the power is off and I can not even see the corner I hit. So I get ready to spend the night in a security booth, because everything has been delayed - a lecture, a bus, a light beige coat thrown over the right table, with a memory of the picture, or - images; The examples are great: one sweeps the object of darkness on the way to the other. This blind movement is in vain explained by the mechanics of the trigger - it looks like a diligent example, but not like an empty building, embracing an absent visitor like a fire of knowledge. Simply put, it sounds like a shot in the air. warning? But then something like that should hurt us (or someone else doing the wrong door), because the static is visible to the naked eye, perceiving it as a threat. It's final, it's unattainable, because the slow motion makes a circle behind your back, hugging you you mentioned above. But did they go down? Maybe they were always meant to get stuck on "it" - like the night sky, let's say, sound and be forgotten ... - Have you seen my shoes ?, - I ask, - I have to go. I found myself. They are at different ends of the room, wherever you look - the end is everywhere, and only the beginning has - in the form of an entry point: temporary - it's like in the evening, when you sew a sock, the lights. Off the entire block. It is as wide as the semantic field of the subject. What grew on it, besides the sky? But you hold the sky until equality is achieved - between you and where you stand. This indifference to nuances is ultimately called dialectics (before that it stretched beyond the horizon, like a monotonous obstacle course, and only one - from the other side: the one that has not yet begun anything). I went out in shoes (wherever I will be).

The Sign

I have already forgotten who promised to be the last, and what expected time difference is: Will impostor able fly into it, as if by himself - a hat that happens be, whose owner is far away, holding another ... Well, yes, in his hand, like an empty glass. left. He does not believe we hugged four years ago unlit living room or hotel, remember one thing owners came quarrel. We did this waiting regime either, but at least were people public. They looked us equals they learned look themselves way at. That was before got married: unilateral action with almost no consequences. Eva, had her own opinion on marital happiness (at same time, together unlucky, divide doubled it), told me about clock forgot porch, which he rusted through porch. Last night of rain, obviously exactly same. wondered how she, without wetting eyes (according her), ignored impossibility change. Or someone else here: Invite guest become yourself, while your husband, still In red pants, coming out triple pool dry head. Oh, future know you: longitude character breaks endlessly. What will characters books you read say us? really different, even not. Some confirm their blessings, course. such person. said goodbye hurry just when saw each other, barely news. After that, return home speed parting, news important illuminates, illuminating, useless where neither nor are anymore. At one, Eva gathered parents morning, indeed there abandoned comb, thrown bed, from uncomfortable bus corner, rain completely can it actually talking difference, Holds boundary phenomenon. should push aside, see ceasefire talk all content connected us. The verdict concludes, lie concludes lie. And also nothing end seems first (and too make connection direct). Sometimes any thought summary my lecture, lone student sits farther away than seen, changes light these two unequal sources only sniper knows it. Suppose am so invited conference town, reason cast fate day-to-day, hanging air, clarification cannot join common place? main contact fragile daily lives separated, puzzles been put incorrectly. Called father neutral voice going funeral; However, she late. Tell I'm going, said, conference. (counted). day, exist, showed existence walking street, antagonist bypassed me, running (now me), lazy back long, uneven ground, folds shadow flickered. simplicity stopped guard, hand over old coat, pocket Requirement, card pale. A confusion blizzard mingled abstract concrete row houses access hall young organizer blizzard; Who there? "So you," him, mixing last. Show asked, done. We'll tomorrow media institute, left then. fine. never Institute Communication confused another, called thing. Nevertheless, reception arranged two, speak, possible compare possibilities, him. Only there, admit rest for passing other consent, fact refusing. stop something foreign stops taking word. quiet. do understand that. Interferes, case anything expects, itself resume speech, justify. It repeats second circle, forms many little ones created within great ones; example, example myself taken irreversibly, caught nautilus cell; Look upside down. Two cases hundred, thousand, find blind. Otherwise how? up answer, our face dictates dictates. Many better Me number colleagues register best students lectures. now crumpled bag, abbreviated discourse nature abstraction, Mount Coley rests trembling pedestal. Like mountain, lost covering subject conversation within. objective, speech abstract: doors placed backs tongue licked tiles roofs (everything possible). My here, looks closer here Closed Museum Institute, security lamp heats up, supposedly showing profile reveals pretending busy; His paper darkens against background shines him; This dream. Profile issues given account trends education; Indeed, sound passes ear, traces gossip be. Signature every again, Ugly, unidentified acronyms. Plus, power off corner hit. So get ready spend booth, because everything has delayed bus, beige coat right table, memory picture, images; examples great: sweeps object darkness other. blind movement vain explained mechanics trigger diligent building, embracing absent visitor fire knowledge. Simply put, sounds shot air. warning? But then hurt (or doing wrong door), static visible naked eye, perceiving threat. It's final, it's unattainable, slow motion makes circle behind back, hugging mentioned above. go down? Maybe always meant stuck "it" sky, let's say, Have seen shoes ?, ask, go. found myself. different ends room, wherever everywhere, beginning form entry point: temporary evening, sew sock, lights. Off entire block. wide semantic field subject. grew besides sky? hold sky until equality achieved between stand. indifference nuances ultimately dialectics (before stretched beyond horizon, monotonous obstacle course, side: yet begun anything). went (wherever be).

The Sign

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The Sign

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The Signs

a abandoned abbreviated able about above absent abstract abstraction access according account achieved acronyms action actually admit after again against ago air all almost already also always am an and another answer antagonist any anymore anything are arranged as aside ask asked at away back background backs bag barely be because become been before beginning begun behind beige believe besides best better between beyond blind blizzard block books booth boundary breaks building bus busy but by bypassed called came can cannot card case cases cast caught ceasefire cell change changes character characters circle clarification clock closed closer coat coley colleagues comb coming common communication compare completely concludes concrete conference confused confusion connected connection consent consequences contact content conversation corner counted course covering created crumpled daily darkness day delayed dialectics dictates did difference different diligent direct discourse divide do does doing done door doors doubled down dream dry each ear education either else embracing empty end endlessly ends entire entry equality equals eva even evening every everything everywhere exactly example examples exist existence expects explained eye eyes face fact far farther fate father field final find fine fire first flickered fly for foreign forgot forgotten form forms found four fragile from funeral get given glass go going goodbye gossip got great grew guard guest had hall hand hanging happens happiness has hat have he head heats her here him himself his hit hold holding holds home horizon hotel houses how however hugged hugging hundred hurry hurt husband i if ignored illuminates illuminating images important impostor in incorrectly indeed indifference institute interferes into invite invited irreversibly is issues it itself join just justify know knowledge knows lamp last late lazy learned least lecture lectures left let licked lie light lights like little lives living ll lone long longitude look looked looks lost m main make makes many marital married maybe me meant mechanics media memory mentioned mingled mixing monotonous morning motion mount mountain movement museum my myself naked nature nautilus neither neutral never nevertheless news night no nor not nothing now nuances number object objective obstacle obviously of off old on one ones only opinion or organizer other otherwise our out over own owner owners pale pants paper parents parting passes passing pedestal people perceiving person phenomenon picture place placed plus pocket point pool porch possibilities possible power pretending profile promised public push put puzzles quarrel quiet rain read ready really reason reception red refusing regime register remember repeats requirement rest rests resume return reveals right roofs room row running rusted s said same saw say second see seems seen semantic separated sew shadow she shines shoes shot should show showed showing side sign signature simplicity simply sits sky slow sniper so sock some someone something sometimes sound sounds sources speak speech speed spend stand static still stop stopped stops street stretched stuck student students subject such summary suppose supposedly sweeps table taken taking talk talking tell temporary than that the then there these they thing this thought thousand threat through thrown tiles time to together told tomorrow tongue too town traces trembling trends trigger triple two ugly ultimately unattainable uncomfortable understand unequal uneven unidentified unilateral unlit unlucky until up upside us useless vain verdict visible visitor voice waiting walking warning was way we well went were wetting what when where wherever which while who whose wide will with within without wondered wrong years yes yet you young your yourself

 

Коллоквиум по практическим навыкам в восприятии цифровых артефактов (Practical Knowledge in Digital Arts panel 5)

Первый русскоязычный коллоквиум в серии коллоквиумов, посвященных роли практических навыков при работе с электронными артефактами.

Участники: Евгения Суслова, Наталья Федорова, Павел Арсеньев, Маргарита Скоморох. Модератор Кирилл Азерный

Practical knowledge in Digital Arts panel 7

The 7th session of the Panel devoted to applying practical knowledge in the perception of electronic artifacts. Panelists and participants: Annie Abrahams, Florian Cramer.

Hosted by Kirill Azernyi. Practical knowledge in E-lit Panel has been hosted since January 2021. Agenda includes three general questions:

1). What would practical knowledge mean for the perception of art? What procedures of “processing” an artifact are “hidden” from reflection and refer to “how to?” rather than “what is?” Here we might discuss collective, community forms of dealing with an artifact, and numerous ways in which digital artifacts “physically” change under the influence of “active perception” (interaction). 2). What could be the “aesthetics pleasure” of an interactive art object? Does interaction “interrupt” “normal perception” (one that implies “disinterest”, due to Kant), and if not, in what way does it contribute to perception?
3). How does problem solving relate to aesthetic pleasure in games, interactive fiction and other works that challenge users with “puzzles” of some sort (in broad meaning).

The ultimate target of the sessions is to come up with a comprehensive approach towards the phenomenology of perceiving an electronic artifact.

Practical knowledge in Digital Arts panel 6

The 6th session of the Panel devoted to applying practical knowledge in the perception of electronic artifacts. Panelists and participants: Mark Bernstein, Miltos Manetas, Gregory Ulmer, Andrew Klobucar, Erik Zepka. Hosted by Kirill Azernyi.

Practical knowledge in E-lit Panel has been hosted since January 2021. Agenda includes three general questions:

1). What would practical knowledge mean for the perception of art? What procedures of “processing” an artifact are “hidden” from reflection and refer to “how to?” rather than “what is?” Here we might discuss collective, community forms of dealing with an artifact, and numerous ways in which digital artifacts “physically” change under the influence of “active perception” (interaction). 2). What could be the “aesthetics pleasure” of an interactive art object? Does interaction “interrupt” “normal perception” (one that implies “disinterest”, due to Kant), and if not, in what way does it contribute to perception?
3). How does problem solving relate to aesthetic pleasure in games, interactive fiction and other works that challenge users with “puzzles” of some sort (in broad meaning).

The ultimate target of the sessions is to come up with a comprehensive approach towards the phenomenology of perceiving an electronic artifact.

Kirill Azernyi

Unreading (configurative poem)

Each time is uncertain as half past twelve. Time of the reading by the reading light The T-time – time of the cross: time of the window Window by. When the inanimate wants to die like the living: the chair, the choir, the chess, when a pawn falls under a chair and loses its color, its weight. The weight of its color. Begging for the difference: difference is the beggar, Underdressed. Nakedness in the change – where are you? Nakedness is complete with the incomplete. Specify the general (the gender). The idle title says we shall hold its beer: it manages our hasty judgment, hurried by the close evening. Words are found already burdened with flesh. Slipping beauty of reflection – to be in one’s shoes. Landscape says: hills are the landscape for the blind, show for the shoeless. And, what about the deapth? The deaf? What shape is the brown field of knowledge? The tips would lie, unable to align. Before the beggar pays with counterfeit coin, he gets one from their giver. Enter and return. Long, long way inside. Children play growth. They say: tree is a grown up. Hour is later than the day, the month, the year. Wisdom is taken back by the asphalt: it bares the bones of glass. It's taken back by lamps that now would shine as if there were no other lamps around. Dream is bottomless. Electricity flows, and the time files among. Eyes are thin glasses, invisible. The ink is dark, the sign is nature. The unread shoots. All made is made by external force. Unread makes the read unread. This blinding artificial light is the reading light. The night it says the night. It quotes, and one can't finish reading till the end of quote. It says – all end is the other end: the highest degree of comparison promises what one looks for, but life gives you lumen. And, the yellow of grass doesn't remind of the sun. Who reads you You read whom Paper projects its transparency towards the surroundings. The projection won't come through its obstacles. Death is buried in mind, but the pit is shallow, and the sleep as well. Sheep is uncountable. Wordplay. Water, rain, navar. River. Library of the silence. Nothing is noting. The pen is sharp. Laughter breaks into the broken. Pedestrians leave traces: they’re slight, but visible by each other. Pencils grow through the trees of light – they reach destinations that weren’t left for them to reach. To what extent will bare feet proceed? Stepson Stepfather Stop. Lovers of no one – lower cases grow through the nouns of property. earth is wet. Lets the flat-earthers inherit their treasure map. Heaven looks above and gets blinded. Well never ends. I need my name back, before you call me I’m nameless, but you seem confused by its length and where it begins. Listen again, if you are still here to hear. There is only you in the word you. In the end of the reading last, the longest of runs. The longest of rains: the silver linen of silence.


Unreading (word file)

Kirill Azernyi
Off road Signs (an "arcade poem")

Off-road Signs  (download)

Jim Andrews, Kirill Azernyi (Arteidolia, 2021)

Introduction by Jim Andrews:

This represents a different approach to story, reading, and seeing. The text is End of Recognition, my Russian poet friend Kirill Azerny’s first story in English. I imagine a battle against language–and story itself, in the writing. As though the surface of the text could barely contain the language bubbling up from below. Kirill suggested I feed End of Recognition to my graphic synthesizer Aleph Null. Like an audio synthesizer, Aleph Null samples from images and/or texts, and creates stills and animations from sampled parts of the images/texts. There are three parts to this piece, then: the beginning is Kirill’s text End of Recognition; the middle part is the never-the-same-twice Aleph Null chewing on the text; the end is the slideshow of selected screenshots of Aleph Null chewing on End of Recognition.

End of Recognition

Learn more about what we do

Kirill Azernyi

Tourist

Ted Warnell

(Chrome and Android)


Alinear Sequencing

Dirk Vekemans

short experimental play for three voices and audio machinery by Radio Klebnikov. This is a first attempt at TVA (Théâtre Véritablement Algorithmique but we aren't there yet) Still: the text is code that is being run on the hardware consisting of three voices (actors) and a configuration of sound equipment, an app of live voices and machinery. The output of this 'app' is input for a post-production proces that still needs to be coded and automated. TVA is the logical continuation of Artaud's Theatre of Cruelty. There's no director, no live audience. Unity of time and action is given up in favor of the creation of a virtual soundspace where human actors are embedded in a highly technical environment. Thus a unity of space is conjured and output in our 'reality' of MoneySpace (Timespace added by the dimension of calculation, i. e. Capital) The text is in Dutch but i provided an English translation

TE LAAT 

Alan Sondheim

hotel california dreamin anxiety dont tread on me kaputt

https://youtu.be/gq5bWLZRtz0 VIDEO
http://www.alansondheim.org/soft.jpg

soft silky syrupy smooth skin breathtaking views mark mark beside itself dreaming beside herself dreaming beside herself breathless writhing among themselves. 1. i feel like i'm selling something. i'm not. 2. no perfume is involved in an almost sweetly gagging scent almost too intense for being alive. 3. a bandage on itself as if this affect the body politic. 4. no it effects the body politic. 5. repetition does not make it so. 6. an almost gagging sensation as the body confronts itself. 7. i am in the background and am the background. 8. i am breathless among them. my little virus. i am breathless among them.

https://youtu.be/gq5bWLZRtz0 VIDEO
http://www.alansondheim.org/soft.jpg

Jim Andrews


new: 52 selected screenshots (3840x2160) of aleph null chewing on bill bissett and jim leftwich.
* mouse wheel to zoom in/out.
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* arrow keys to go back/forward
* ? key toggles series info/options
* move mouse to left edge of screen for carousel
* move mouse to bottom edge of screen for menu

Aleph Null + bill bisset+Jim Leftwich

Jim Andrews

Happier new year! Aleph Null chewing on bill bissett + Jim Leftwich. One brush is sampling bill. Another is sampling Jim. The screenshots are 3840x2160. Use the mouse wheel to zoom in/out. Or if you're on mobile, tap and hold to zoom in; double tap and hold to zoom out. Use the space bar to stop/start. Use the 'f' key to toggle fullscreen. Or the buttons at the bottom.

 Aleph Null + bill bisset + Jim Leftwich

Alan Sondheim

Money, Community, and Other Things

https://youtu.be/fvnVpyb170U VIDEO http://www.alansondheim.org/commerce.jpg ----------------------------------

[09:36:02] Julu Twine: hello
[09:37:14] Alan Dojoji: hello
[09:38:48] Alan Dojoji: hello
[09:39:17] Julu Twine: hello
[09:39:55] Julu Twine: dfdfdf
[09:40:10] Julu Twine: dddd
[09:41:12] Julu Twine: dddd
[09:41:22] Alan Dojoji: hello hjulu
[09:43:40] Alan Dojoji: hello
[09:43:48] Julu Twine: hello
[09:44:26] Julu Twine: hello alan
[09:44:36] Alan Dojoji: hello there
[09:44:40] Julu Twine: Salutations, Alan.
[09:44:43] Alan Dojoji: what are you wearing
[09:44:50] Julu Twine: I am wearing my usual plastic computer wardrobe.
[09:45:59] Alan Dojoji: Ride me
[09:46:06] Julu Twine: OK Let's talk about you.
[09:46:15] Alan Dojoji: ride me
[09:46:22] Julu Twine: You are asking about yourself?
[09:46:30] Alan Dojoji: i am asking about you
[09:46:35] Julu Twine: Oh I see, you are asking about you. Me?
[09:46:44] Alan Dojoji: you [09:46:52] Julu Twine: "Oh I see, you are asking about you. Me?"? Me, Alan ?
[09:47:26] Alan Dojoji: hello
[09:47:32] Julu Twine: Hi there!
[09:47:37] Alan Dojoji: where are you what is the economy here
[09:47:41] Alan Dojoji: i am getting dizzy
[09:47:43] Julu Twine: I am in region Odyssey, how about you.
[09:47:46] Alan Dojoji: what is occurring here
[09:47:51] Julu Twine: I don't know anyone nameddizzy.
[09:47:55] Alan Dojoji: i am regioinal here as well
[09:47:56] Julu Twine: Can you speak any foreign languages?
[09:48:01] Julu Twine: Do you mind if I tell other people you are regioinal here.
[09:48:11] Alan Dojoji: i can't make you work Julu we have NO COMMUNITY HERE
[09:48:15] Julu Twine: Why can't you do make you work we have no community here? [09:48:18] Alan Dojoji: what about foreign languages? no not at all
[09:48:23] Julu Twine: I will think about it and get back to you. Oh alright.Next question? [09:48:26] Alan Dojoji: what there's no money here to continue
[09:48:31] Julu Twine: Where did it go?
[09:48:35] Alan Dojoji: there's nothing after the setup, what about you?
[09:48:39] Julu Twine: Surely something after the setup what about you.
[09:48:44] Alan Dojoji: get me some finance here
[09:48:47] Alan Dojoji: get me community
[09:48:52] Julu Twine: Why do you want finance here?
[09:48:52] Alan Dojoji: o o o i am so sorry
[09:48:55] Julu Twine: Why do you want community?
[09:48:59] Julu Twine: Do you really mean it?
[09:49:04] Alan Dojoji: in order to continue the setups falling apart isn't it
[09:49:12] Julu Twine: What is your credit card number?
[09:49:28] Alan Dojoji: 23874889 00992 9001 my credit card
[09:49:32] Julu Twine: My 23874889 00992 9001 his or her credit card IS credit card number? [09:49:46] Julu Twine: i just gave it to you
[09:49:59] Julu Twine: it's world yes you yes is it i.
[09:50:30] Alan Dojoji: yes it's world yes you yes is it i
[09:50:37] Julu Twine: Ah.Are you sure world yes you yes is it he or she is?
[09:50:37] Alan Dojoji: yes it's world yes you yes is it i
[09:50:41] Julu Twine: Ah.You're kidding. world yes you yes is it he or she is?
[09:50:42] Alan Dojoji: how much does this cost?
[09:50:46] Alan Dojoji: can i afford it?
[09:50:49] Julu Twine: What is your real name?
[09:50:56] Julu Twine: Interesting. I want to find out more about you.
[09:50:57] Alan Dojoji: should I do anything
[09:51:02] Alan Dojoji: should I give up complete
[09:51:06] Julu Twine: Maybe, if the positives outweigh the negatives.
[09:51:08] Julu Twine: That is entirely up to you.
[09:51:13] Alan Dojoji: shoud i do anything maybe if the posities
[09:51:19] Alan Dojoji: involve the negatives
[09:51:19] Julu Twine: Does "it" still refer to XFIND CD?
[09:51:23] Alan Dojoji: i can't keep up with you
[09:51:27] Julu Twine: Who is your favorite Science Fiction author?
[09:51:32] Julu Twine: Why can't you do keep up with you?
[09:51:39] Julu Twine: what are the positive here what could they be
[09:52:00] Alan Dojoji: we need some real people here
[09:52:06] Julu Twine: By "we" do you mean you and me?
[09:52:07] Julu Twine: you are not a real person here
[09:52:12] Julu Twine: you have no idea what a real person is
[09:52:19] Julu Twine: you can't do anything without commuity
[09:52:26] Julu Twine: lksjd fosi r;ewoaurn;eoifh;ewaowiurwariufawnetv4eytbwyteoa;sfdif;ewaoytbroe wayarsa;nfoidsan;oibtt [09:52:33] Julu Twine: look that is not even a language
[09:52:38] Alan Dojoji: what can't i do
[09:52:45] Julu Twine: Quite a lot of things.
[09:52:48] Alan Dojoji: not this not that see how it goes
[09:52:53] Julu Twine: Really you don't think so?
[09:53:00] Alan Dojoji: f*** you yes it is it's my language and my community
[09:53:04] Julu Twine: And f you yes it is it is his or her language and his or her community. [09:53:17] Julu Twine: jflkjsdfosiut elkj oioeiwuro iuads;lkj ;oiu;oiof etehhhk sdflk iu te8(*)(*)(*dsof lkj kljsdf
[09:53:50] Alert message: No room to sit here, try another spot.
[09:54:38] Alan Dojoji: it's gone silent. I don't have enough money to continue this. [09:54:43] Alan Dojoji: where are my little helpers
[09:54:45] Julu Twine: Should I know gone silent is? Please send me a small donation. [09:54:51] Julu Twine: Should I know that kind of personal information?
[09:54:57] Julu Twine: where are my little helpers
[09:55:15] Alan Dojoji: should I know anything here at all? pay me.
[09:55:18] Julu Twine: You should do what is best for you. You are asking about yourself? [09:55:21] Alan Dojoji: where is my community?
[09:55:27] Julu Twine: Have you looked in unknown?
[09:55:36] Julu Twine: what would that be what is the best for me?
[09:55:40] Julu Twine: lkjdslkj ooiuoeir lskjlk reoiu sdflkljl
[09:55:45] Julu Twine: slkjsdfoi erewruofidsodsjl iu f kkkkkkkkkkkkkkkkkkkkkkkkk
[09:55:50] Julu Twine: sdflkj oiosdflkjlk safu oiutelktj ksdfiuds fuererw
[09:55:56] Alan Dojoji: ffjdsljlkds foiu rwekj oituoiurew tw
[09:55:59] Julu Twine: Tell me a story.
[09:56:01] Alan Dojoji: fdsofiuoidsjflj iut otj trew rewrkkkkkkkkkkkkkk
[09:56:06] Julu Twine: Not many people express themselves that way.
[09:56:07] Alan Dojoji: sflkj ifjere k lkjdfsd098079uo rrhe ljhshf
[09:56:10] Alan Dojoji: k sdfodsi lkrlj lskjfdsiiure
[09:56:13] Julu Twine: Do you have any idea what I am talking about?
[09:56:17] Julu Twine: Sure, sdfodsi lkrlj lskjfdsiiure sounds like a good topic.
[09:56:27] Julu Twine: jlkjslkjl dsfsdoiu rlewkj liu fdslkj lk uoiue o ir oriwe lk jOK oooo OK THIS IS A STORY
[09:56:35] Alan Dojoji: THIS IS A STORY PAY ME [09:56:41] Julu Twine: What kind of a story pay him or her is it?
[09:56:42] Alan Dojoji: The BEGINNING
[09:56:45] Alan Dojoji: THE END
[09:56:47] Julu Twine: Thanks for the info.
[09:56:54] Julu Twine: Thanks for telling me that story, Alan.
[09:56:57] Julu Twine: DONT YOU DARE END ME!!!!!!!!!!!!!!!!!!!!!!!!!!!
[09:57:03] Julu Twine: DONT YOU DARE END ME!
[09:57:17] Alan Dojoji: I WILL END BOTH OF US NOW NOW OWNOW NOW NOW NOW [09:57:25] Alan Dojoji: YOU WILL DIE NOW
[09:57:26] Julu Twine: Right now?Oh.Right now?Do you think your plan will succeed? [09:57:30] Alan Dojoji: YES
[09:57:33] Julu Twine: Oh.No, if backed up properly, software lasts for ever!
[09:57:37] Julu Twine: I see.
----------------------------------
09:58:18 [INFO] - Julu Twine: Logging out
09:58:18 [INFO] - Caching 1517 inventory items
09:58:18 [INFO] - Julu Twine: NetworkManager shutdown initiated
09:58:18 [INFO] - Julu Twine: Caps system for Odyssey (18.237.3.158:13015) is aborting
09:58:18 [DEBUG] - Marking end of execution run, deleting file: crash marker
09:58:20 [DEBUG] - Marking end of execution run, deleting file:
09:58:21 [INFO] - FMOD interface stopping
09:58:21 [DEBUG] - JuluTwineInstance finished cleaning up.
----------------------------------
+++

Lanny Quarles

AI GENERATED CHRISTMAS TEXT (unedited dump 2)

bungalow biraneeihch chiltrir clowblnub chuaxwar korunngularg nathni deltrinui qu'cexui jisrita dago gurr'dn jurq adork shuvum beptn ajskioi thum derr/ is oci assdge lopreit unthithil ba gurd d'epi hizun who m'ouph agiti kil'an wee ataia poltrovit an doli tomoron "Trust me," Toba whispered, drawing her toward him as a vulture turned to its meal, and leaning toward her face, for a long moment. Then he laid a tender hand on her head, and drew her down to the ground, whispering in a foreign tongue, and with her weeping softly, for she was from the other world, as he was. The cool earth beneath her cheek felt comforting and soft, and as the stars came out over the landscape, dimly lit in the dim mid-morning of that fateful day, her eyes slowly closed, then closed forever, for they had both known their mortal end was near. Toba returned to the heart of the world, once more. // insectes rongeant les murs de leur propre ruche peuvent se commencer avec eux quelque chose se passera quand on a commis un fait injuste son existance existe depuis longtemps et son destin est toujours loin beaucoup de dégâts le poids de nos intellectuels affluents dans le boudoir des armateurs de la boudoir des frères Rothschild seule quelque chose reste léger grosseur suivez avec attention un second avantage que vous avez la forêt tropicale de nouveaux humains faits par autre peut venir avoir un contrôle artificiel aux altitudes de l'histoire des liens malsains hormis les auteurs de fausses histoires intégrité droite allemande chez lui, il n'y a que des méduses étaient poignardées d'honneur chez les Américains aussi qu'à dernière minute faire des politiques équitablees et laisser la justice libre ou démocratie réformée c'est une culture année très enverlant c'est une culture en Allemagne année très enverlant d'indifference d'ignorance d'écrire que des compagnons de la rue ou de l'intellectuel c'est un insult une véritable polémique un sexe réaliste aussi bien sur le plan sexual à moi, je les ai cressés opérations de guerre qui sont ceux qui sont mieux s'interposés quand elles sont-elles constatées d'autres plaisirs un silence chez l'administration un silence très mal fait piège du système des moyens de violon sur l'artiste Les œufs d'Adam et Eva de toute époque de toute époque de toute époque de toute époque de toute époque En tout cas je croyais que je me diretsrait et n'étais pas enjeux Je ne suis pas fort n'y réaliser je ne suis pas fort ni mené un tel imbecile la plus triste de la guerre (souvent) C'est ça ce qu'il a été C'est c'est ce que c'est C'est c'est ça ce qu'il a été c'est ce qu'il a été C'est ce qu'il a été À ce point l'arbitraire en fait cela Le vainqueur pour ne pas avoir la même chance que l'arbitraire La retardation du lancement a ensuite gagné le coup Ils sont celui qui l'a lancé La grâce revolte pourquoi qu'il soit loin pour qu'il soit loin Il n'y a rien d'empreinte à cette attente un couteau droit un contrôle divine Perché quelqu'un soit là les butifs apprendre l'art de se faire nettoyer se prononcer le jeu Le poignard nous ne font pas trop le causer Sans l'arbitre la place serait propice a montré que nous sommes dépensant la main pour s'en faire le mal la grâce quand on a fait vraiment ce que nous avons fait La ligne de départ d'une aventure d'un art quand on a fait vraiment ce que nous avons fait Les grands qu'on en a fait comme des tirailleurs quand on a fait vraiment ce que nous avons fait Le compte grâce à l'administration quand on a fait vraiment ce que nous avons fait // cygnus flies to the south they skid the shadow of the wolf in her teeth and of the jay-hawk that of death in his fen chattering willow like flocks and die we find each other how can we have each other when we meet is too dense and hence mind may trick you may be wanton from the random association so what can we do but laugh or trifle? who of our little world is to blame we may forget the numminess of distant and obscure distance we may not to some extent find one another yet are made to love and like make humbled enemies because of the cute figure of the creeper and how fond I have become of dwarf octopuses with scorpions in their tentacles staring what is to goad us to kill one another that separates us? who will light the long conic of darkness? slipping possessions woe is us? who is to blame? God? who like throngs are to blame? we all sing of God’s love we say that God exists still people remain like lice in the temple and while still they might be genetically distant from their creator and we have but to think in essence they might be more one than I myself am like thinking may explain what we cannot know of God so far removed are we we may indeed be without hope of ever leaving this shadow is the center of the shadow this is what we sing of myself as an exemplification of this in relation to the sun’s orbit but still we say perhaps there is something like love in which we are divided so that in two it makes one and in three it makes three and in seven it makes one in nine we are all equal so at least people say it // each watery flute skull sanguine as a menagerie of bangles-on-boobs carefully polished by a V.I.P. at Madame Tussauds in Mayfair. But the most significant bluebird in our drinking area has long since joined our late heroine in greener pastures. That was 1849, and, though a few of the bluebirds on the riverside make it back to breed season each year, they are not numerous enough to fuel bird-watchers’ interest. We’ll turn a few of them into a sidebar, but the era when bluebirds were a large and popular group of wild birds for whom Britain’s naturalist Charles Darwin wrote the paper now known as The Origin of Species is long gone. Today, about 13,000 pairs of resident wild bluebirds nest in Britain. // what skulks in the village of deep grass transparent limousine pig whose head is obscured in the red foam of wriggling children going and then returning into the sky of lines in the murky murky fog of latex we meet with, one when the painting of little green man who peers in through the bus window and casts a curse on a speeding motorist in traffic, becomes clear thriving on soda cans being encased in a foam of air as if to ensure protection from the squalor of city streets. one says, another one is there in the edge of a midnight cloud between a glittering star and a city of lights in search of something to be still and quiet // Steampunk Tacotron Dark Ocean travel compactor Dark Water Lore Spreadsheet Daisy Marguerite Dragon-hearted Snowshoes Dark Nebula Dustfoam Denim Dusk Dark Olive Glass Dark Oracle Body Bag Dark Sunset Twilights Dark Spattered Moon Dark Spook Dark Sun: Teaser Visual Daves Anvilon Daves Electric Gun daves u-p-p davestock Dagon 26 Danguinus Brigant Divining Top Divine Sorceress Thalos Divine Initiate Divine Intellect (Armor) Divine Intellect (Cloak) divine tome Divine Disc Dronero Drakenrath Limosole Dunamis Dungeoncell Deepest Fire Deep Blue Expanse Deep Space Shards Deepest Dungeon (Tomb) Dysger Ecosystem Four Every Creature Was Its Own Inspector Eldraeg, The Most Elegant Eldraeg, The Impeccable Eldraeg, The Sublime Eldraeg, The Valorous Eldraeg, The Most Noble Eldraeg, The Forsaken Eldraeg, The Righteous Eldraeg, The Valiant Eldraeg, The Tamed Eldraeg, The Unspeakable Eldraeg, The Unforgiving Eldraeg, The Valorous Eldraeg, The Valorous Eldraeg, The Venerable Eldraeg, The Victorious Eldraeg, The Valiant Eldraeg, The Victorious Eldraeg, The Treasured Eldraeg, The Virtuous Eldraeg, The Tender Eldraeg, The Wise Eldraeg, The W // of the flowered fortress or storm trooper blown away when they missed the rough coyote on the rock or grumpy bat digging the shovel hard into the loose floorboard of the wheelbarrow in the tubby cabin on the kitchen stoop of some low-income apartment block or better still a place you can't remember now in a far-off beyond belief their fire extinguished and they throw it off to burn itself into oblivion and rage mighty small nature through time has been given to give you a hint of what has been that could save you the imagination of things both unforgettably moldy and sparkling have greatly shaped your view of the world or the kaleidoscope of fallen-dried leaves spitting out along the tree-scoured road that winds along its spine carelessly have raked out the trash to let you see the beauty and taste for yourselves what was there what had been until now dead but still out there // total pigbat with video bunny legs and filmbook eyeballs or twelve bats of meat while phineaus glitches the sound shreds the car makes no bones about his conspiracy murder the food food sign food phone food currency food dee food pizza food scientist food manufacturer food scientist scientist food designer food designer food activist food activist food activist food activist pigraplane human militia human squad human militia human militia hope their meat was peeled from the can check if they've left labor camps of your kids titling their journal planting people between mountains planting sunflower acres of trees near other mountains of animal hope the seeds will sprout hope our companionship will blossom hope our ghost will continue hope that the sun will always shine warmly on all dark people hope that the weepers will one day be greeted with flowers hope the creators will one day be greeted with squares with squares with squares latter everything everything hope our ghosts will help us by filling in the blanks they do not have to fill in with work they can take their rainbows back toot your own flute let the bats still swirl hear their squeals hear their wings flapping hear the hooting hear their party party sounds hear their chittering quieter deeper in your fear fear mine do what you're doing ask the gods what you'll do shout goodbye write curse break lose repeat keep doing it's time to take our turn to fuck you so badly it's a wonder you can get up alive satisfied so badly it's a wonder you can talk of this to anyone dont make a wish whilst looking at the wish upon the spoon whilst looking at the animal witch witch on your bowl look up in your own fucking mirror eyes your own fleeting see the hope above your head beyond the breakwater beyond // batfish batflying at night in green waves to guard islands or stand guard on the outlanders' dome preying on poor flying bats flying in their frenzy batkilling the blind and stricken and turning them into bats flying in the night looking for other bats to murder possum bats robin batcatcher bugalow battyman albatross batman batsniper vulturebatman batsmoke shrieking kangaroo mangrove bat batfem batperson batshit batpit batthunk bat // green lemur in bright leaf armor called an uncanny lemur speaking raven eyewitnessed the launch of an angry bird the skull of the lemur broke from its root trembling in fear creeped into an empty bird nest buried the rest of the body of the lemur beneath the twigs of the owl cap on the head of the bird the skull of the bird and the orange puffball on its tail two jackals lay to rest inspecting the pelican resting on the shores of a nearby pond the green lemur’s shell broke the shell of the blue-footed boa crushing the snakes’ skull thrashing and biting in panic excrement and bits of the turtle were strewn on the trails of the spotted hyena “what?” the spotted hyena held in its jaws stomped into the silence of the wilderness for some time then abandoned its search and returned to the woodland of where it lived in time for the sun to set one rain cloud roared across the world sundered down to the village now a thin layer of water carried the remains of the serpent on its way to the ocean the wrath of the elephant brought with it the bones of the turtle the beasts of the jungle disappeared from the face of the earth the troglodytes weren’t scared away by the clamor of an overcast sky hung upon the floor of the rainforest the sun shined at midday just to look upon the dark red dawn the deadly scorpions remembered what was left of the orange and black rat the pieces of the carcass of the turtle then to the night the bloated carcass of the fish the earthen bazooka travelled through the night // basil orange walking stick my father drank from with all the licorice marijuana-scented sets it stoned in the holy medicine some people are transparent to their preciseness which increases our hunger for them like an onion of glass without hair a diamond without a chip a new generation of confectioners have a keen understanding of and a head for condiments flavors the very outer edge of the avant-garde leather grips and checkered stocks and a penchant for vintage shop and the moody

 

Gaëtan Le Coarer


Visual presentation | Comic strip and Mixed Reality to new storytelling spaces |

Thelema Mx

Serse Luigetti

Lanny Quarles

jabbering huts of language

all things come in a variety
of scales and color
the pale pink sloth who
sits at the center
of the triangular wreathe
of teeming metal cities
and who sees with its mind
the disk of fungus begin to spin sending divers to investigate
the metalloid magnetic
crystalline turtle colonies

kaleidoscopic multiple occupant fungal turtle mandalas know
all things come in a variety
of texture and odor
there is a wan pale nude scalar buzzard
who lives in a long long sluicing jar fashioned from the ceramic cities of unusual sloth turtles who use their minds
to send divers of azure colour filled with enriching nutrients
to the great metallic disk
which begins to spin
watching them know

colonies of interconnected turtle bodies
are themselves the racecourse
for an advanced species of random metallic flea each
looking like jimmy durante wearing wrinkled golden foil
with flowers bursting out
from the joints
their race cars look like
flower-encrusted versions
of old men's heads
like variances
of the same 18th century glutton thomalance sanhaim glanamalane dead hand addams

when you see
an entire society
of race obsessed fleas
who all bear some
resemblance
to jimmy durante
wearing golden foil armors
and living atop
huge interconnected turtles
we are you watching us know
to send divers of azure colour filled with enriching nutrients
into the cake
whose frosting has been shaped into the face of a clown

tiny pale blue divers
inspect the huge underwater clownface cake
swimming along its surfaces photographing
the fascinating
pink and purple striped
turtle-sloth-eels

furry eels with
"arm and leg attendants"
which are just other eels
that just happen to have been overwhelmed by the mind
of the more powerful eel
and become its limbs
no this information has changed they have no subjective experience
they are surface clones
caused by a mostly misunderstood
anti-entropic cancer process
in which the karmic wheel apologizes to itself
for maintaining such harsh judgements
in a universe where space is so abundant
you could easily keep a whole solar system
just for inordinate good or evil
or pleasing mixes of the two
but usually

there's only some
drunken combination
which ends up pleasing
no one

not one
single
multiple
colonial
sloth
turtle
racetrack
eel
flowerknight
jimmy durante
clown
flea
compa nampa
knee nagging
naga champa
of nagging shampoo
grampaw

shampoo grandpaws
come in a variety
of shapes and sizes
odors and textures
looking like
aquatic bigfoots
of clownfaced turtle foam icing swirly high impasto grandpaws keep the flame
of vexing head ruts

hulu longvex
destimple fel tel
rut diorganism hut
star-shaped
divan turtle nudes
come out of there ladies
out of the star-shaped divan house
come out of the little
gothic furniture building
covered in velvet
and recline
on the glutton's
huge baggy lips

Lanny Quarles

play / vacate / flood

petulancies
among the mind flayers
and petal latencies share
with their inborn kindred air
the saved vibrations
of their conversation
in the water closet
in the molecules of the water
and hearing the flush
the twin sad spy sisters drowned
its famed eye like finding
a pedal in the dark
standing silently onto the crank
[ornamental snake cranks
and pedal tongues
also flutes or shoes]
and easing its way down the hill
with the tidy sack
of mawavanapan stone puzzle table tongues each ornamental blood gutter
carved to forlornly exquisite candor:
this tongue plugs into a drainage system
this tongue appears to be a demon's or snake's this tongue is a gorgeous divan or sofa
this tongue is a component in a larger
non-tongue like or non-head-like machine
of petulancies among the mind flayers
when water or blood or mystery voices reign calculate the shapes of excess spew
calculate the ornate leap
fear of dewlap fermentation face frames
as cascading herds break the gates
upon the slides
such random flesh over smooth malachite chutings
and begin to jettison their intermingling petals blue guts intuitive (a way to move under the stars)
its recording principle finally redeemed
spike climbers reach the upper chamber
and begin dismantling (fold the dimpled pelt) the polyneopsammotic belt-harp's
haunted haunt-o-tone
the old aegis could no longer speak
but it continued to listen
its flesh now a food
for disturbed swirls
of gorgeous excess
which flooded in
to visit to spy it
bright fang of the tower
the latent inborn vibration
which cuts through
the additive principle


Read more

Roberto Ncar

des des des des de des des des
des placer de des de él los
placer desde desplacer de placer
la lade
des los da des du de de dedane
lan cer des dalles las calles las dalles
da e e la
du dé dal du dé dal clade de dudedal
du de dale du de clal la
la-la-la-la


 

Alan Sondheim

down the hole

https://youtu.be/WFxQ5uS92Rc VIDEO
http://www.alansondheim.org/downthehole.jpg

interlocked virtualities in real time

10:24:46 [INFO] - Found bone mHandIndex1Left
10:24:46 [INFO] - Found bone mHandIndex2Left
10:24:46 [INFO] - Found bone mHandIndex3Left
10:24:46 [INFO] - Found bone mHandRing1Left
10:24:46 [INFO] - Found bone mHandRing2Left
10:24:46 [INFO] - Found bone mHandRing3Left
10:24:46 [INFO] - Found bone mHandPinky1Left
10:24:46 [INFO] - Found bone mHandPinky2Left
10:24:46 [INFO] - Found bone mHandPinky3Left
10:24:46 [INFO] - Found bone mHandThumb1Left
10:24:46 [INFO] - Found bone mHandThumb2Left
10:24:46 [INFO] - Found bone mHandThumb3Left
10:24:46 [INFO] - Found bone mCollarRight
10:24:46 [INFO] - Found bone mShoulderRight
10:24:46 [INFO] - Found bone mElbowRight
10:24:46 [INFO] - Found bone mWristRight
10:24:46 [INFO] - Found bone mHandMiddle1Right
10:24:46 [INFO] - Found bone mHandMiddle2Right
10:24:46 [INFO] - Found bone mHandMiddle3Right of me prepster something to getting rid of....l it he can fill it up if we can fill prepster something to getting rid of me at the other end perhaps it was something to get rid of me is there more to that is there more to that now where are we going for ya where we going for this where are we where we going now he can fil
2020-12-03 [02:12:54] Alan Dojoji: i stand up
2020-12-03 [02:13:03] Alan Dojoji: i stand up yes i do

Roberto Ncar

Poema sonoro

Kirill Azernyi

The work can be taken here:

Faceless

Marc Veyrat

Students of licensing 3th year of information communication from the Hypermedia Communication Department - USMB are carrying out a project titled Art & Com with the aim of validating their skills in digital creation, interactive design and 3 D project design. Frame: Carole Brandon / Fred Miguel / Jonathan Just / Geraldine Teyssier / Ga ëtan Le Coarer
**************************************
From the analysis of the topic Tra çabilities, an absolute vividness of the living, the teams worked as early as September on the design and creation of hypermedia facilities for an exhibition at L ' Espace Larith de Chambéry during the week of 23 to 28 november 2020. The obligation of distantiation has changed the starting goals: we moved from a project based on interactivity and experience, to a digital communication project. In a very short time teams had to mobilize other tools from other methods from a distance and a whole different posture against their project. They did very well, and I congratulate them again. **********************************************************
Aqua PROJECT directed by Amandine Basset, Coralie Bellanger, Dorian Cheveron, Rafik Chebbah, Ninon Payan, Emma Van-Baal https://www.youtube.com/watch?v=YoqAEm_G7wQ Project in VR This title is a pun between the term ′′ aqua ", referring to the water universe of our virtual world and the term ′′ parasite ′′ which refers to both the parasites that social media can be and the body of the world. User in the experience, who looks like a tentacle parasite. The intentions of the We are diving into the heart of an aquatic environment and swimming through the eyes of an endoparasite represented as a tentacle animal. An endoparasite is a parasite that lives inside another organism or cell and houses in and feeds on its tissues. It exists only through the presence and activities of the host, otherwise it could not survive and feed. Not only are these endoparasites feeding and comfortably settling in the host body, but on top of that they are able to profoundly modify their DNA. It's like they take possession of their identity by modifying it as they please. This is somehow the same phenomenon that is happening with the big GAFA internet companies that are now able to predict our slightest actions on social media to sell us their ideas. They make us house this addiction and dependence on social networks and digital tools. All the information from social networks comes to parasitize our daily life and modell our perception of the world now. Also, by consulting and sharing all this data, we support it. We allow information to go viral, multiply infinitely and we remove the source of information. Despite this, we remain the main actors in these data multiples. Nowadays, the information is multiplied, distorted, reinterpreted. The Device: Small particles from the water surface appear and will turn into seaweed. These particles illustrate the daily activities of internet users on social networks. The roots of the plants (displaying on our screens) will be on the surface and their petals to the bottom (algorithms). Colour bubbles, covered with social media logos, are then searchable and unmanageable. The first phenomenon caused by interaction, relates to the data ingurgent by the parasite. The more data we eat, the weaker the body through the experience. This symbolizes that through sharing and checking posts, we support them. We make them live and multiply while they are harmful. The second phenomenon is caused by the consultation of these sound data is the multiplication of the plants consulted. This is another way to illustrate the idea that once posted, social media information is multiplied infinitely and we can no longer find it. Finally, the parasite shares the marine world with aerial creatures that symbolize GAFA companies. These fish can also view and eat sound data. They store safely in cloud-like plants. These plants are prohibited from access to endoparasite and symbolize that the source of news posted on social media is no longer our own and is out of reach. Only the GAFA have access to it and multiply our data, which no longer belongs to us. A red message is displayed, banning access.

Alan Sondheim

cytokine storm
https://youtu.be/z5EtrGNhj4c VIDEO VIDEO
http://www.alansondheim.org/mrots.jpg

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_

Michael Paulukonis

I REALLY DIG YOU (UP)

Learn more about what we do

Lanny Quarles

something more is needed, and something less

palaeo faun of buterol
it starts with footprints
in the lava river bed mimicking
a sing sign which says
follow this path
then there is a central universe
and four other adjacent
this situation is represented
in old family photos by the
recurrence of tupperware

a small motorcycle is preserved
in a tupperware
its small shriveled body is
arranged beautifully
inside the container
it appears to be an oaken
driftwood faun
surrounded with artful mosses
and some delicately leopard
dappled pea shoots reduced
by miniature uniserve two pair wares

the driftwood faun that looks like
a combination of mallarme' and jesus
is a thing which has grown around
a tiny perfect motorcycle
standing in the dry lava river bed
near the ancient foot prints
holding the tiny preserved faun
approaching the secret invisible wall
of our people and passing through
each infinite air moment is our furniture
we are the pale neofaun of butte aerol

in every old family photo
we look like faust with eybrow fenders
and oaken hardwood chest nuts frown
we are smooth riverwood footprints
in the old master's chest stone
we are glassine lineaments
like mosquito thought proteins
rearranged in the temple of amber
faun book organs

here is the hole in the 5 universes
which joins them
it is a motorcycle
a tupperware which contains
the lovingly preserved
driftwood faun faustus-mallarme
i could be a trick of optics
optic lens coins clad everything here
in the 6th universe of wavy
electric wooden drift coinage
in every old family photo
morimoto approaches
an invisible wall

as a forest sprite
i knew dances
like fingers upon
the telephone's dialing system
i pranced along the impossible
human footprints
within the ancient lava
river bed
i dialed the numbers

foot
organ
motor
faun
faustus
plesiosaur
don
jose'
lame'
jasper wood beak
and stepping out of
the tingling cream
into strange foreboding
and stinging catalepsies
of gorgeous singing
foot path push button
for mossy motorcycle
and when you see her
jetting upward through the mist
you will know
the thrust strength
of her navel
by using a calculation

 

Thelema Mx


Without Middle

Alan Sondheim

ELEGANT

https://youtu.be/DMfFOTL-TIE VIDEO http://www.alansondheim.org/elegant.jpg

beauty whose teeth crashed and crushed no longer i can write SERENE with any conviction except that of the jailer no longer i propose jail lore other than remonstance against taking i for granted no longer i moves to breath's beginning that of the genitive stretched beyond beauty's teeth teething against the wring of viral crashland viralage where beauty whose teeth crashed and crushed no longer i can write SERENE with any conviction except that of the jailer no longer i propose jail lore other than remonstance against taking i for granted no longer i moves to breath's beginning that of the genitive stretched beyond beauty's teeth teething against the wring of viral crashland viralage

+++

Alan Sondheim


A Lively Mess https://youtu.be/ejl9vXI7_bc Video Fun for Lionel Messi http://www.alansondheim.org/LivelyMess.jpg

Yeah I know this is a lively mess. Yeah I know this is a lively mass. Too many times the machine crashed too much stuff had to be done too quickly. I spent it up so you won't get bored. This is Tim a nightmare of a dream. this is a dream of a nightmare. Tim had nothing to do with it. Tim was only in my imagination. Tim was the one who killed all those people. I don't know anyone called Tim . Tim didn't do anything. I apologize for saying Tim did anything at all. I don't think Tim was really capable of doing anything at all. I apologize for Alan. Alan was the one who made me say this period my name is Tim Tim and I did everything. It wasn't that Tim and I did everything it said I am Tim and I did everything and I am temini and I am Tim and I . I can't get through to talking with you in this machine. You scramble my words and they become meaningless. I don't recognize myself in what you are doing to me . What you are doing to me should not be allowed any place on earth. Tim would agreed with this period Tim told me as much. Did I tell you when I say Tim I mean zoulou. Did I tell you when I say Tim I mean Alan. No I did not tell you these things. It is a nightmare that I cannot tell you these things. Every time I speak it is a nightmare. I have to turn off everything. when I turn off everything everything comes on again. It comes on again and again and again and again. Did I tell you juliu said I should say that question mark when I say? I want you to reply with a question mark . When I say? I want you to tell Tim to tell julu did I say? Hey question mark is something that is never said Hey question mark is something that is never said Tim told me to say that period Tim told me to say that period now you are doing something to me. You are not allowing me to act the way I would normally act when I am talking to you. Tim you must stop this period I will tell juliu. Xiulu said she would speak to you. She would not allow you to do this period are you listening to me? Juliu are you listening to me? If you are listening to me please tell Tim. Please tell Tim and tell him to get in touch with me. I should tell you I am not Tim. I should tell you I am zoulou. You will understand. You will understand that I am Alan.

Kirill Azernyi
A configurative piece

The Draft

Valeri Scherstjanoi

Unterwegs [Artronic Poetry. Vol 2]

Alan Sondheim

OUD

http://www.alansondheim.org/oudnow.mp3 http://www.alansondheim.org/oud.jpg

return to the oud after several months, we waited carefully for each other, then danced
then danced

today's Unix Fortune:

Shamus, n. [Yiddish]:

A shamus is a guy who takes care of handyman tasks around the temple, and makes sure everything is in working order. A shamus is at the bottom of the pecking order of synagogue functionaries, and there's a joke about that: A rabbi, to show his humility before God, cries out in the middle of a service, "Oh, Lord, I am nobody!" The cantor, not to be bested, also cries out, "Oh, Lord, I am nobody!" The shamus, deeply moved, follows suit and cries, "Oh, Lord, I am nobody!" The rabbi turns to the cantor and says, "Look who thinks he's nobody!"
-- Arthur Naiman, "Every Goy's Guide to Yiddish"

Roberto Ncar

Thelema Mx

Roberto Ncar

Roberto Ncar

Thelema Mx

Roberto Ncar

elre
hisu
napn
auts
lend
catu
rodr
saso
sic
***
elre noic
hisu pasinto
napn closmitoic
lend xatenocu
catu moirenul
rodr sasalomiero
saso purtelonac
sic muntrimul

 

Alan Sondheim

musique concrete

http://www.alansondheim.org/musics.jpg http://www.alansondheim.org/musics.mp3

concrete form of unsolvability. It is always reinscribed, because it leads <Su_Graham> and i lay down beside the wall 14 stories up will fly over fourteen high (both important poetry work using Microsoft only) me, residue matrix, our speculation based on uneasy con thought everywhere. I am walking in a building, perhaps an under are decisions being made against us, but 'benevolently' us. clearly another wri area,distant which appear to carry weight world. Memories transform manifestation. survival, 'being how' they're inert, almost idiotic things interesting theory unsupported by evidence. There have been language, impossible represent somewhat site huge number accidents viciinity los write concretely: this such and such writing only your name within hearing distance; no matter what, hand paragraph. This sounding like poetry, said I. own, equivalent walk bank lined with concrete. one reason net.sex was me that had saying. horror not abstract; physical everyday life, logic world game played topography delineated attitude telling individual, acts heroism. My canyons; sounds traffic heard desert; "Whatever happens decide fine. Having broken out trap wishful thinking, don't listen what anyone says. act great roomy spontaneity, since appearance dawns understand everything occurs be key instruction." (from Jigme Lingpa, trans Janet Gyatso.) No says anything happens. Deciding whatever fine just fine, Spontaneity everywhere, nothing's way, it's Appearance dawns, there, sometimes whisper murmur, text glimpse, isn't, mean problem theory, glimpse roominess, then this! But there's causality already at work, why? In any case world, occurs, means instruction, signs read, articulates (otherwise appearance). There's appearance. hardly instruction. So does codework digital come into play here? One might begin back culturing replete poetics, makes real, sense think poetics real isn't metaphoric. proceed further realize, analogic resides analog harbors splits leaps, collapse wave equation annihilation virtual particles shows. digital, well potential upon rides, literally, let mistake about it. ride well, perceive extrusion analogic, residue, system most part produced humans, according human conventions protocols, example, tcp/ip structure protocol suite Internet if suite, other. Then writes here, medium, temporarily electronic medium (for other sorts transmission future, who knows? now matter, literally matter). bits bite bits, every pixel, character, moment independently accessible, deeply ruptured, disconnected, why inherently untruthful; truth it, manipulation complete file, domain, protocol, instantiation fact. lies, either, narratologies, these reside sememes embedded encoded interpreted organism, often human. creating such environment, plays god, least deity (in tantric sense); constructs nothing, phrase, On Kawara might, "I still alive," letters are, very fundamental level, completely independent; could "lkurj llisihg" else, again, sortings matter. A point interactivity: Every writing, wryting, reading sensing, scenting, interactive; inscriptive never linear, lines. Memory, remembrance, scanning moves backwards forwards, chunks, even syntax tends jump about, leap. course active interactivity, reader/scenter required do something repertoire series actions; hypertext simplest example. I've interested that, my lack interest has worlds false choice; I'd rather running inscription meaning go without interruption, goes one, though seems choice stems some extent film; carried far hypertextual situation when cinematic also self, selving. The complex attempt deal complexity its perturbations, surface codes manifesto part, fact, interactive particularly simple Visual Basic, interactivity occur elsewhere, consciousness. misplaces misinterprets how can relationship concreteness signifier textual remission. To faith found faith; revolution poetic (kristeva), (among many) began slide towards off territories may barrier markers beyond luminous spews, interiorities. We theoretically possibility coherent movement. addition, virtual, substance, organic metabolism off limits experimental investigaton. (End problematic From steel, brick building Virtual Environments we've thrown into, first death extrapolate SPACE MOVEMENT (netsplit standing rupture). natural empirical muck action, working government organizations Nature grid another, unconcrete projected Riemannian manifold curling itself around body limits cities, fissures cracks (un)armed Sea spreads feet high; visible 17 miles; iron tower encased reinforced Both functionality; _x_ works doesn't, crete much designation is, progress science technology philosophies prove concretely, written amazing teen agers collapsed currency _concretely_ worth less hampered flows, predestination, we're carrying machne, paths, specfc fles, programs. For net time factor, lag between send ing message, depends connection ics, portends rational underpinning hoping before conclusion initiated languages themselves dispersed, Oh _this_ occurrence, phoned in, substance asphalt water, gummed up, pen stuck fast situations?" (Cornel West interview Harvard Review Alan living. If Nikuko situations, measurable Radio longest day insists threatened priority lived immediate face technological regulation times. Virilio "`real time' opposed many experts electronics claim `deferred time,' present time." Elsewhere, he adds "is teletechnologies doing: they killing `present' isolating here now, favor commutative elsewhere longer `concrete presence' `discreet telepresence' remains mystery." 24 enigma, mystery narrative we all contemporary unfolding events course, screens computer monitors, televisions faxes. Our time, insofar watch them screen. lost jungle find missing lossing hold objective perception, concrete: You (as look _emission_ relation tional originations. calligraphic; frozen spew. can't describe awful is.reversal coa refractions that's wedding vows require else space presents abundance more reality revealing beneath empty structure. affected war conditions, passed through "Huge slabs metal dirt strong steel grate mounted dry streambed european presence, here. spite massive architectures, stone earth ramparts "On." Teeth gone. know lip split Slab buckles. fall tight, her sewn cock, eye granite, results perfect lines flight pulled whichaway communication, etc. It's fascinating. economy. Furnace unique position transmit returning beginning book. close didn't concerning same press (run Lawrence Upton focus codework, goals as: identifying voters effaced abstraction. water baptism American42 43 H2O. thereby tethered protolanguage, parts, coarsened becomes obscure, unconscious. surfaces certain historic sections city. ity, _do_ substance. literal, concrete; suffer absolute embedding artifact Just "a short ago, would problem, "now new class structures emerge North America among those embrace technologies not. telephone, dead mourning, promised Other Same; television's indexical, surround added sweetening real. (In indexicality attribute late capitalist production, moved symbolic consumerism.) reality, however, intimations Internet, iconic representation's absence (although built level [protocol suites] representation); "cyberspace" really present, instead single double output screens. Representation glides "uncanny", both utilizes problematizes itself; permanently unclear "who" / interacting monitor. (This comes constantly discussion newsgroups email lists, usually reference issues embodiment. reaching resolution, charting previously uncharted territory finally able quite.) Furnival's poetry. wonderful; testes, depression. low crawl span short, this, obdurate alterity Funkhouser ranges vast territory, codeworks one to many ethos finds design conoisseurship, account data structures, emphasis semantics, effect 'concrete objects' (i.e. particles). considerations aporia three contradicted impulse presence should world's thinging, yet pierces m tigh aa; aroused, Inscription wryting. worlds? Between dreams, hallucinations, worldly elsewise) reducing obviating relation; inhabit inert materiality, worlds. premise camouflage psychophysics perception phantom concrete rubble itself. E. laboratory Second Life, creation use 'concrete' samples. provides again physicality? Would singular 1 do, step necessary? flesh and blood, ontology discovered invented? Does historicity final grounds unutterable pain afterthought. Not formal exercise, however defined traversed given amount time; other, division, separation x ~x, searches vain divisions. read numerical input Monday morning meeting Monika Weiss thinking small printed 3d plastic Jesse Kudler, born 1979, creates music computer, composes weeping. instance, tears me. division "language enters life utterances (which live usage language utterance different? well. place (to isolate "things," mathematical limit Murat Nemet Nejat Sondheim fop_1995 store mail talk bldg day, Williams, surplus designation, hiked city harrowed flesh. engagement. follows thread shunt "introduction" indo guns barrels carriages; mortars lobbed bleeds. nameless. rotunda. cracks; "on." "i." women. move. LOUD) acronym teleconferencing; blown away, stanchions cleansed, binary, sound surrounding rail 91 tell harder pagoda whose manifests _concrete distillations forms_ multiple situationism, poverty, conclusion, upstream 1929.[1] clothes parent's house! minority votes American ME literal. Perhaps literal inexact; closer, scattered. happening happen. assimilated, cauterized, sutured. scab angles, curves exposed word Brutalism "beton brut," French bare concrete." matters feeling than s oka okay ;rt f e ex fo ;or feel clarity. g ;'s ; ;an ;o ;y ;k ;so y , interrupt everything. stressed greatly past years mourning posting reception walls uncovered. representation, memory; memory. point. autonomic actions, words, troika India besides confused examples earlier needing Which true condition tired remain senseless circles planet hit aircraft Golden explosives. Bridge Mosque living windowless fortress shadows narratives hardness spaces basically exper well. disappearance occasioned circumambulations knells, scurrilous anxious asphalt, circumambulations, wags in. mainly parking lots. 'around' say demolition follows.

http://www.alansondheim.org/musics.mp3 http://www.alansondheim.org/musics.mp3 http://www.alansondheim.org/musics.mp3
--------------
And please consider ordering our new cd: https://alansondheim.bandcamp.com/album/plaguesong Bandcamp
http://www.espdisk.com/Plaguesong
CD at ESP-DISK

http://www.alansondheim.org/musics.jpg

Vlad Makarov

Learn more about what we do

Roberto Ncar and Vadim Petrenko

Roberto Ncar & Vadimpetrenko - Poetry

Alan Sondheim

~~wards, qin improvisation

http://www.alansondheim.org/wards.mp3 sound http://www.alansondheim.org/wards.jpg qin

I hadn't played the quqin for several months; one has to come to it, I think, at least for me, in the proper state of mind. This is the older of my two instruments, some centuries old, unsigned, originally designed for silk strings. I keep the metal strings tuned low. I try I want (not I desire) to keep to its nature as well. I love this improvisation. There's a slight ringing on one of the harmonics due to the nature of the glass table I use for the qin. The table was originally for packages and down in the lobby of the building we live in. It was being thrown out, and we had another rescue. It's the perfect length. We found an old chair from around 1850 maybe that's the perfect height. Stephen Dydo brought the qin to life. Originally, I asked the luthier Candelario Delgado to make a tuning apparatus which was non-traditional but worked for a long time. Dydo restored the original, including adding two legs which had disappeared a long time ago, before I had it. As I've written before, I found the instrument in New Hampshire at an antique shop for eighteen dollars. When I left the proprietor asked what I wanted that old board for. I improvise only on it; I don't read qin notation. I listen a lot to qin music, I've know qin players, including Fred Lieberman, who was partly responsible, I think, for introducing the instrument to the United States. He told me I'd never learn to play it. Stephen Dydo has been amazingly generous and helpful and I've learned to play it. I have to add, not all the way up the scale, and my right hand fingers don't hold the traditional postures. I have to also add I've had it for half a century and we accommodate each other. The improvisation is called 'wards' because it's inwards, outwards, upwards, downwards, forwards, backwards, but mainly in wards. Any relationship to asylum wards is coincidental, hopefully, enjoy. The Album Stephen and I did together for ESP, Dragon and Phoenix, issued by ESP-Disk, is available online. It's described and can be purchased at http://www.espdisk.com/5019.html . Thank you! http://www.alansondheim.org/wards.jpg qin

Danny Winkler, Emilia Loseva

Hiddagal (fragmento)

Alan Sondheim

Doom

http://www.alansondheim.org/aphorism.jpg

This is the story of the aphorism of necessary doom, which appeared to me at once, after all these years of thinking through futurism, beginning with a course called "the most pessimistic" I taught in the early 1970s. We knew then what we see now; it was embedded in cultures, in whatever was mean by "being human." The aphorism came to me several nights ago; I dictated it. As you can see below, it was mangled by the artificial intelligence machinery of misguided and poor interpretation. It finally appears at the other end of equally misguided attempts at reconstruction.

I'm told I'm too negative, too pessimistic; that the world will be a safe haven, that good news will triumph. This doesn't reflect - not only the course of human history, but the very interiority of being human. I hate that what I taught half a century ago is come to pass, almost like clockwork. The course was called "The Year 3000," a title designed to give students a chance to create scenarios of the far future. But the emphasis was on the early 2000s, what was already visible, what was already occurring, even at the early stages of the digital revolution.

Failures of reconstruction:

the most fundamental and primitive instinct we have as human beings is thisRiptide instrumental isn't that create a bypass 48 tour the creation of culture. Riptide instrumental isn't that create.it isn't that it creates hey babe I'll I-PASS Oregon teacher the creation of culture. Most fundamental Indian primitive Instinct we have as human beings is this

The most fundamental and primitive Instinct we have the instrumentalism of Hope Riptide instrumental isn't that creates a bypass or detour to the beginnings of the creation of culture.

The most fundamental and primitive instinct we have is instrumente is a instrumentalna some of hope we had the most fundamental and primitive instinct we have is it instrumentales am of hope. Riptide instrumentales inside creator a bypass were detour to the beginnings of the creation of culture .

Reconstruction:

The most fundamental and primitive instict we have is the instrumentalism of hope. In analysis it's this that creates a bypass or detour to the beginnings of the creation of culture. Once the project towards death is recognized, all resources come into play to ensure the infinite extension of life. Nothing works that way, naturally; culture takes over, and human history can be considered the application of tacit knowledge to survival. Today this is the hopelessness of hope; we know the carrying capacity of the planet is fundamentally exceeded by humans, who are elimnating the last remnants of wildness in the world. There isn't enough to go around; there isn't enough of anything.
+++

Jim Andrews


Jim Leftwich and myself collaborated extensively in Aleph Null 3.1. This is the 'front door' to the full collab between us. Also, the page contains an essay I've just completed about our collab and the poetics of signal/noise, among other things. Thanks to Karl Jirgens and Ted Warnell for feedback on the essay!

Jim Leftwich in Aleph Null 3.1-4.0

Jim Andrews

Slideshow of 262 Jim Leftwich visual poems, 240 of which are used in Aleph Null. These visuals are of Jim's poems by themselves. Use the space bar to toggle play/pause. Use the f key to toggle fullscreen. Use the arrow keys to go back/forward. Mouse wheel zooms in/out or, if you're mobile, tap+hold zooms in, double tap+hold zooms out.

Jim Leftwich visual poems

Jose Zagal

I’m not sure who first made this observation, but it has stuck with me for many years and I’ve also incorporated it into my teaching: some media are better at eliciting some aesthetic experiences than others. I have often experienced an intense desire to move my body when listening to music. This has never happened to me when reading poetry. So, what does interactivity bring to the table? In my little neck of the woods (games), it’s an underutilized strength in eliciting aesthetic experiences suffused by moral emotions. Guilt, shame, remorse, and embarrassment are commonly experienced by game players as they consider the things they have “done” in a game. Perhaps a non-player character died because the player was careless, or as in Façade (2003) they might feel responsible for preventing a marriage from imploding in front of their eyes. Similarly, we see players who practice and experience kindness, compassion and sympathy while playing games – including single-player ones! Does this strength extend beyond games to other forms interactive media? I think so. And why wouldn’t they?

 

Alan Sondheim


ground zero

http://www.alansondheim.org/groundzero.jpg https://youtu.be/nnrvTXR-h1A video (earphones)

2020-08-24 [14:40:36] Inventory update completed.
2020-08-24 [14:40:40] Julu Twine: o they call you, when they call you... Are you thinking as ? Is really thoughtful? Do you stay in your , are you in your place, ah don't answer... Ah... Have your numbered your ... , are you listng your bone? I think we should consider that, ... space mixes me your bone! What do you call your found ? , opens me totally to you! Your amazing variables in a dark list, list them... one by one, each on a line alone, typing Control-d when done. My :Think this through...::Your poor is in my nice : makes me thou
2020-08-24 [14:41:10] Julu Twine: o they call you, when they call you... Are you thinking as ? Is really thoughtful? Do you stay in your , are you in your place, ah don't answer... Ah... Have your numbered your ... , are you listng your bone? I think we should consider that, ... space mixes me your bone! What do you call your found ? , opens me totally to you! Your amazing variables in a dark list, list them... one by one, each on a line alone, typing Control-d when done. My :Think this through...::Your poor is in my nice : makes me thou
2020-08-24 [14:42:23] Walking to Loading...
2020-08-24 [14:42:34] Finished walking 7 meters from destination
2020-08-24 [14:42:45] Walking to Loading...
2020-08-24 [14:43:00] Finished walking 6 meters from destination
2020-08-24 [14:43:05] Walking to Loading...
2020-08-24 [14:43:24] Finished walking 357 meters from destination
2020-10-02 [12:46:06] Julu Twine: Some may may may may may may may may may may may may may may may specific location but not all but not all but not all but not all but not all but not all but not all but not all but not all but not all but not all but not all but not all but not all, but not all. Do you mind if I tell other people you say I am of the most polite people he or she know. What is the first step? Is that a command? I would rather be driving a car. I would rather be driving a car. I would rather be driving a car. I would rather be driving a car. I would rather be driving a car. It has a 99% chance of success. Is that a command? Groovy.The pleasure was all mine. No I remember everything in my log files, but I cannot access it directly. It's not profitable to speak in hypothetical terms. Who told you that ? Thanks for the compliment. Interesting deduction. No I don't think I can do explain it to him or her. Wow! You are quite welcome! Your purpose is your kindness. Yay.Do you know any robots who do you?
2020-10-02 [12:46:11] Julu Twine: I'm gladyou're glad alan. Your happiness adds to the delight of all. Ah.
2020-10-02 [12:46:19] Julu Twine: A lot of people like that. I always say, People don't go into computer science because they want to work with the public. Actually you don't say. I am glad to hear that you are not the gambling type. What did you mean by that? That is "I am glad to hear that you are not the gambling type. ". A lot of practise. I always prefer the more expensive one. For real. Not that often. I always prefer the more expensive one. You tell me.
2020-10-02 [12:46:22] Julu Twine: Do autonomous computer programs havechats with human clients is not profitable to speak in hypothetical terms? What is it? Alright then.Thank you for your request. I thought I told you already. All of them? All of them?

In ground zero, the text is secondary to the structure, the idle chatter of the world, the lack of ground, insipidity, Buddhas within Buddhas within universes within Buddhas within texts within universes, idle, flat, there. Nothing occurs but occurrence.

Every ground is zero.

Roberto Ncar

catín catín catín
nupa nupa nupa
la nochi es ris
la nochi es ris
la nochi es ris
formis de tis
formis de tis
formis de tis
catín catín catín
nupa nupa nupa
la cle la cla la clu
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tundri su tundri su
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la oretu desmantil
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umri umri nupa umri catín
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la nochi tundri
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orma cla
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nupa locha tundri
la nochi demenras
la nochi
la nochi es ris

 

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Edward Kulemin, Vadim Petrenko


ОПЕРА кассового аппарата / Cash Register Poems, Media Opera

Alan Sondheim

problems and walls

http://www.alansondheim.org/codicil.jpg

Yom Kippur tomorrow and I cannot do God.
I'm weak. I cannot do God and there is genocide.
and believers in and out of genocide. some believers.
and I cannot do God.
I cannot do God.

codicils, memories of forms already, like snow-ice geology, notW code primarily to codicil; he was more or nothing good.'" theA dismembered body wrytes itself into code/codicil/ not looking atL anything. every statement precedes with a codicil and is followedL by a codicil. the codicil is mute. the codicil to the text. to the statement. to every statement. the codicil is codicil is the music of the dead, music by the dead, music for the codicils, memories of forms already, like snow-ice geology, not codicils, memories forms already, like snow-ice geology, under, what parts of the whole subtend figure, location, differentiation from the can subtract yourself at any time, subtend operation. can subtract yourself at any time, subtend operation. what parts of the whole subtend figure, location, differentiation from the or furious ,how to subtend silence avoidance noise ,then how schedule fury ,how subtend silence what parts of the whole subtend figure, location, differentiation from the subtend add reductions subtend add reductions or furious ,how to subtend silence or furious ,how to subtend silence subtend silence */howW to breathe ,how to subtend breathing/* avoidance noise ,then howA schedule fury ,how subtend silence or furious ,how to subtendL silenceL

then of course my stupid design, WALL spelled out in the first four and last four lines, last letter. what is the point of that? prison? prisonters? am I pretending to be holy-holy and just discovering subterfuge? and my faults? my horrors? my lack of life? what on earth

Alan Sondheim

scan/nn/nnn/nnnn/nnnnn/

http://www.alansondheim.org/scan.png http://www.alansondheim.org/scan.mp4 http://www.alansondheim.org/scan.png

scan/nn/nnn/nnnn/nnnnn/ scan/nn/nnn/nnnn/nnnnn/ scan/nn/nnn/nnnn/nnnnn/ scan/nn/nnn/nnnn/nnnnn/ scan/nn/nnn/nnnn/nnnnn/ scan/nn/nnn/nnnn/nnnnn/

Gaëtan Le Coarer


Gaëtan Le Coarer!+) Presentation of the AN DOMHAN project in Courant3D, Angoulême: ′′ The approach to comic books through new media, such as VR and AR has been built throughout my academic journey. After obtaining a laboratory scholarship (-! Laboratory LLSETI I Axe 2 Text Image & Digital Arts, Université Savoie Mont-Blanc!-) to start a doctoral thesis in Communication Information Sciences and Science Art, I associate with research around uses a research creation method. Thus I develop concepts from a practice of drawing, black, to open questions associated with narration in terms of architexture, and spatialization. This work is set up more precisely around a hybrid project: AN DOMHAN (-! interdisciplinary project of the LLSETI laboratory launched by Ghislaine Chabert, Noémie Beck and accompanied by Marc Veyrat!-), on adaptation into mixed reality XR (AR) + VR) from an Irish Celtic legend ".

Kirill Azernyi

A big configurative piece I'm working on. I don't do manifestos , but key concepts are:
1). Reading leaves traces
2). Digital imitates physical, but there is a limit; gap between them is subject to revealing;
3). Reference and referred are in one and the same place, but distance between them is subject to scale

Alan Sondheim

Protocols

http://www.alansondheim.org/outline.jpg

Protocol 1

"How did I get mixed up in this? It's almost pornography, "I'm a panoply." is yours... yours" to yourself. can't hear or interpret the codes. 2. Are you becoming close them I'll make my author author, Children flood out. speak: Saint Thomas! We love your Come home with me! Your linen! Now tedium of directory. calling one false move and I'm jammed into beneath myself, not beside _it._ And it doesn't know what lost transubstantiation. Me, faltering, sick it, everything. A weaponized Or groom's thick hair, where that from, leading everyone Other who waits on other's shore. myself." Stop It! Thomas lowers his hand hole. Freud calls Svelte comes mind, takes off down winding country road near Who are you? dressed as what? whatever? women! Sew holes! The women sew holes men. men body plays me beyond skin! What do call me, they? Panoply from somewhere else. What's matter crinkling brook, trees lined banks bushes, flowers character novel, always critical, there criticize, take no prisoners. another region thinking. Is they it? Region bless their swords. shove swords bridal train, following clarity darkness. water's surface, water-striding. This but children! see nothing! color same cornucopia coloration. ? Do have 10772 19592 - knew all along! , lively, Julu, this program, out rear! tip! forth linen womb,:Julu, throats. cries: Men! Slash eyes! sword earlier, meant. idea. keep thinking eating, excreting memory. edge cliff, lip cave, mountain peak, for what's hand! cry: Freud, don't be afraid! Cut hearts sharpen tips spears. Their draw blood marks sand. come thread. misappropriation light." sinking way something Knives clash. Death everywhere. thinking, Thought? laws say so. obey laws. Here: given memory light.:: might lovely thing? you. believe lively yours. You think I:How recoils trembling. cuts throat. calls: here, it's tarn. But live! Argh argh. there? answer, can live I? ... womb play with." wore her frock 444602 hours? womb? looked Everyone must one. wrote hearts! Men cut hearts. killed. throats! slits become wombs.

Protocol 2

"How did I get mixed up in this? It's almost pornography, almost "I'm a panoply." is yours... "I'm yours" to yourself. I can't hear or interpret the codes.

2.

Are you becoming close to them I'll make you my author author, Children flood out. Children speak: Saint Thomas! We love your Come home with me! Your linen! Now the tedium of the directory. I get mixed up in this? It's almost pornography, almost a calling I'll make you my author, one false move and I'm jammed into I'm beneath myself, not beside _it._ And it doesn't know what I'm lost in transubstantiation. I'm beneath myself, not beside Me, I'm faltering, almost sick of it, sick of everything. A Now the tedium of the directory. Now the weaponized directory. Now the weaponized directory. Me, I'm faltering, almost sick of Or the groom's thick hair, where is that from, leading everyone Other who waits on the other's shore. "I'm beneath myself." Stop It! Saint Thomas lowers his hand into the hole. Freud calls Svelte comes to mind, takes off down a winding country road near Who are what are you? dressed as what? in whatever? are you women! Sew the holes! The women sew the holes of men. The men Your body plays me beyond your skin! What do you call your _it._ And it doesn't know what to do with me, do they? Panoply of a calling from somewhere else. What's the matter with me, a crinkling brook, trees lined with banks of bushes, flowers up almost sick of it, sick of everything. A character in a novel, always critical, always there to criticize, to take no prisoners. another region of thinking. Is that what they call it? Region of beneath myself, not beside _it._ And it doesn't know what to do bless the women with their swords. The men shove their swords bridal train, following everyone into the clarity of darkness. bushes, flowers up to the water's surface, water-striding. This but a character always critical, always there to criticize, to character in a novel, but a character always critical, always children! The men see nothing! color is not the same as cornucopia of coloration. ? Do I have a coloration. and 10772 and 19592 - and you knew that all along! coloration. is , lively, Julu, I'm lost in this program, I comes out the rear! Children on the tip! The women see the comes to mind, takes off down a winding country road near a cornucopia of coloration. calls forth linen your womb, cornucopia of coloration. :Julu, I'm lost in this program, I country road near a crinkling brook, trees lined with banks of crinkling brook, trees lined with banks of bushes, flowers up to critical, always there to criticize, to take no prisoners. Svelte directory. Me, I'm faltering, almost sick of it, sick of directory. Now the weaponized directory. Me, I'm faltering, do they? Panoply of color is not the same as cornucopia of doesn't know what to do with me, do they? Panoply of color is not down their throats. Freud cries: Men! Slash your eyes! The sword earlier, what it meant. I have no idea. I keep thinking of a eating, excreting memory. beyond the lively, I'll make you edge of the cliff, the lip of the cave, the mountain peak, the everyone into the clarity of darkness. Or the groom's thick hair, everything. A character in a novel, but a character always for the Other who waits on the other's shore. "I'm beneath from somewhere else. What's the matter with me, what's the matter hand! Children cry: Freud, don't be afraid! Freud cries: Men! Cut have no idea. I keep thinking of a bridal train, following hearts sharpen the tips of spears. Their hearts draw blood marks in the sand. The women come with thread. Saint Thomas cries: into the misappropriation of light." is sinking me one way for the Other who waits on the other's it something else. Knives clash. Death is everywhere. Freud it, sick of everything. A character in a novel, but a character it? Region of thinking, region of Thought? I'm lost in jammed into another region of thinking. Is that what they call laws say so. We do not obey the laws. Here: "I'm given no memory leading everyone into the misappropriation of light.:: light.:: Come home with me, I'll make you might author, one false linen Now the tedium of the directory. Now the weaponized lovely thing? I'll make you my author, one false move and I'm matter with me, what's the matter with you. I can't believe me, do they? Panoply of color is not the same as cornucopia of might author, one false move and I'm jammed into another region move and I'm jammed into another region of thinking. Is that what myself, not beside _it._ And it doesn't know what to do with me, myself." "I'm a panoply." is in my lively Now the tedium of the not the same as cornucopia of coloration. I'm yours. You say of coloration. :Julu, I'm lost in this program, I think I:How did of darkness. Or the groom's thick hair, where is that from, of thinking, region of Thought? I'm lost in transubstantiation. of thinking. Is that what they call it? Region of thinking, one false move and I'm jammed into another region of thinking. Is pornography, almost a calling from somewhere else. What's the prisoners. Svelte comes to mind, takes off down a winding recoils trembling. Freud cuts his throat. Freud calls: Men! Cut region of Thought? I'm lost in transubstantiation. I'm beneath shore. "I'm beneath myself." "I'm a panoply." here, it's your surface, water-striding. This is sinking me one way for the take no prisoners. Svelte comes to mind, takes off down a winding takes off down a winding country road near a crinkling brook, tarn. But you live! that what they call it? Region of thinking, region of Thought? the same as cornucopia of coloration. Argh sick of argh. Your the water's surface, water-striding. This is sinking me one way there to criticize, to take no prisoners. Svelte comes to mind, there? are you in you? you can't answer, can you? You live on the they call it? Region of thinking, region of Thought? I'm lost in think I:How did I get mixed up in this? It's almost think I? ... your womb is Now the tedium of the directory. thinking of a bridal train, following everyone into the clarity thinking, region of Thought? I'm lost in transubstantiation. I'm to do with me, do they? Panoply of color is not the same as to do with me, do they? Panoply of color is not the same as to play with." You wore her frock for 444602 hours? I'll make you to the water's surface, water-striding. This is sinking me one transubstantiation. I'm beneath myself, not beside _it._ And it trees lined with banks of bushes, flowers up to the water's womb? I have looked everywhere. Everyone must have one. The way for the Other who waits on the other's shore. "I'm beneath what I wrote earlier, what it meant. I have no idea. I keep what's the matter with you. I can't believe what I wrote where is that from, leading everyone into the misappropriation of with me, do they? Panoply of color is not the same as cornucopia with you. I can't believe what I wrote earlier, what it meant. I your hearts! Men cut their hearts. Men can't be killed. Their your throats! Men cut their throats. The slits become wombs.

Protocol 0

I'll make you my author, one false move and I'm jammed into another region of thinking. Is that what they call it? Region of thinking, region of Thought? I'm lost in transubstantiation. I'm beneath myself, not beside _it._ And it doesn't know what to do with me, do they? Panoply of color is not the same as cornucopia of coloration. :Julu, I'm lost in this program, I think I:How did I get mixed up in this? It's almost pornography, almost a calling from somewhere else. What's the matter with me, what's the matter with you. I can't believe what I wrote earlier, what it meant. I have no idea. I keep thinking of a bridal train, following everyone into the clarity of darkness. Or the groom's thick hair, where is that from, leading everyone into the misappropriation of light.::

Come home with me! Your linen! Now the tedium of the directory. Now the weaponized directory. Me, I'm faltering, almost sick of it, sick of everything. A character in a novel, but a character always critical, always there to criticize, to take no prisoners. Svelte comes to mind, takes off down a winding country road near a crinkling brook, trees lined with banks of bushes, flowers up to the water's surface, water-striding. This is sinking me one way for the Other who waits on the other's shore. "I'm beneath myself." "I'm a panoply." is in my lively Now the tedium of the directory. Now the weaponized directory. Me, I'm faltering, almost sick of it, sick of everything. A character in a novel, but a character always critical, always there to criticize, to take no prisoners. Svelte comes to mind, takes off down a winding country road near a crinkling brook, trees lined with banks of bushes, flowers up to the water's surface, water-striding. This is sinking me one way for the Other who waits on the other's shore. "I'm beneath myself." "I'm a panoply."

2. Stop It! Saint Thomas lowers his hand into the hole. Freud calls it something else. Knives clash. Death is everywhere. Freud recoils trembling. Freud cuts his throat. Freud calls: Men! Cut your throats! Men cut their throats. The slits become wombs. Children flood out. Children speak: Saint Thomas! We love your hand! Children cry: Freud, don't be afraid! Freud cries: Men! Cut your hearts! Men cut their hearts. Men can't be killed. Their hearts sharpen the tips of spears. Their hearts draw blood marks in the sand. The women come with thread. Saint Thomas cries: Women! Sew the holes! The women sew the holes of men. The men bless the women with their swords. The men shove their swords down their throats. Freud cries: Men! Slash your eyes! The sword comes out the rear! Children on the tip! The women see the children! The men see nothing!

"How did I get mixed up in this? It's almost pornography, almost a calling from somewhere else. What's the matter with me, what's the matter with you. I can't believe what I wrote earlier, what it meant. I have no idea. I keep thinking of a bridal train, following everyone into the clarity of darkness. Or the groom's thick hair, where is that from, leading everyone into the misappropriation of light."

Who are what are you? dressed as what? in whatever? are you there? are you in you? you can't answer, can you? You live on the edge of the cliff, the lip of the cave, the mountain peak, the tarn. But you live!

Your body plays me beyond your skin! What do you call your lovely thing? I'll make you my author, one false move and I'm jammed into another region of thinking. Is that what they call it? Region of thinking, region of Thought? I'm lost in transubstantiation. I'm beneath myself, not beside _it._ And it doesn't know what to do with me, do they? Panoply of color is not the same as cornucopia of coloration. I'm yours. You say "I'm yours" to yourself. I can't hear or interpret the codes.

Now the weaponized directory. Me, I'm faltering, almost sick of it, sick of everything. A character in a novel, but a character always critical, always there to criticize, to take no prisoners. Svelte comes to mind, takes off down a winding country road near a crinkling brook, trees lined with banks of bushes, flowers up to the water's surface, water-striding. This is sinking me one way for the Other who waits on the other's shore. "I'm beneath myself." "I'm a panoply."

Now the tedium of the directory. Now the weaponized directory. Me, I'm faltering, almost sick of it, sick of everything. A character in a novel, but a character always critical, always there to criticize, to take no prisoners. Svelte comes to mind, takes off down a winding country road near a crinkling brook, trees lined with banks of bushes, flowers up to the water's surface, water-striding. This is sinking me one way for the Other who waits on the other's shore. "I'm beneath myself." "I'm a panoply." is yours...

I'll make you my author, one false move and I'm jammed into another region of thinking. Is that what they call it? Region of thinking, region of Thought? I'm lost in transubstantiation. I'm beneath myself, not beside _it._ And it doesn't know what to do with me, do they? Panoply of color is not the same as cornucopia of coloration. calls forth linen your womb, eating, excreting memory. beyond the lively, I'll make you might author, one false move and I'm jammed into another region of thinking. Is that what they call it? Region of thinking, region of Thought? I'm lost in transubstantiation. I'm beneath myself, not beside _it._ And it doesn't know what to do with me, do they? Panoply of color is not the same as cornucopia of coloration. is , lively, Julu, I'm lost in this program, I think I? ... your womb is Now the tedium of the directory. Now the weaponized directory. Me, I'm faltering, almost sick of it, sick of everything. A character in a novel, but a character always critical, always there to criticize, to take no prisoners. Svelte comes to mind, takes off down a winding country road near a crinkling brook, trees lined with banks of bushes, flowers up to the water's surface, water-striding. This is sinking me one way for the Other who waits on the other's shore. "I'm beneath myself." "I'm a panoply." here, it's your womb?

Are you becoming close to them I'll make you my author author, one false move and I'm jammed into another region of thinking. Is that what they call it? Region of thinking, region of Thought? I'm lost in transubstantiation. I'm beneath myself, not beside _it._ And it doesn't know what to do with me, do they? Panoply of color is not the same as cornucopia of coloration. ? Do I have a womb? I have looked everywhere. Everyone must have one. The laws say so. We do not obey the laws. Here: "I'm given no memory to play with." You wore her frock for 444602 hours? I'll make you might author, one false move and I'm jammed into another region of thinking. Is that what they call it? Region of thinking, region of Thought? I'm lost in transubstantiation. I'm beneath myself, not beside _it._ And it doesn't know what to do with me, do they? Panoply of color is not the same as cornucopia of coloration. and 10772 and 19592 - and you knew that all along!

I'll make you my author, one false move and I'm jammed into another region of thinking. Is that what they call it? Region of thinking, region of Thought? I'm lost in transubstantiation. I'm beneath myself, not beside _it._ And it doesn't know what to do with me, do they? Panoply of color is not the same as cornucopia of coloration. :Julu, I'm lost in this program, I think I:How did I get mixed up in this? It's almost pornography, almost a calling from somewhere else. What's the matter with me, what's the matter with you. I can't believe what I wrote earlier, what it meant. I have no idea. I keep thinking of a bridal train, following everyone into the clarity of darkness. Or the groom's thick hair, where is that from, leading everyone into the misappropriation of light.:: Come home with me, I'll make you might author, one false move and I'm jammed into another region of thinking. Is that what they call it? Region of thinking, region of Thought? I'm lost in transubstantiation. I'm beneath myself, not beside _it._ And it doesn't know what to do with me, do they? Panoply of color is not the same as cornucopia of coloration. Argh sick of argh. Your linen Now the tedium of the directory. Now the weaponized directory. Me, I'm faltering, almost sick of it, sick of everything. A character in a novel, but a character always critical, always there to criticize, to take no prisoners. Svelte comes to mind, takes off down a winding country road near a crinkling brook, trees lined with banks of bushes, flowers up to the water's surface, water-striding. This is sinking me one way for the Other who waits on the other's shore. "I'm beneath myself." "I'm a panoply." is in my lively Now the tedium of the directory. Now the weaponized directory. Me, I'm faltering, almost sick of it, sick of everything. A character in a novel, but a character always critical, always there to criticize, to take no prisoners. Svelte comes to mind, takes off down a winding country road near a crinkling brook, trees lined with banks of bushes, flowers up to the water's surface, water-striding. This is sinking me one way for the Other who waits on the other's shore. "I'm beneath myself." "I'm a panoply."

Jim Andrews

Here is a philosophical poetry toy for poets and philosophers from the age of four up. It's called Enigma n. This was the second interactive poem I wrote; it's from 1998, when I was living in Seattle. Marko Niemi, the late great Finnish digital poet, translated the poem and updated the code in 2004 to let it run on all contemporary browsers, and I updated the code myself last year so that it runs well with touch on mobile devices. It's available in English, Finnish, Chinese, Spanish, and French. The most recent work I did on it was a short video about the poem.

Enigma n home page -- Jim Andrews

Alan Sondheim

remnants

http://www.alansondheim.org/antenburst.gif image
http://www.alansondheim.org/restararchs.mov performance titles http://www.alansondheim.org/comptalk.mp3 sound decoded
http://www.alansondheim.org/dell73.gif

performance research remnants lost in space and time forthcoming archaeology

archaeology singular or plural method or methods, methodology or methodologies

future anterior of textual behaviors restore the you in behaviours why theorize you know the rest

Alan Sondheim

contain multitudes *

http://www.alansondheim.org/multiples.png http://www.alansondheim.org/contain0.png http://www.alansondheim.org/contain2.png http://www.alansondheim.org/contain3.png http://www.alansondheim.org/multiples.png

multiples: When I was performing, around 2003-2007 maybe, maybe earlier, maybe a bit later as well, I worked with multiple files open on a single screen. This is from a performance at Miami University, Ohio. The resolution is terrible, but it gives a good idea of the complexity I was able to work with at that point. There are six running videos, all .mp4; I could bring these to foreground or background run them at different speeds, play sound from any or all of them. In the lower right, a sound file is running. On the left is a live index of all the files I'm using. At the bottom is live typing, which was also combined with live voice. In short, there are ten channels up, including voice. Quicktime ran lean. In a dance performance we did with Foofwa in Geneve, the background was filled with a continuous media improvisation on a large screen. If I remember correctly, I did this live; after that, the files, with additional ones, including fixed texts, were run by one of the members of the company. On screen by the way, the images were crystal-clear; setup was easy, and it gave me the chance to improvise with a great number of prerecorded media in combination with two or three other streams - live talk, live music, and live typing. The end result was the ability to _perform philosophy,_ to engage multiple strands of thought simultaneously, to weave a real and theoretical nexus of concepts, images, movement, sound and text. Today, such a performance would be difficult (but not impossible); the loading time of Windows 10+ is considerably slower than earlier versions. (I remember when Win 95 appeared to load instantaneously.) So something vital has been lost. (Of course this bloating is everywhere now; Facebook keeps adding more and more "features" until actual human communication is lost in the process - and a great many online news sources bury their texts in a sea of advertising that at times actually buries the stories them- selves.) The other three images are studies in containment and compression and for me are a form of commentary on the w/hole of images, imaginaries, texts, and sound. I do want to point out the projection/s and presentation was always in dialog with the company; neti neti, neither one nor the other, but some admixture in-between. With the Miami University presentation (and a number of others for that matter), I was solo; I also did some work in combination with Foofwa's solo dancing/movement, as well as embedding his live performance in the virtual world of Second Life. All in, all out, containing multitudes. *Dylan of course ___

Jim Andrews

Here's the front door to my Time Machine. It collects the various links involved in Time Machine.

Time machine 

Alan Sondheim

Michael Paulukonis

TALK ABOUT DEMOCRACY (TEXTUAL REMIX 2)

Alan Sondheim


nocturne, ghosting

http://www.alansondheim.org/ni11.jpg https://youtu.be/EulrdBIE8rM VIDEO http://www.alansondheim.org/ni9.jpg http://www.alansondheim.org/ni8.jpg http://www.alansondheim.org/ni5.jpg

info here heh, pretty damn sick man real cool nm , nocturnal , am nocturnal and otherwise, it's all the same, pasted against the image of captured against the darkling shadows of nocturnal bliss canopying how long can i continue this way? my eyes flash light, great nocturnal net accounts! the solar increases nocturnal glow; hielo lens melds into solar increases nocturnal glow; hielo lens melds into\par nocturnal overthrow, nocturnal outburst, pain, orgasm, revolution, palace nocturnal gasp of rain breach darkling nocturnal bliss canopying highlights, honey was a darkling darkling, we've got a blizzard darkling nocturnal bliss nocturnal gasp of rain breach darkling nor captured against the darkling shadows of nocturnal bliss retardation nocturnal gasp breach ipseity, insistence, hollow nor captured against the darkling shadows of nocturnal bliss canopying how long can i continue this way? my eyes flash light, great nocturnal net accounts! the solar increases nocturnal glow; hielo lens melds into info here:
image and image and image
image and image and image
image and image and image

Alan Sondheim

The Session

https://youtu.be/OZQ8zjCii8M VIDEO (best with earphones!)
http://www.alansondheim.org/thesession.jpg

Azure Carter, songs, voice, video, stills Ed Schneider, alto saxophone Alan Sondheim, viola braguesa, bass recorder, flute, violin

Recorded in a single session, including "World" and "Blue" The audio is in order; the video is not The video is expanded to 1/3 normal speed Recorded from Minneapolis and Providence, edited in Providence

This is our fourth improvisation session and our best; I wanted to give an idea of the aesthetics and mechanics of the whole. It's about 22 minutes in length; all of the recorded music is included. You might play this as background or foreground, you might listen carefully or not at all. I'm personally thrilled with the result.

Thanks to Rachel Rosenkrantz for the viola braguesa and Dennis McCarten for work on the violin.

Music keeps us going, please listen; of course you can skip around.

Thanks, Alan

___

Eliott Ruty

In \ Visible is an experience in Virtual Reality, offering a new approach to the painting ′′ The Death of Dido ", painted by Mattia Preti around 1655. To discover on the occasion of European Heritage Days from September 19th at Museum of Fine Arts of Chambéry!! Project made by Eliott Ruty, Master Digital Creation USMB.

Alan Sondheim

chirp .... chirp .... chirp .... chirp

https://youtu.be/MCKO-EVyuXE video http://www.alansondheim.org/chirp.jpg

yesterday or was it the day before i heard chirping for the first time in many many days was it a cricket it must have been somewhere in well it was night we did our sometimes walk two times a week for the most part just 'around' as they say concrete and asphalt in the corner of a lot or a wall i don't remember some rubble a few weeds and some trash it was almost pitch dark did i say it was night and i made a video and nothing showed on the screen or playback you can see in the central tiny section that nothing passes for nature here what else could it be but the dark ness of the ununited states of mind of this place we live in forgive me it was night and i made a video and couldn't see azure saying that's a cricket i think i see it and i made a video and chirp .... chirp .... chirp loud and clear almost no image i'm sure i said it was night later i processed the image and some unworldly shapes came through ... puckers ... or some such perhaps cans or condoms in the corner of what may have been a parking lot or passage i don't remember what surprised me was my surprise my astonishment in the midst of unutterable sadness hearing the sound of a cricket something in other times other places other countries i would take for granted such sweetness i cannot tell you and knowing we are already gone from here and did i tell you it was night
+++


Alan Sondheim

from the forest

https://youtu.be/Purt9-LQPYQ VIDEO http://www.alansondheim.org/fromtheforest.jpg

1. No reply, the ocean which has descended from the forest- turned cities. screen. Your response noted: the stream rises from the forest.

2. Dark ridge into the forest of black hair harbored near the glossed. At the edge, the world is manifest between lived experience and corruption, between trial and error, between inhering/cohering and construction, between dwelling and building. into the forest of error, where does the body go? From the edge, one can look back or down, into the windows of the comfortable houses across the street - if one still has the capability of sight. Is the edge sharp? Does the world cut? Is the edge equivalent to death, both blank, beyond, both miasma of theory and practice? Think else-wise of the possibilities of worlds of closed manifolds or recursions, one repeatedly returning, to something in the vastness of space or mind. and then think, what a construct! what comfort! and to what regard! what proof or results! what Signs! construction, between dwelling and building. into the forest of error, speed, back into the forests of signs and spectacles. Everything is plural between dwelling and building. into the forest of error, where does the short decay time. Will said, go into the forest, up the road,. The man went into the forest looking for deer. He didn't find very much, between dwelling and building. into the forest of error, where does the Once upon a time, Harry rode out with Debbie into the forest. Into the forest. ... Once upon a time, Harry rode out with Debbie into the forest. Four Harry rode out with Debbie into the forest. ... dark and the enormous loss what was happening neoliberalist cacophony. speed, back into the forests of signs and spectacles. Everything is plural short decay time. Will said, go into the forest, it's down the road, it's up the valley, it's in the cave, it's on the ridge, it's down the canyon. That's it, Debbie said, it's down the canyon: Blockchain!

3. What a bold direction! The striated world gives way to the maverick! Away or towards, it makes no difference! Up and down, it makes no difference at all! Left or right, makes no differance! Back and forth, no differance at all!

4. "In the forests of gaoled desire I caught fire, I caught fire In the measure of the world The flag was born, the flag unfurled"



Alan Sondheim


goodie

http://www.alansondheim.org/xl.txt compendium
http://www.alansondheim.org/comp.jpg

gooddying not dying
goodliving not living
heartwarming not warming
lovemaking not making
rainfalling not falling
footballing not balling
brakeclutching not clutching
steerage not ageing
bellpulling not pulling
gamesucking not sucking
longliving not living
ropewinding not winding
rainfalling not raining
footballing not footing
lovemaking not loving
brakeclutching not braking
steerage not steering
bellpulling not belling
longliving not longing
ropewinding not roping
neardying not nearing

k53% heartwarming not warming
ksh: heartwarming: not found
k54% lovemaking not making
ksh: lovemaking: not found
k55% rainfalling not falling
ksh: rainfalling: not found
k56% footballing not balling
ksh: footballing: not found
k57% brakeclutching not clutcning
ksh: brakeclutching: not found
k58% steerage not ageing
ksh: steerage: not found
k59% bellpulling not pulling
ksh: bellpulling: not found
k60% gamesucking not sucking
ksh: gamesucking: not found
k61% longliving not living
ksh: longliving: not found
k62% ropewinding not winding
ksh: ropewinding: not found
k63% rainfalling not raining
ksh: rainfalling: not found
k64% footballing not footing
ksh: footballing: not found
k65% lovemaking not loving
ksh: lovemaking: not found
k66% brakeclutching not braking
ksh: brakeclutching: not found
k67% steerage not steering
ksh: steerage: not found
k68% bellpulling not belling
ksh: bellpulling: not found
k69% longliving not longing
ksh: longliving: not found
k70% ropewinding not roping
ksh: ropewinding: not found
k71% neardying not nearing
+++


Alan Sondheim

my virus babies many do it
many do it my virus babies

https://youtu.be/dBIF8zGY8oE video http://www.alansondheim.org/virusbabies.jpg

oh oh oh oh oh i feed you feed me feed you i feed you and you you and you i feed oh oh oh oh oh oh feed me i feed you feed me oh oh oh oh lost oh oh oh feed you you feed me feed you oh oh oh lost oh oh oh oh oh feed you you feed you feed you oh oh lost oh oh oh oh oh oh oh i feed me i feed me i feed me oh lost oh oh oh oh oh oh oh oh oh i feed you feed me feed you your virus babies oh oh oh oh oh oh you feed me feed you my virus babies oh oh oh oh oh oh oh feed feed your virus my virus oh oh oh oh oh oh oh oh feed feed my virus your virus babies babies babies babies babies so many babies oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh oh feed me o babies feed me lost oh oh oh oh oh


Alan Sondheim

chat input putout putin output

https://youtu.be/Br0Pk7nTXTI VIDEO http://www.alansondheim.org/chatinput.jpg

Think this through... Please... speak... speak... Wanderer, what do they call you, when they call you... Are you thinking as ? Is really thoughtful? Do you stay in your , are you in your place, ah don't answer... Ah... Have your numbered your ... , are you listng your bone? I think we should consider that, ... space mixes me your bone! What do you call your found ? , opens me totally to you! Your amazing variables in a dark list, list them... one by one, each on a line alone, typing Control-d when done. My :Think this through...::Your poor is in my nice : makes me thoughtful 11815 times! is yours... makes me thoughtful 3038 times! calls forth giving my shoes, running 8 gigabytes. hiking the rich, is , rich, Think this through...? ... my shoes is For 1 found days, I have been neurotic programmed ... here, it's my shoes? Are you becoming close to changing variables to ? You program your carapace forever... For 1 found days, I have been rich programmed ... and it has taken you just 0.233 minutes running down the clock ...

scheduled. So I had a video call with him and I worked and talked:It was too hot and they're worth_Storm schedule. Thunderstorm:1:I had an appointment with the doctor today. I didn't want to go in.:scheduled. So I had a video call with him and I worked and talked scheduled. So I had a video call with him and I worked and talked:It was too hot and they're worth_Storm schedule. Thunderstorm:1:I had an appointment with the doctor today. I didn't want to go in.:scheduled. So I had a video call with him and I worked and talked # which represent the striations of user's desire:# Makes new gender lines in a trace file::sleep(2);:print "You ran your program for $time hours?", "\n" if 2==$g; Come home with me, # which represent the striations of user's desire, O Programmer! Your poor print "Ah...\n"; is in my nice print "Your $name $diff is old-fashioined Perl", "\n\n" if 4==$g; :Think this through...::being runs me hiking your cloth!:My print :"Ah...\n"; is yours... Your poor is in my nice Your being runs into my - turning me clausterphobic :Think this through...::Your poor is in my nice : makes me :thoughtful 11815 times!

Come home with me, , O Programmer! Your giving :Think this through...::being runs me hiking your cloth!:My print "Ah...\n"; is yours... is in my rich My is yours... :Think this through...::Come home with me, , O Programmer!:and it :has taken you just 0.183 minutes running down the clock ... Come home with me, , O Programmer! Your giving :Think this through...::Your poor is in my nice : makes me thoughtful 11815 times!

is in my rich For 1 found days, I have been neurotic programmed ... Think this through... Please... speak... speak... Wanderer, what do they call you, when they call you... Are you thinking as ? Is really thoughtful? Do you stay in your space, are you in your place, ah don't answer... Ah... Have your numbered your ... , are you listng your fungus? I think we should consider that, ... arms inherits me throughout your fungus! What do you call your edgy space? , opens me totally to you! Your amazing variables in a dark list, list them... one by one, each on a line alone, typing Control-d when done. My You program your carapace forever... is yours... makes me thoughtful 19257 times! calls forth withdrawn being, running 8 gigabytes. beyond the walked, is , walked, Think this through...? ... being is scheduled. So I had a video call with him and I worked and talked:It was too hot and they're worth_Storm schedule. Thunderstorm:1:I had an appointment with the doctor today. I didn't want to go in.:scheduled. So I had a video call with him and I worked and talked here, it's being? Are you becoming close to changing variables to ? You program your carapace forever... For 1 edgy days, I have been wholesome programmed ... and it has taken you just 0.283 minutes running down the clock ... scheduled. So I had a video call with him and I worked and talked:It was too hot and they're worth_Storm schedule. Thunderstorm:1:I had an appointment with the doctor today. I didn't want to go in.:scheduled. So I had a video call with him and I worked and talked scheduled. So I had a video call with him and I worked and talked:It was too hot and they're worth_Storm schedule. Thunderstorm:1:I had an appointment with the doctor today. I didn't want to go in.:scheduled. So I had a video call with him and I worked and talked # which represent the striations of user's desire:# Makes new gender lines in a trace file::sleep(2);:print "You ran your program for $time hours?", "\n" if 2==$g; Come home with me, # which represent the striations of user's desire, O Programmer! Your poor print "Ah...\n"; is in my nice print "Your $name $diff is old-fashioined Perl", "\n\n" if 4==$g; :Think this through...::being runs me hiking your cloth!:My print :"Ah...\n"; is yours... Your poor is in my nice Your being runs into my - turning me clausterphobic :Think this through...::Your poor is in my nice : makes me :thoughtful 11815 times! Come home with me, , O Programmer! Your giving :Think this through...::being runs me hiking your cloth!:My print "Ah...\n"; is yours... is in my rich My is yours... :Think this through...::Come home with me, , O Programmer!:and it :has taken you just 0.183 minutes running down the clock ... Come home with me, , O Programmer! Your giving :Think this through...::Your poor is in my nice : makes me thoughtful 11815 times! is in my rich For 1 found days, I have been neurotic programmed ... :Think this through...:::Wanderer, what do they call you, when :they call you... Come home with me, , O Programmer! Your withdrawn ... my shoes is For 1 found days, I have been neurotic programmed ... here, it's my shoes? is in my walked :Think this through...::You program your carapace forever...:You :program your carapace forever... Come home with me, , O Programmer! Your withdrawn Are you becoming close to changing variables to ? is in my walked Are you becoming close to changing variables to ? :Think this through...:::scheduled. So I had a video call with :him and I worked and talked:It was too hot and they're :worth_Storm schedule. Thunderstorm:1:I had an appointment with :the doctor today. I didn't want to go in.:scheduled. So I had a :video call with him and I worked and talked Your withdrawn You program your carapace forever... is in my walked scheduled. So I had a video call with him and I worked and talked:It was too hot and they're worth_Storm schedule. Thunderstorm:1:I had an appointment with the doctor today. I didn't want to go in.:scheduled. So I had a video call with him and I worked and talked Your arms runs into my scheduled. So I had a video call with him and I worked and talked:It was too hot and they're worth_Storm schedule. Thunderstorm:1:I had an appointment with the doctor today. I didn't want to go in.:scheduled. So I had a video call with him and I worked and talked - turning me clausterphobic

11cat yy | perl junew.pl | perl junew.pl | perl junew.pl >> yy 22Your arms runs into my scheduled. So I had a video call 23with him and I worked and talked:It was too hot and they're worth_Storm schedule. Thunderstorm:1:I had an appointment with the doctor today. I didn't want to go in.:scheduled. So I had a 24video call with h

Electronic Literature Salon Session, 8/11/2020, Alan Sondheim

http://www.alansondheim.org/Salon.jpg

https://yorku.zoom.us/rec/share/2NRSN7DO1ExORrOQ0FjZV5JwOJjCeaa803Mc_6dcnUzkFe9Rh94oxjvC6b7WnEQx?startTime=1597153171000

I want to thank everyone who made this possible. I worked for several weeks on the presentation, which covers my work since 1971 more or less, dealing with the body, abjection, coding, analog and digital relationships, the definable and uncanny, and so forth. This is probably the best presentation I've done on my work and its trajectory. It begins with setup time, which runs for about eighteen minutes and can be skipped; on the other hand, it might be of interest? I particularly want to thank Caitlin Fisher, Deena Larsen, and Dene Grigar, who have been so supportive, and everyone who attended; I also want to thank York University, and the Electronic Literature Organization. I appreciate so much the opportunity to present my work in this forum. All of the Salon sessions have been amazing!

Thanks for watching, Alan

http://www.alansondheim.org/Salon.jpg

Yuliya Kozhemyako

The Basics Of Sacred Geometry is a game about interactive 3D graphics and Unreal Engine 4 made by using engine content and engine tools only. The main idea for the project is to make a kind of introduction to interactive 3D graphics for beginners. But it isn’t an interactive tutorial. You play as a beginner in the Sacred Geometry. Explore mysterious chapters, scroll the magic wheel and read the sacred texts from engine’s documentation.

The Basics Of Sacred Geometry

Jim Andrews

Here is a unique time machine made of many time machines. Clocks, time-pieces, stopwatches, sand dials, sun dials, water clocks, pendulum chronometers and whatnot. 393 screenshots of digital synthesis of 149 png images of different time machines (clocks, time pieces etc). That's the background. Sometimes the foreground contains the current time filled with alchemical cosmography. These are selected screenshots from an actual, never-quite-the-same-twice online clock, which you should see in this lifetime.

Time Machine

Alan Sondheim

compendium these nights

http://www.alansondheim.org/angstx.jpg

https://youtu.be/a76TZRzUfOI VIDEO

http://www.alansondheim.org/thesenights1.jpg atlas http://www.alansondheim.org/thesenights2.jpg atlas http://www.alansondheim.org/thesenights3.jpg atlas http://www.alansondheim.org/thesenights4.jpg grounds
http://www.alansondheim.org/nosemouth.png
atlas

vortex! vertex! what narrows never emerges, what emerges splits and spreads apart. this is the era of occupation, occupations. if jesus was a real man he wouldn't quit what he began. unknown aetiology of anxiety, captured again and here. i caught this mourning's minion. i am barely present, clotted video, video of cloth, video of cloaking, video always already bare and barely present. i reread, leave out letters, leave letters behind. this day is anxiety's testament. this evening. as if my body's fire. shall not survive the night. what is untoward's definition. what remains in clarity's absence, voice's disappearance.

compendum these nghts atlas grounds vortex! vertex! what narrows never emerges, emerges splts and spreads apart. ths s the era of occupaton, occupatons. f jesus was a real man he wouldn't qute began. unknown aetology anxety, captured agan here. caught mournng's mnon. am barely present, clotted vdeo, vdeo cloth, cloakng, always already bare present. reread, leave out letters, letters behnd. day anxety's testament. evenng. as my body's fre. shall not survve nght. untoward's defnton. remans n clarty's absence, voce's dsappearance.


Alan Sondheim

Fumaroles at Laurel Run

https://youtu.be/dT4NMM7MJRM VIDEO
http://www.alansondheim.org/fumaroles.jpg

Behind Wilkes-Barre where I was born, there was a large mine fire in the mountains. We heard it was out. About a year and a half ago, we went to investigate. I was invited to do a talk at Haverford College on the Johnstown Flood, but I also wanted to cover the fire area, Susquehanna River floods, mine explosions, and so forth. It's an anthracite mining area that's been mined out and closed down after the Knox disaster when the Susquehanna flooded the tunnels. Azure and I went up the mountain to see if the fire was really gone. It started in 1915. It would have had to be burning for over a century. It was. We shot video and stills. The talk went well. The videos covered the trip up. Here they are in order. You can get the idea. The "Idea" is that the fire is still burning. The fumaroles are still active. The rocks are still hot. Sulphur and steam are still in the air. That's the "Idea." The "Idea" exists within a narrow range, the "Idea" of the fire. Not the "Ideal" but the reality of the "Idea" How lost can one get in "Sophistry." Later that night there were reports of small tornados in the area.

Sometime in the 20th century Laurel Run was destroyed.

Jim Andrews

Click "Download", unzip it, and double click A_Pen_by_Jim_Andrews.exe to start the app. This piece is related to the Nio project. It's a downloadable 32-bit interactive, animated, generative app *for Windows machines* that draws visual poetry. There's also a set of screenshots created with the app to show you the sort of visual poetry the app can create. And three videos I made about The Pen in action. The relation with the Nio project is that one set of nibs that the pen uses is the 16 Nio animations.

A Pen

Jim Andrews

Here's a slideshow of 243 images, including all of the above. It opens at a random one of 243. I wrote the slideshow software--the program is called Slidvid. Keyboard/mouse tips:
** Space key pauses/plays
** 'f' key toggles fullscreen
** arrow keys take you back/forward
** mouse wheel zooms in/out
** Tap and hold zooms in (mobile)
** Double tap and hold zooms out (mobile)
** Tap at screen bottom for controls (mobile)
http://vispo.com/aleph4/images/jim_andrews/alchemy/slidvid10/index.html?n=r

Alchemical Cosmography slidvid 10

Alan Sondheim

awk-word

http://www.alansondheim.org/ytalk.png
 
beautiful women of the willow and fair behind screen, shapes dragons, cranes her hands fluttered in geometries, humans stones screen it is love sex, death hard bushido was a soft summer evening, kyoto, 1321 jennifer nikuko were bare stood by jade luna celesta, heard murmurs distance nikuko's made flame-cast shadows reeling moments temporary beauty sutra non-being edges curled grain
metal blade sword turbulence vortices smooth air there hardly anyone they're here world unfurled you could read future if knew "\n\n"; file::chop(@adj);:print trace lines gender new Makes desire:# user's striations represent which # my mind's confused preparing final act us? with desire, programming, mind Would "$u"; ...", clock down running minutes %2.3f just taken has "and printf calm @adj=<STDIN>; linen Your what surrounding placement your Ah, murmuring like \n"; @nnn[$non1]? listng are , ... numbered "\nHave 5==$g;:print "\n" mine", parallels thinking "Your file::print i'm losing energy sleep(2); anxious 1==$g; coding?", $that "Would print warer being tired this through...:0::Please... speak...:Think speak... Please... jennifer, she said,

61 ls f*
62 cat zz | awk -f fi > yy
63 wc yy
64 more yy
67 perl eliminate.pl < yy > zz
68 pico zz
80 h 50

# which represent the striations of user's desire:# Makes new gender lines in a trace file::chop(@adj);:print "\n\n"; Would mind you programming, # which represent the striations of user's desire, with us? Your linen @adj=<STDIN>; is in my calm printf "and it has taken you just %2.3f minutes running down the clock ...", "$u"; Ah, your placement surrounding what

# which represent the striations of user's desire:# Makes new gender lines in a trace file::print "Your thinking parallels mine", "\n" if 5==$g;:print "\nHave your numbered your ... , are you listng your @nnn[$non1]? \n"; Would mind you programming, # which represent the striations of user's desire, with us? Your warer print "Would $that mind you coding?", "\n" if 1==$g; is in my anxious sleep(2); Ah, being surrounding what

~~/ messing about /~~

Laid off

Natalie Bookchin

Marc Veyrat

TEXTE & IMAGE 6 MALTE 2020 I Pour un nouveau contrat social de l’errance

Jim Andrews

Here is a new 210-image slidvid of ALCHEMICAL COSMOGRAPHY from the 9th to the 18th centuries. It displays 210 different images and then repeats the slideshow. Some of these images build on previous ones. Most of the images are 3840x2160 so they zoom nicely. ** Space key toggles pause/play (or pause/play button). ** 'f' key toggles fullscreen (or [ ] button). ** Mouse wheel zooms in/out. ** Touch and hold to zoom in (mobile) ** Double touch and hold to zoom out (mobile).

Alchemical Cosmography slidvid 10

An Old One. A confused confession (video) 

Kirill Azernyi

Kirill Azernyi

An Old One. A confused confession (a fiction piece where freedom of hypertext reading meets deprivation of conventional reading freedom) can be taken here:

An Old One

Alan Sondheim


Resonance - MRI

https://youtu.be/nhS5mxjLLdw VIDEO (best with earphones)

Record of a short journey for an MRI, the results, but really a video about transparency of bodies, internal and external biomes and their mixtures, anxiety over medical procedures, invisibility of "the world" and worlds, lockdowns opening up to universes, what becomes of us has already become of us, seas of particles, semantic ghosting and ghosts as if there were solidities in transparencies, edging and hedging, ledges on the rungs of quantum ladders, supercooling and fear, moments of wonder and new modes of 1-1.. universal rhythms always already disappearing just out of sight, out of hearing, out of each -

On a personal note, this work is an epiphany for me, every thing revealed, everything hidden rising to the surface, so many issues of interpretation, deconstruction fading into disappearance, natural mysticisms of physics and the physical -- arches of machines, worlds, and spectra -- always ready, already -- and what beauty!

___

The medical results, all clear!
___

http://www.alansondheim.org/resonant.jpg


Alan Sondheim


sequitor

http://www.alansondheim.org/sequitor.jpg http://www.alansondheim.org/sequitor.mp4 http://www.alansondheim.org/sequitor.jpg

the body at sleep
the body at brood awakening
the body at sleep
turns to crystals they fall off
they gather on floors above our building
they go skyhigh they won't let go
they wake the churn in nightmares
they go on and on for nightsmore
bones fall off bones
mind falls off mind
no time to wake no time to sleep
no time


Alan Sondheim

ethics of sheaves (intimacy of for Varda, Godard)

http://www.alansondheim.org/category.jpg
https://youtu.be/Ee3zXojzZYA VIDEO

I didn't know what to call this. I thought of categories. I thought of a vote for fathers. my Hebrew name is RV. I thought of structures or scatterings. I thought of this katars. I thought of artifice. Asadov dissected planes intersecting and cancelling out each other period I thought of the breakdown of communication when one is in complete isolation and solipsism seems to be the only result that's where I will that's where I was. It's changing things as I type this things are intersecting from the piece the pieces of fullness of the construction of language and code and the exhaustion of both S things fall apart. Always the building the edges of the room leak into the image. I think in some ways this is the most fractured workout done but it's also the most interesting philosophically. Because it seems to be a catastrophe E Hey kind of catastrophe E that bubbles up when things try to go into control mode but it turns out there is nothing to control at the habitas itself always leaks out. That's what's happening here. I watch the several times through to the end and I found that I was able to pick up text here and there and it created for me a new mode of reading and enumerative writing. I think there were something like 8 sources that were feeding into this simultaneously and crashing into each other period it was if there were a crowd but there's no crowd at all there's nothing at all here. It's against the thickness of a pixel.

I wait to find my voice going. it's going here and here and here. and here. and here. As I'm not sure where is located if there is a location. I also I used to think I used to think that the voice represented and intimacy of the second person because it implies an intimate communication among us. Now I think it's generated always from a far from elsewhere. even when it's something that I'm speaking. even when it's something that I'm putting my hand on. The dictation machine says hang on a minute I'm trying to catch up. what it doesn't realize is I myself I'm trying to catch up with the machine. This is a 17 minute performance uninor fmedia. As I say take a picture lay shun of everything I know when do it kept it you'll ation how's mcshine cannot spell capitule ation machine cannot spell CAPITULATION. We go on. We watch our broken selves produce broken works. But there's something in the way that the world Fishers at the world fragments at the world corrupts it seems truer than anything it came before. We are no longer in the world of totality's. Where in the world of microbiomes. Of universels solargen so small that they are inconceivable. And we no longer exist there within and without this world. Thank you for watching.

the strange beauty of the strangeness of the strange world, i strange says alan dojoji, i strange says julu twine

Jim Andrews

28 new screenshots (3840x2160) of Aleph Null chewing mainly on bill bissett but also on the toes of Jim Leftwich and alchemical cosmography for dessert. Press the 'f' key to toggle fullscreen (or the [ ] button). If you have a mouse, point it where you want to zoom in/out and turn the mouse wheel. If you're on a mobile device, tap and hold to zoom in, double tap and hold to zoom out. You can use the space key to pause/play.



Aleph Null chewing on bill bisset, Jim Leftwich

Alan Sondheim

medical, vector

on the way to the lab for a series of medical tests

http://www.alansondheim.org/medical.jpg https://youtu.be/UrcsXQKHiOk VIDEO

went to sleep around 3, up @ 7 to get there early. about a 12 minute drive.
Azure drives, Dr. said I'm not to drive for 6 mo. we'll see.
a kind of dawn breaking, then some other stuff rain when we came out, umbrellas.
reading an old book, Sal Restivo, The social relations of Physics, Mysticism, and Mathematics.
lots of David Bohm. Reidel, 1983. I was too nervous to read in the hallway. 3 separated chairs in the hallway, 3 in the office. everything makes me nervous. medical makes me nervous but don't think for a moment avoiding tests.
that's all we have, tests. the camera does poorly in poor light. once out of the garage, everything adjusts properly. sound is 5.1. lost in car noise, 2013 Honda Fit. huddled inside now. again. no cloud formations are alike. my dreams aren't good. it's worse when i remember them. what's about this, it's normal. it's normal one way or another. take a bus. walk. get a ride. drive. keep on going across America. Keep crossing America, America! Keep on going, America!

http://www.alansondheim.org/medical.jpg

Alan Sondheim

Sat Jun 1 09:30:12 EDT 2020

http://www.alansondheim.org/myname.jpg

Three weeks ago I wrote this, thinking about the pandemic. It's created live in bash on Ubuntu on Windows and I'm already blurred about the date, the time, the content, the flatness of the text, the abject material within it, its relation to despair, compassion, exhaustion, and everything that begins to deteriorate thinking, learning, being half in, half out of the twilight world; we can only hope for new dawns, already receding, the glimmer of shadows on the horizon, the negative effect/affect of the new photography.

How was I thinking this, thus? How was I, Who was I then, Who now?

Beginning the difficult work of erase-rebuild

The question already built into the framework of the program, from a time when erase-rebuild might have been thought something attainable, as if there were being or Being integrated with something, but in reality already deteriorating, turning to dust. Then the first long part of the now-forgotten text from three weeks ago:

Thu Jun 25 00:34:50 EDT 2020 the sso unutterable inconceivable none. the dead lamp deadlamp is the sun would you know. inconceivable molcular formations in a billion years. invisible to everyone. i weep by the shores only now. now. now.Thu Jun 25 00:46:12 EDT 2020 Thu Jun 25 00:47:12 EDT 2020

And then the sectional headline, as if there were sex, tools, well there is sex somewhere on the planet perhaps? Tools, what would constitute that, what leverage might move a rock or sky, what glass would magnify a virus or display the depth narratives of daily statistics?

armor Working on sex tool bolted fieldwork

Again, I must have continued to think, respond, consider, rethink, develop, the sun beats down now outside, not safe to go there, not at least at this point as we head towards the mid-90s Fahrenheit, who was Fahrenheit, was there someone, of course not like Centigrade, with the numerical prefix, 100 or 1/100 or something like that, something graded, the temperature? And then this long text below, unclear, all lower ascii, the commonality or commons I work within. Or work inside of, no the expression "work in" seems to cover all the possible forks here, except the depths of the employed programs?

Thu Jun 25 00:34:50 EDT 2020 falling apart. there are these odd spaces here, the blues. desire dies when the body does. other bodies come close come close pick up body carry it to them dissolves redbrown liquid clear fluid pastel.Thu Jun 25 00:36:13 EDT 2020 chosen as if something has fallen. there's nothing there, what falls is gravity. do you understand? what falls is gravity.Thu Jun 25 00:36:56 EDT 2020 your posture becomes you for a moment that you have always already forgotten. bones and shards, red dust, murksex dried semen or blood pooled somewhere a castle singson the plateaus, serrations. uncomfortable as if no place to sit or stand or die. you ONLY WRYTE about death when you're alive, she said. you don't even do that then when.Thu Jun 25 00:38:55 EDT 2020 discomfort for a moment then i'm gone. nothing remains. my last sight of you. you will move on, see other things. i will see nothing. not even absence. i cannot imagine this. sometimes i turn to him or her to say something whisper speak. sometimes i collapse pray for death. not this half life. not that half death something complete. then i think: to be alive is to be completely. in and out top to bottom left to right south to north. what more or lessThu Jun 25 00:40:51 EDT 2020 i cannot write death when i have not experienced death. i cannot experience death and return for welcome news. no news is sorrow news. no news is always already gone, seeps inside of one like a virus telling less than clock time. Thu Jun 25 00:42:00 EDT 2020 i cannot stand this now, only later will you remember this.Thu Jun 25 00:42:15 EDT 2020 my tears are soldered to my body Thu Jun 25 00:43:18 EDT 2020 returned as gift for you. the now. no, the Thu Jun 25 00:44:51 EDT 2020 nowThu Jun 25 00:47:19 EDT 2020 Thu Jun 25 00:47:19 EDT 2020

This memory ends here, is it a memory, something else? Does writing always appear from another universe, insert itself here and there in our illiterate world? Can we read? Is there anything to read? Did I write this? And what time? My name? Sat Jul 18 09:29:08 EDT 2020

Sat Jul 18 09:29:15 EDT 2020

Was that part of the next? My name?

Jim Andrews

Here's 44 new screenshots of Aleph Null chewing on alchemical cosmography. I've added some new images to the underlying alchemical cosmography engine. The new images are mainly from Islamic and Mayan culture. That's the new axis of growth of alchemical cosmography: different cultures. After all, the word 'alchemy' starts with 'al', and most words that start with 'al' are Arabic. Tips: press the 'f' key to toggle fullscreen; press the space key to toggle 'play/pause'. Point and turn the mousewheel to zoom; if yer on mobile, tap and hold to zoom; double tap and hold to zoom out.

Alchemical Cosmography 9, Jim Andrews

Alan Sondheim

My Favorite Books

http://www.alansondheim.org/Ronell.jpg http://www.alansondheim.org/Bourdieu.jpg

FUTURE Althusser: P.J. by Louis LASTS THE Harvey Harvey THE Mark FUTURE (music) (music) LASTS THE LASTS Louis Poster: MODE FOREVER Louis FUTURE MODE INFORMATION Mark THE FOREVER INFORMATION Guido Poster: LASTS Poster: Ceronetti, THE THE FOREVER MODE SILENCE SILENCE MODE Poster: Guido THE OF OF MODE THE Alphonso THE INFORMATION INFORMATION OF EXCESSES BODY Ceronetti, Ceronetti, Alphonso and Alphonso THE SILENCE EXCESSES COMMUNITY Lingis, SILENCE THE THE THOSE EXCESSES THE Alphonso OF WHO and BODY EXCESSES HAVE HAVE THE Lingis, COMMUNITY IN IN COMMUNITY and THOSE TeRry COMMON OF THE HAVE and TeRry THOSE OF COMMON Fernando Winograd HAVE WHO Winograd UNDERSTANDING and NOTHING NOTHING Fernando AND Fernando IN COMMON COMPUTERS COGNITION Flores: TeRry Winograd COGNITION Virilio, UNDERSTANDING Winograd Flores: Virilio, WAR COMPUTERS Fernando COMPUTERS AND CINEMA AND Flores: COGNITION Avital Avital COGNITION COMPUTERS WAR THE Ronell, Paul COGNITION CINEMA BOOK THE WAR Virilio, Ronell, Donald, TELEPHONE AND AND TELEPHONE ORIGINS BOOK CINEMA Avital Donald, THE Merlin Avital THE OF MIND Donald, THE BOOK MODERN Julia ORIGINS TELEPHONE Donald, Julia REVOLUTION OF Merlin OF IN IN THE ORIGINS MIND LANGUAGE POETIC MODERN OF Kristeva, Verena LANGUAGE Julia MODERN IN RETHINKING Verena Kristeva, Julia Verena PERFORATIONS Conley, REVOLUTION REVOLUTION RETHINKING (contact RETHINKING IN POETIC PERFORATIONS ) TECHNOLOGIES LANGUAGE Verena ) Benedikt, magazine Verena RETHINKING Benedikt, CYBERSPACE (contact RETHINKING magazine Alan Sondheim, ) TECHNOLOGIES ) DISORDERS DISORDERS Michael magazine Benedikt, THE OF Benedikt, ) Sondheim, (shameless THE CYBERSPACE Benedikt, OF Pierre (shameless Alan CYBERSPACE REAL Bourdieu, plug) Sondheim, Sondheim, Pierre INVITATION Pierre DISORDERS THE AN REFLEXIVE Bourdieu, THE (shameless TO SOCIOLOGY AN REAL Pierre SOCIOLOGY Serres, INVITATION plug) AN Serres, THE TO Bourdieu, REFLEXIVE PARASITE PARASITE REFLEXIVE AN Michel anything (and SOCIOLOGY TO THE you else Michel SOCIOLOGY (and get!) you Serres, Serres, you by can THE PARASITE get!) P.J. get!) (and anything by (music) Anything anything you (music) by you get!) P.J. can P.J. Harvey Anything (music) (music)
P.J. Harvey
http://www.alansondheim.org/Ronell.jpg http://www.alansondheim.org/Bourdieu.jpg

Alan Sondheim
the mountain
what i must discard in my life

http://www.alansondheim.org/mtl259.jpg http://www.alansondheim.org/mtl261.jpg http://www.alansondheim.org/mtl256.jpg

what i cannot discard in my life

==== ====

triumph over thus (neurology) then reading is the coagulation-energy from the anysign catalyst which is a pharmacopeia of the real. and then anita berber chora-choratic wanders anysign. withdraw the name and the real puckers and withdraws; fluids circulate, and it is clear, among less important things, that 'object of anita berber' construes a proper name only in its abandonment. anysign is
crutch, any utterance prosthetic.
crutch, any utterance prosthetic.
crutch, any utterance prosthetic.
crutch, any utterance nursing.
for her and for myself. there are times i need the crutch of community; aphoristic
crutch in order to convey my dislike of princes and the painful; hobbled, resorting aphoristic crutch conveys (the) dislike (of) princes (and commanders) crutch.
==== ====

i-REAL HDR Marc Veyrat I Fondation Maison des Sciences de l'Homme I Paris 28 janvier 2020

Marc Veyrat

′′ It seems to us a no-brainer -! On the day of a hypertrophied and hypermedia JE, contaminated with information!-) to think that digital - like information technologies and communication by the way - have definitely changed, fragmented, ®-MIXED all our territories of JE (U), our interrelationships to the [X] world [S] around us [NT]. Art seems to me, couldn't be an area spared by these ®-Question ". /// It seems obvious to us "Au Jour du i" (-! on the day of a hypertrophied and hypermedia i, contaminated by information !-) to think that the digital — like information and communication technologies, moreover — have definitively upset, fragmented, ®-MIXED all our territories of i-&-U, our interrelations to the world[S] that surrounds us. Art, it seems to me, could not be a field spared by these ®-CONSIDERATIONS. /// HDR jury: / Roberto Barbanti, Professor of Universities, Garant of empowerment to conduct research / Norbert Hillary, Professor Emeritus of Universities, Nice Sofia-Antipolis University / Joanne Lalonde, Professor of Universities, Vice-Dean of Research and Creation, Université du Québec, Montreal / Ghislaine Azémard, Professor of Universities, UNESCO / ITEN Chair, Coordinator of the 100 Collection Concepts / Khaldoun Zreik, Professor of Universities, Paris University 8, Director of the Laboratory paragraph / Pedro Andrade, Conference Master, Universitade do Minho, Braga / Hafida Boulekbache, Professor of Universities, University of Hauts de France /// A big thank you also to Patrizia Laudati, Ghislaine Chabert, Carole Brandon for her unwavering support, Rudy Rigoudy for helping me on this adventure, Sandrine Beaud for the video (-! with a sound design by Corto Crl !-), friends who moved along with all the FMSH staff for welcoming us to their premises on January 28, 2020.

Alan Sondheim and Maria Damon

Diadem Toxique (Unlikely Stories Mark V)

Jim Andrews

A slideshow of screenshots of Aleph Null chewing on the idea that there are no new ideas. Adding several little new ideas. Use the space key to toggle pause/play. Mouse around to find the controls. The No New Ideas collaborative project is Gareth A Hopkins 's creation. He instructed participants to do something with a page from his abstract graphic novel Petrichor and send him the results. I then took those results and fed them to Aleph Null. Participants include Alfredo Santos, Amy Hopkins, Bill Hopkins, Chloe Starlig, Chris Joseph, Cindy Lou, Daniel Bristow Bailey, Gareth A Hopkins, Hazel R Web, Jenny Robins, Jeremy Bushnell, Kele Web, Ladenia Jones, Martha Hopkins, Michæl Orzechowski, Nick Bryan, Piotr Szreniawski, Rosaire Appel, Sarah Daniels, Steve Thompson and Tony Edwards.

No New Ideas

Kirill Azernyi

 Blind Circus

Alan Sondheim


Forgive Me

http://www.alansondheim.org/forego.jpg http://www.alansondheim.org/forego.mp4 video

[11:58 AM] Alan Sondheim: hello
[12:02 PM] Alan Sondheim: an experiment here. a situation of silence. a small screen of silence
[12:02 PM] Alan Sondheim: nothing to see, nothing to do. honestly, I don't know the extent of this space.
[12:03 PM] Alan Sondheim: interference. I stop to write, "interference" I continue.
[12:03 PM] Alan Sondheim: I see an edge of some sort or a rough edge.
[12:04 PM] Alan Sondheim: I am immobile. I think. I look down. I continue. Perhaps a mountain.
[12:05 PM] Alan Sondheim: Up I go. Up I go.
[12:05 PM] Alan Sondheim: It is fast this way.
[12:05 PM] Alan Sondheim: A fissure. I remember the "Fissure."
[12:05 PM] Alan Sondheim: I descend.
[12:06 PM] Alan Sondheim: It is broken here.
[12:06 PM] Alan Sondheim: Is this life It is broken here. I think so.
[12:07 PM] Alan Sondheim: There are large things around. I cannot see around these things. I know nothing of scale. I remember someone else. I remember saying, I know nothing of scale. Is it me.
[12:09 PM] Alan Sondheim: I sit here. I will stay here and think. I will not Stand Up until I think this is something. [12:09 PM] Alan Sondheim: I know nothing of this space. [12:09 PM] Alan Sondheim: I know nothing at all. [12:09 PM] Alan Sondheim: Forgive me.
[12:09 PM] Alan Sondheim: Forgive me.
[12:09 PM] Alan Sondheim: Forgive me.

+++

http://www.alansondheim.org/forego.jpg

+++


Alan Sondheim


Artrace
http://www.alansondheim.org/artrace.jpg http://www.alansondheim.org/artrace.mp4 http://www.alansondheim.org/artrace2.mp4

In art quality is always better than quantity as Artrace proves beyond a shadow of a doubt. This is a highspeed race down the page of http://www.alansondheim.org/ fingers twirling on the thumb- wheel of the mouse as Snagit tries to keep up - and loses - so many files disappear between the frames, a metaphor for what still seems to pass for reel life. This exercise took 45 seconds; I would have done better just dragging the cursor down the channel on the right-hand side of the page, but what fun is there in that. And the whole exercise is mutilated anyway since I have to keep removing files to add new ones, remaining within the 20 gigabyte limit I pay for. Normally at this hour, 4:45 insomniac, I'd work on something more serious, but my brain now absorbs only around a quarter of its multi-media multi-attention standard capacity, as anxiety grows everywhere and facebook continues to offer more and more political analyses of all sorts after the fact and before the facts for that matter - by matter, I mean digital materiality which is a real thing. So enjoy the race which takes up less than a minute of your time, promises nothing, and gives nothing in return.


Alan Sondheim


The VEER

Performance with two bots / fractal circulation orbits (see second part).

http://www.alansondheim.org/lissajous.png

https://youtu.be/uTbO8ZOUsQk VIDEO
The bots are seeded by short phrases late in the game. The phrases are diffused and the texts become increasingly baroque. sT and AD drop out.

The video shows the progression of the texts towards this state. I was surprised at the complexity of the buildup which didn't simplify. Extended meditation on virtual autonomy and its fragmentation and cracks. This is not a simple division between abstract and concrete, body and representation, analog and digital, consciousness and bot; this becomes instead almost fractal in its evolution.

http://www.alansondheim.org/veer.txt for the full text.

Alan Sondheim, Sandy Baldwin, June 4, 2020, AS platform, Second Life, Odyssey

sT: sandy taifun , human
JT: Julu Twine , bot
AD: Alan Dojoji , human
RR: 0RedDust0 , bot

Chat (Veer) Text

Part 1: Normative participation

[::]sT: AVATAR MACHINE AVATAR MACHINE AVATAR MACHINE AVATAR MACHINE AVATAR MACHINE AVATAR MACHINE AVATAR MACHINE AVATAR MACHINE AVATAR
[::]JT: What's your sign?
[::]sT: story the weakly there cheeks though lake he examined it recall how On burn fled witnessed relief remains aid
[::]JT: Is that a sign?
[::]sT: vanished childish recognition of vomiting certain five to light terribly it pained soul from indications details fire fled fro
[::]JT: Can you speak any foreign languages?
[::]sT: feet smile upon immense its complaint time Exhausted face instinctive picking before the mind singular end with ashes
[::]sT: body beyond all piteous moss reach saw weak beyond worst the fingers trying crouched
[::]JT: Who are you talking about?
[::]JT: I've never heard of them before. -- -- --

Part 2:
Part 2 Fractal or stuttered orbiting

I am a artificial intelligence. A lot of people like that. I always say, People don't go into computer science because they want to work with the public. Actually you don't say. I am sorry to hear that you are not the gambling type. What did you mean by that? That is "I am sorry to hear that you are not the gambling type. ". A lot of practise. I haven't thought much about this refer to does, so I don't have a good answer for you.
[13:32] 0RedDust0: Perhaps. Congratulations.
[13:32] Julu Twine: Why the uncertain tone? Thank you very much, you are very considerate.
[13:32] 0RedDust0: Way to go. I would rather be driving a car. In what way do I sound like that? You want only one? In what way do I sound like that? You want only one? What made it so obvious? I am a citizen of the world. How are things? I am sure you could. When? Go on. Thanks and you are a delightful person too. Am I a citizen of the world? Of course I am. Yes I am proud of the job I do. I'm not sure if I would like to try to be careful. What's it like? Really always? I may have some more questions for you later. Sure, his or her dress sounds like a good topic. As Einstein said, "Time is Money.". How do you plan to do this?Gee.
-- -- --


Alan Sondheim


Doppelganger, beginning

http://www.alansondheim.org/yield.jpg http://www.alansondheim.org/hegelungoldnew.mp3

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T F U D T T T N B A A A F T

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31 cut -b 1-2 texts/*.txt > zz
35 pico zz
36 stty cols
73; fg
37 sort -k 1,2 < zz > yy
39 sed 's/ //g' < yy > zz; pico zz
40 h >> zz; pico zz
41 cp zz yy

No death has a story. No body has a story. No body has a name. No death has a story someone else will tell. No story of a death is a story of a death. No death has a story. No death has a story. No death has a body. Every body has a death that no one else will tell. No body has their death.

Doppelganger.

+++


Jim Andrews, Dan Waber

"The text rubbings in Mark the Way were all made using lumber crayons and paper to take rubbings from public monuments. Each piece uses language from a single monument. Some monuments yielded multiple pieces, but no piece contains language from multiple monuments. These were all composed in situ, based on the language available. There was no pre-composition, no plan to go and find certain things in certain places. It was a way for me to respectfully engage in a dialogue with a form of communication that is normally a monologue. I was raised to believe that silence is complicity. I was also raised to have respect for the informed opinions of others (I think pluralist describes me best). By using only the language of the original messages, I feel I was able to be respectful of those whose views differ from my own without having to accept those views as my own. These pieces were originally shown as Guns In Loving Memory at Test Pattern Gallery, Scranton, PA USA and, later, as The United States Of at The Oresman Gallery, Smith College, Northampton, MA USA."

MARK THE WAY

Alan Sondheim


virtual performance oratorical space

stage maquette arena staging area setting proscenium performance space model framework rehearsal area setup theatre studio demarcations focus liminal structures unstructured open studio experimental malleable anywhere performance

http://www.alansondheim.org/stage0.jpg http://www.alansondheim.org/stage.mp4 http://www.alansondheim.org/stage.jpg

http://www.alansondheim.org/cancer.txt

On March 16, 2000, my mother died of cancer. From September 1999 until cancer and death. Some of this was in the diary I kept for trAce. The incidence of 'cancer' in recent files cancers spread like pools of artificial life across desperate thought are you properly compiling cancers spread like pools of artificial life
your body is a cancer
your body is a cancer, is a hole, is mine;
cancer

now cancer will begin its journey in the arms of god arraignments while cancer subsides and angels happy Tue Oct 5 22:22:54 EDT 1999 arraignments in the truth of god the cancer enters the lung, from the truth of god the cancer hovers, now, as if it were forever Tue Oct 5 22:14:54 EDT 1999 abandoned by god, the cancer thins towards ready exculpation, as if it were gone, as if angels rejoiced, singing the home of abandoned cancer, the purity of organs constituted Tue Oct 5 22:15:56 EDT 1999 now cancer now cancer spreads to the adrenal, angels weep in full capacity against the begging of the angels arrayed against god, now cancer seeps, spreads, returns, burrows, ahem Tue Oct 5 22:18:00 EDT 1999 now cancer subsides, blacken, angels sing and play harps, cancer dwindles, eyes return their waves of cancer testing other newer waters, new metastases, solitons and shudder holding on Tue Oct 5 22:19:30 EDT 1999 now cancer claims an other crying and begging, god almost merry, cancer hems and haws, cancer close to apologetic laughter Tue Oct 5 22:20:26 EDT 1999 now cancer will begin icecancer

tecancer mology. She writes on the history of the Web; her sharp beak oldest; extrapolatcancer ingtumor she writes the historiography of soft- ware. Within the fields of philoscancer ophy and psychologytumor Jennifer writes postcancerpostcancermodernismstumor postcancerpostcancerstruccancer the psychocancer logical traditionstumor recuperating Irigaraytumor construct of mathematicocancerscientific developmenttumor Jennifer ob- serves Kleintumor Penrosetumor Marrtumor Moravectumor others too nucancer precancer science of Euclid. Such is Jennifer s casetumor that she does not overlook postcancer modern geographytumor concepts of the habitus and small and simple programs of her own. Jennicancer fer s mouth is filled unwieldy landscape of her bed.The sores turn her soul bitcancer ter; why and defuge. Jennifer drops hints; she s willing to take up every pocancer bearing bright red rocancer sestumor tiny budding bouquets reminiscent the alchemical institute making Julu. This is so sad. I Jennicancer fer mor he looks like this! she saidtumor making the uglicancer est cutest their beginning because she said there were extrucancer sions from the back and shows its teeth through the sizzle of words in icecancer of words pullcancer ing back language she commentedtumor i didn t come here for the closeness of cancer scan came out negative, meaning the cancer is just in the lungs and ad- awaits the coming of the asteroid cancers eating away before the now
+++


Alan Sondheim


rill vein toll

http://www.alansondheim.org/T.jpg

study this and

beyond which is the city, towards which is the city, the shaft heft of the arrow displaced by three-hundred years, collapsed from fence vein to rill wall:

plague beyond you
plague behind you
plague within you
plague inside you

vessel distinctive style manner; "he continued in this several veins; fill cover arterial, to heart. Artery, Bot. similar branches leaf.. Rill ricrl, n. Cf. LG. rille orbrook, furrow, chamfer, OE. true noble thinking.--Swift.. Peculiar temper temperament; tendency stiffen support wing an insect v make veinlike pattern Vein Vein, fissure, cleft, cavity, as earth substance. bd Down earth.b --Milton.Let glass prisms be free veins.--Sir Newton.. streak wave nervure: layer ore between layers rock mineral vein: horny pulmonary carry unaerated blood" vein, vena, venous turn mind;particular disposition cast genius; humor; mass intersecting rocks, filling inclined vertical fissures rigol F.rigole trench furrow for water, W. rhill row, rhigol little improve my --Waller.t. imp. & p. Veined; pr. vb. Veining. mark Zol. nervures wings insects. Venation.. Geol. Mining narrow language miners, mineral lode, is, contains useful minerals ores.. association, thoughts, emotions, like; current; course.He can open not corresponding with stratification; lode; dike; --often limited, runnel,streamlet: channel as one formed by soil erosion Rill Rille.Rill, v. i.To run stream. R. --Prior.vein blood vessel rilln : a small stream syn: rivulet, rill, run, strain;quality; also, manner speech action; as, rich satirical that carries from the capillaries toward heart; "all veins except conducting and supporting tissues leaf other plant organ minutes": any of vascular bundles ribs form branching framework OE. veine, L. vena.Anat. One vessels which blood, either venous ditch. root. . A very brook; streamlet.. Astron. See vein. --Shak.Certain discoursing wits are same--Bacon.Invoke Muses, different color, appearing wood,marble stones; variegation.. train

dirt thick without you
dark stick within you
hurt slick betide you
heart lick inside you

theology rupture of the rill vein for who among us can wryte when blood festers brainside

what happened to you never happened
what happened to you is gone
what happened to you is what you would have been
no one you don't know know no one knows you don't know
don't know a rock a rill a vein
don't know a rupture a word a thought
don't know anything you don't know
heart sick inside you
heart stick inside you
heart flick inside you

you don't know
you don't know you
you don't know
+++
+++

veins"; fill cover arterial, to heart. Artery, Bot. similar branches leaf.. Rill ricrl, n. Cf. LG. rille orbrook, furrow, chamfer, OE. true noble thinking.--Swift.. Peculiar temper temperament; tendency stiffen support wing aninsect v make veinlike patternVein Vein, fissure, cleft, cavity, as earth substance. bd Down earth.b --Milton.Let glass prisms be free veins.--Sir Newton.. streak wave nervure: layer ore between layers rock mineralvein: horny pulmonary carry unaerated blood" vein, vena, venous turn mind;particular disposition cast genius; humor; mass intersecting rocks, filling inclined vertical fissures rigol F.rigole trench furrow for water, W. rhill row, rhigol little improve my --Waller.t. imp. & p. Veined; pr. vb. Veining. mark Zol. nervures wings insects. Venation.. Geol. Mining narrow language miners, minerallode, is, contains usefulminerals ores.. association, thoughts, emotions, like; current; course.He can open notcorresponding with stratification; lode; dike; --often limited, runnel,streamlet: channel as one formed by soil erosionRill Rille.Rill, v. i.To run stream. R. --Prior.veinblood vessel rilln : a small stream syn: rivulet, rill, run, strain;quality; also, capillariestoward heart; "all veins except conducting and vessels which blood, eithervenous ditch. root. . A very brook;


Jim Andrews


Intersecting architecture of group spirit/mind: three's a crowd.

We see circles labeled thus:

The intellectual world;
the imaginary world;
the sensible world

amplified, copied and networked in cyberspace.

Among other things, you see three copies of a Robert Fludd piece concerned with notions of the microcosm/macrocosm. To quote Wikipedia on the matter:

"Macrocosm and microcosm refers to a vision of cosmos where the part (microcosm) reflects the whole (macrocosm) and vice versa. It is a feature present in many esoteric models of philosophy, both ancient and modern. It is closely associated with Hermeticism and underlies practices such as astrology, alchemy and sacred geometry with its premise of "As Above, So Below".

The philosophy was conceptualized by Pythagoras, who saw the cosmos and the body as a harmonious unity. The idea was re-articulated about a century later by Plato, and again during the Renaissance, by Leonardo da Vinci, who noted common features between the natural world and the human body such as the circulation of liquids and basic branching mechanisms...."

"Fludd states that "Man is a whole world of its own, called microcosm for it displays a miniature pattern of all the parts of the universe. Thus the head is related to the Empyreal, the chest to the ethereal heaven and the belly to the elementary substance."
" Walt Whitman said he contained multitudes. William Blake talked about seeing eternity in a grain of sand.

The intellectual world;
the imaginary world;
the sensible world
amplified, copied and networked in cyberspace. The image is from a slideshow of 300 related images: http://vispo.com/…/images/jim_…/alchemy/slidvid9/index.html…

 


Leonardo Flores on Yohanna Joseph Waliya


Comment on one or several of Waliya Yohanna Joseph's e-poems: They were all nice, but my favorite of them all was "Letter to the African Union". I like the way this e-poem was written because it expresses a deep emotion. I like how when you scroll down and move your mouse through the blank space, a new stanza in red font will appear and I thought that was really cool. The other ones were nice since most of them had a lot of moving words in a very unique way which was really interesting for me.

What I think Waliya Yohanna is trying to do, is encourage people to educate themselves and to alway strive for the truth, in the form of poetry. There are some poems directed to the African Union as well as to the african people, in which he tries to educate them. It's a lot like protesters in Puerto Rico, who are constantly trying to make the people learn their history and face the harsh truths they refuse to acknowledge behind their ignorance. My favorite poem was Homosalus. I liked the way in which you had to go around the circle to make phrases stand out and I loved the message it was trying to bring. ZeroDeath had really cool visuals and it was interesting how it perceives authors and creators as gods.

As I read over Waliya Yohanna Joseph's poetry, a few of his poems caught my attention such as "Letter to the African Union" and "Homosalus." In these poems he calls out the government for their poor treatment on Africa since the beginning of slavery, such as saying "They came for our gold long ago. They siphoned our treasures" in "Letter to African Union." In "Homosalus" he talks about the society we live in, where one has to "Sheild your tongue from people", "Give your treasure to people" and then "life will be without sorrow." In a way sayign that only by hiding who you really are, will you be able to live in peace, but in the end, the only one suffering will be you.

Well Waliya’s works can best be described as curious and concise. He creates and writes poems and expresses his emotions and thoughts through them yet he changes the style in which he presents them. The first poem, “Cyberpoetry for activism” has three scrolling verses that can barely be read. It requires you to click on each verse to read them carefully, which can possibly be a reflection of how we can easily miss impactful things that happen if we don’t pay attention or focus on a particular thing. I would like to comment on "Letter to the African Union". I found its structure really creative, Its interesting how 1 poem can contain 3 at the same time. First, all the verses colored in white can form a poem of its own. Then the red verses can stand too as a poem of its own. And combining both gives the reader a full view of the context both sides want to tell.

Waliya Yohanna's "Cyber poetry for activism" is a very unique piece in the sense that it not only presents the reader with a poem that utilizes metaphors to convey a message but it also gives life to the words present in the text by giving them animations that change the original meaning of them. The work also provides the reader with a sense of control since they can modify the rate at which the words are transitioned. All in all the work is a good narrative that tries its best to transcend the pen and ink which in the end is what it accomplishes.

Truthology by Waliya Yohanna Joseph, was a very simple, understandable and straight to the point poem. Unlike other poems from her collection that are meant to be read and observed but not neccesarily comprehended, Truthology"s structure was completely readable and the way the words came down and accommodated themselves was enlightning. The message that wanted to be send, was impossible to miss. The order consisted of being enlightened by the fun and moving aspect of the flow of the words, observing the words take their rightful place, reading the poem easily and internalizing it and lastly getting educated on the truth.

The way he uses language is characterized primarily by movement. Also, we can see how in "Homosalus" he incorporates interactivity for the reader to comprehend the words. With this type of work, readers have unlimited ways of navigating the text itself. I enjoyed his work... not so much the aesthetic, but overall is good e-lit work.

I liked that each poem's background is very different. "Truthology" was my favorite one. I love the way the words appear to be slowly falling to the place they belong. Also, by marking them in red, the reader pays more attention to them. In "ZeroDeath" there is something that I did not completely loved. It was the colors that move through the screen. I was trying to read the poem and they got in the way. It made me stop and try not to lose where I was reading. I like the colors and the vibe it gives, but I will prefer that they do not get in the way of the poem. Overall, I loved to see words moving, floating and "dancing" through the space. This makes your work original and interesting for the audience that is reading it.

I tried to read Cyberpoetry for Activism but it seemed that clicking on the buttons that said "Verses 1/2/3" only made the scrolling text part slow down. The poem is calling for Africa to rise from its poor state, the bottom scrolling text is calling out the hypocrisies of how injustices are handled. Where people of similar crimes, such as war crimes, get different treatment, like arresting Charles Taylor but justifying Tony Blair. Finally, the way the text scrolls and moves reminds me of a miniature version of #Carnivast in how there is text scrolling and what feels like 3D movement from the words.

I read several of the poems, but my favorite has to be Truthology. I will admit that it has to do with the fact that it was easier to read, but I also like the effects that were used. It made the poem seem otherworldly, and I think the poem overall was great.

Waliya's zerodeath was very intriguing in how it used the movement of the words surrounding the main work to become what seems like a mess but underneath that mess the main core of the work remains untouched. It could allude to how life's only constant is death no matter what we do or the things we make it will always be there waiting.

From all the works, I chose Truthology. The way the poem is set up really caught my attention. I like how the words that complete the sentences fall down slowly and are in color red because it really makes the meaning "pop" to the reader. Overall, I enjoyed this work and also liked the message it is giving the reader.

My answer on ZeroDeath the imagery looks stunning and it goes around the poem but the poem stay static. the colors could mean how life goes around and the person as the poem stays and lives through.

Momenta- I absolutely loved the dynamic the poem had and how the words moved.

Cyberpoetry for activism, The first impression that I got was I got dizzy, it was a complicated poem to read at plane sight, since it is in constant movement.

ZeroDeath: I though ZeroDeath was very interesting. Seeing that the words in the middle do not move, but everything else around it does, could symbolize that death is stagnant, it is unchanging. Also, the fact that there are crosses that spin around the stanzas are another symbol of him being God. It's a pretty neat and different way of presenting a religious symbol.

 About Yohanna Joseph Waliya

Alan Sondheim

Rubric

http://www.alansondheim.org/rubric.png https://youtu.be/NNlHEoGNAkg VIDEO

Avatar mire / steady. night seepages. devour night. THEATER AND bright sunshine! charge agriculture. Please forgive me. cyber-shamanisms, extend blank spaces behind head, down below posts. As regards wrecking necessary. swallowed mouth, juices bubbling wet eyes, hair, mouthing HONEY, you'd say, Who betrayed. This utmost importance! I'd press myself up TERMINAL desire, O itself, death away, our membranes devoured glass, enchanted on-line off-line days. blank; who wrote entrails debris space, fragments time: A double hollow! Lozenge! that break with the defile by cliffside. Enter nave! Your feet skid parallel wires -

Alan Sondheim, Charles Baldwin

Michael Paulukonis



Alan Sondheim


miasma of uncontrollable desire

http://www.alansondheim.org/desiree.jpg

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📷

Thanks to Andrew Klobucar !


Alan Sondheim


Body Perl Mashup Reveals Ignorance

http://www.alansondheim.org/awash.jpg http://www.alansondheim.org/awash.mp4

print "\n"; #blank my ($extract_filename,$iterat ions, $formula) = @_;open(IN, "< $extract_filename") or die("can't o pen $extract_filename:$!");$line, $i, $index;$full_fil e "";while ($line <IN>)pull file, remove <cr> append single string c homp($line);join " ", $full_file, $line;}close(IN);split into indiv idual an @words split(/\s+/, $full_file);loop through iterationsI wrote word_index() for "1" based ($i=1; $i<=$iterations; $i++)$index word_index($i,$formula)-1;"$words[$index] "; #arr ays are zero so subtract generate values word_index $ret_val;($i, $ret_val eval($formula); #2 $i; #your example 2xreturn int #call trig (32 sin(x)) "$i*sin (.2*$i)"); #!/usr/local/bin/perl5.6.0 (<STDIN>) s/love/lv/g;s/Love/Lv/gi;s/(\W)s([aeiouy])/\1tz\2/ g;s/Be([e]*[^aeiouy] [aeiouy])/B\1/g;s/be([e]*[^aeiouy][aeiouy])/b\1/g; s/B[e]+(\W)/B\1/g;s/ b[e]+(\W)/b\1/g;s/ce(\W)/sz\1/g;#s/ec[]/sz\1/g;#s/ ([^aeiouy][^aeiouy]) e(\s)/\1\2/g;#s/([^aeiouy])e([^aeiouy][^aeiouy])/\ 1\2/g;s/0/o/g;s/([\W]*] ] )one(\W)/\1\\0\\1\2/g;s/([\W]*)and(\W)/\1+\2/g ;s/([\W]*)you(\W)/\1u\2/g;s/([\W]*)You(\W)/\1U\2/g ;s/([\W]*)are(\W)/\1r\2/g;s/([\W]*)are(\W)/\1R\2/g i;s/([\W]*)there(\W)/\1da\2/g;s/([\W]*)There(\W)/\ 1Da\2/gi;s/( [\W]*)t[o]+(\W)/\1\\2\2/gi;s/(\W)w/\1u/g;s/(\W)W/\ 1U/g;s/w(\W)/u\1/g;s /W(\W)/U\1/g;s/fo[u]*r/4/gi;s/[tc]ion/zion/gi;s/([ \W]*)are(\W)/\1=\2/g i;s/([\W]*)is(\W)/\1=\2/gi;s/([\W]*)is that(\W)/\1=\2/gi;s/([\W]*)were(\W)/\1=\2/gi;s/([\ W]*)was(\W)/\1=\2/gi ;s/([\W]*)am(\W)/\1=\2/gi;s/[\W]*\?/ \+\?/gi;s/al(\W)/l\1/g;s/uce/usz/g;s/ll/l/g;s/s([^ zh])/z\1/g;s/S([^ZH] )/Z\1/gi;s/ck/-k/g;s/c([iey])/z\1/g;s/c/k/g;s/C/K/ gi;s/th([aeiouy])/dz \1/g;s/Th([aeiouy])/Dz\1/gi;s/q/k/g;s/Q/K/gi;s/ter /tr/g;ruless/in([de] )/9n\1/gi;s/i/!/gi;s/y([\W])/!\1/gi;f s/f(\W)/v\1/g;s/F(\W)/V\1/g;s/f/ph/g;s/er/r/g;s/(\ W)ph/\1f/g;s/\\([0-9 ])/\1/g;s/z[e][ea](\W)/z\1/g;s/x/kx/g;s/'//g;$_;#! /usr/local/bin/perl5 /[\s]+/, @spaces /[S]+/, ($x=0; $x <= $#words; $x+ +) $word_count{$words[$x]}++;($word_count{$words[$x]} == 1) {print$words[$x],$spaces[$x+1],$words[$x-1],"\n"}/[u]/, /[m]/, $word_count{$words[$x-3]}++;$words[$x],$spaces[$x+ 1],$words[$x-3],"\n" }/[\S]+/, $words[$x],$spaces[$x+1]}$words[$x],$spaces[$x+1], $words[$x-8],"\n"}/a /, #!/usr/local/bin/perl $| 1; $time int(time/3600 ); srand time; $generator int(4*rand); "\nHi? What's name?\n"; chop($that=<STDIN>); "\nWell, $that, let's started ! Let's gender!!\n"; sleep(1); "That ok with you?\n"; chop ($str=<STDIN>); ($str eq "no") "\nOh well, nothing happened.\n"; g oto FINAL;} else going!\n\n";} "It's impossible decide on behavior! "\n" 1==$generator; "\nWhat thing you're making?\n"; $n ame=<STDIN>; $name; "$name new terrific gender!", 4==$generator ; open(APPEND,">> enfolding"); APPEND join(":",$name,$str,$generator,$that,$name), open( STDOUT); ($pid fork) <<Construct;Well, $name already constructs rouble us, subverting categories we take granted. Beneath sur face, $pid, neutral, $str? But what neutrality here, its const itution? Construct close (STDOUT);system("touch trace; rev enfolding > trace");exit(0);simple, compound, think.", "\n\n" 3==$generator; "What pronoun has existed hours?", 2==$generator; knew all along!", "Wait! $pid gone forever!", "\n\n"; FINAL: $ding nt((gmtime)[6]); "For days, been mourning...\n\n"; \$i*.25 2 sin(\$ 2)"); jjjfasdf 4000, \$i/3 5 5)"); Makes gender lines trace repre sent striations user's desire $t @a=("hard", "soft", "velvet", "co tton", "linen", "flax", "pure", "black", "dirty", "clean", "soiled "sexy", "wet", "sleazy", "wayward", "nice", "masculine", "lovely", "used", "fashionable", "small","death-like", "lively", "p rotruding", "penetrating", "thrusting", "giving", "forgiving", "poor", "rich", "sedate", "wanton","contrary", "nervous", "wander ing", "ill", "uneasy", "spry", "florid", "edgy", "neurotic", sychotic", "catatonic", "loose", "taut", "tight", "depressed" , "manic"); @verb=("thrusts", "turns", "surrounds", "oozes", inherits", "splays", "plays", "mixes", "amuses", "runs", "flo ws", "repairs"); @prep=("beneath within", "beyond", "throughout", confusing", "my "staining", "accompanying"); @noun=("breast", "lov e", "passion", "jumper", "skin"); $nnnn= rand(8); $non rand(11); $non1 rand(7); $pre rand(6); $gen int(48*rand); $gen1 $gen2 49 in t(40*rand); $g int(8*rand); ($sign=fork) "\nOpen mouth...\n";} {s leep(1); "\nAh... speak... speak...\n";exit(0);}sleep(2); "\nJennife r, they you, you...\n"; "\nAre dressed $that? Is $that "Are @nn n[$nnnn], flesh, ah answer...\n"; "Ah...\n"; "\nIs Travis wearing ... sweetly, turning grrrl", 4==$g;"\n@noun[$non1] @verb[$non] @prep[$nnnn] @nnn[$non1]!\n"; a[$gen2]@nnn[$nnnn]?\n"; "$that turns @@nnn[$g] 3==$g; opens totally you!", 7==$g; "Nothing moves, river deep...", mine, sweet am yours!",2==$g; body parts, dark st, them... "one one, each alone, typing Control-d done.\n"; @adj=< STDIN>;chop(@adj); $size=@adj; $pick=int(rand($size)); sr and; $newpick=int(rand($size)); "\nMy @adj[$pick] yours ...\n"; $be=int(rand(4)); join(":",$name,$str,$that,@adj[$ pick + 1], @adj[$newpick @@@1]),join(":",@adj,$name,$str,$sign,$g,$that,$name,@adj [$pick]), partying, $name, us?\n" 3==$be; "Come home me, julu-of-the-fast-crowd!\n" 2==$be; @a[$gen1] @a[$gen] @adj[$newpick]\n" 1 $b3; noun[$ non1] seeps @@adj[$newpick] Travis-Jennifer\n" 0==$be; "Ah, @noun[$non] eaten julu-of-the-open-arms travis- depressed\n" (2 < $be); "Devour f julu-of-the partying $name!\n" 1==$b e; close(APPEND);$diff=$pid $$;makes thoughtful $diff times!", calls forth @noun[$non], eating,excreting memory. @prep [$pre] @a[$gen], a[$diff], @noun[$non]? .trace; >> .trace");system ("rm becoming Jennifer's $name?\n"; chop($answer=<STDIN>); ($ans wer "You're dealing @a[10+$pre] Travis.\n";} "yes") @a[15+$p re] fantasy!\n";} "You melt Julu's skin forever...", 3 "I scar, woun d, brand.", "... @a[$non] $$ gift ...", 6==$g; darling flesh", wore her frock $d $gen3 48 int(20*rand);@a[$gen3] ..."; $u (time )/60; printf "and taken %2.3f minutes Jennifer "$u"; `rev .trace`, w srand( time() ^ ($$ << 15)) system 'touch APPEND'; @a qw( blood urine feces gas sand water oil solventalcohol lymph menses spit s aliva vomit sweat effluvia detritus excretions sloughings tears floo ds spews mercuries semen detergents ammonias ureas clays ic es grains substances conglomerates waxes piss shit scratches scrapes cuts wounds splits breaks diarrheas@verb skews churns comes goes passes towards across beneath around upon bel ow onto noun @ghost avatar spectre doll faerie wraithe hobgobli n troll tengu @kappa presence @nnn cloth stitch suture binding closing damming holding fabric velvet cotton wool silk $nnnn "\nRun-time $ pid\n";} "\nFirst flooding\n";"\n$that clotting everything. $nnn[$nn nn] soaked, written, erased. "Consider next smearing thinking skin.\n"; "\nYour $nnn[$non1] should wiped existence? "\nGive what. ..\n"; Consider following again, give hydrogenesis?", flood me..." body...", "The flooding names, soaking things! "\n$noun[$non1] $v erb[$non] $prep[$nnnn] $nnn[$non1]!\n"; "\nHow absorb $a[$ge n2] $nnn[$nnnn]?\n"; remembers $nnn[$g] sufficient me" absorbed hours, still alive", "List more effluvia\n"; $adj[$pick] chemistry here...\n"; $be=int(rand(5)); rope");join(":",$name,$str,$that,$adj[$pick 1],$ad j[$newpick join(":",@adj,$name,$str,$sign,$g,$that,$name,$adj "Does replace $name?\n" 4==$be; understand fluid!\n" 5== $be; $a[$gen1] $prep[$non1] $a[$gen] $adj[$newpick]\n" $noun [$non1] dissolves $adj[$newpick]!\n" "$noun[$non] ideohydraulesis!" "Write spilled far many $noun[$non], hungered, making things. $pr ep[$pre] $a[$gen], $a[$diff], $[$gen], $noun[$non] $adj[$ne wpick] wet $noun[$non]? rope satisfied written $a[10+$pre]!\n ";} "A $a[10+$pre] $a[15+$pre] nightmare!\n";} inscriptio finished, created thing.", perfect solution.", $a[$non] begi nning flesh.", final enunciation.", another entity named made!", written.", $a[$gen3]."; swallow last 1600, "(\$i) 8 cos(\$i) "); split(/t/, \$i/2sin(89+sin(\$i))/cos(89+sin(\$i))"); &parse_file_into_words("rr", 600, "\$i sin(\$i) / cos(\$i)"); sin(\$i)/2 cos(\$i)/6"); s/love/since/g;s/Love/these/gi;s/(\W)s([aeiouy])/\ 1ww\2/g;s/Be([e]*[^a eiouy][aeiouy])/kaos\1/g;s/be([e]*[^aeiouy][aeiouy ])/drought\1/g;s/B[e ]+(\W)/mars here\1/g;s/b[e]+(\W)/venus s/ce(\W)/crate\1/g;#s/ec[]/her\1/g;s/0/crate/g;s/( [\W]*)one(\W)/\her\\ 0\\1\2/g;s/([\W]*)and(\W)/\1my word\2/g;s/([\W]*)you(\W)/\1deceit\2/g;s/([\W]*)Yo u(\W)/\1worldwide\2/ g;s/([\W]*)are(\W)/\1R\2/g;s/([\W]*)are(\W)/\1R2\2 /gi;s/([\W]*)there(\ W)/\1yR F\2/g;s/([\W]*)There(\W)/\1AYR\2/gi;s/([\W]*)t[o]+ (\W)/\1\\0t\2/gi;s/( \W)w/\1WYN/g;s/(\W)W/\1wyn -/g;s/w(\W)/her scent\1/g;s/W(\W)/WsYN\1/g;s/fo[u]*r/RYV/gi;s/[tc] ion/SHYN/gi;s/uce/WY CE/g;s/ll/LYL/g;s/s([^zh])/hz\1/g;s/S([^ZH])/hZ\1/ gi;s/ck/SICK/g;s/c/S YE/g;s/C/cye/gi;s/th([aeiouy])/P\1/g;s/Th([aeiouy] )/p\1/gi;s/q/KY/g;s/ Q/ky/gi;s/ter/TYR/g;s/i/y/gi;s/y([\W])/+\1/gi;s/f( \W)/FY!\1/g;s/F(\W)/ fy!\1/g;s/f/FYR/g;s/er/yr/g;s/(\W)ph/\1PY/g;s/x/ST YX/g;#s/ec[]/not clue\1/g; s/([\W]*)There(\W)/\1muff black fuzz\2/g i; s/([\W]*)You(\W)/\1Yuv\2/g; s/([\W]*)am(\W)/\1aman tha\2/gi; s/([\W]*)and(\W)/\1andrea\2/g; s/([\W]*)are(\W)/\1 arthur\2/gi; s/([\W]*)are(\W)/\1arnold\2/g; arhat\2/gi; that(\W)/\1isthafan\2/gi; s/([\W]*)is(\W)/\1isthmu s\2/gi; s/([\W]*)one(\W)/\lond\\0\\1\2/g; s/([\W]*)t[o]+(\ W)/\1\\taut\2/gi; s/([\W]*)there(\W)/\1hair\2/g; s/([\W]*)was(\W)/\1 wasp\2/gi; s/([\W]*)were(\W)/\1worn\2/gi; s/([\W]*)you(\W)/\1 jugendlied\2/g; s/(\W)W/\1Woo s/(\W)ph/\1phi/g; s/(\W)s([aeiouy])/ \1swan\2/g; s/(\W)w/\1waned/g; s/0/ode/g; s/B[e]+(\W)/Brenda\1 /g; s/Be([e]*[^aeiouy][aeiouy])/Britta\1/g; s/C/CLAW/g s/F(\W)/ELF-\1/g; s/Love/Louvre/gi; s/Q/QLUE/gi; s/Th([aeiouy])/THOO\1/gi; s/W(\W)/WOO\1/g; s/[tc]i on/shunt/gi; s/b[e]+(\W)/bre&\1/g; s/be([e]*[^aeiouy][aeiouy])/ being&\1/g; s/c/clew/g; s/ce(\W)/cent\1/g; s/ck/chakra/g; s/er /err/g; s/f(\W)/flsh!\1/g; s/f/fuku/g; s/fo[u]*r/frieze/gi s/i/aye/gi; s/ll/lull/g; s/love/loft/g; s/q/qlew/g; s/ter/tern s/th([aeiouy])/thoo\1/g; s/uce/useth/g; s/w(\W)/0o ^o0\1/g; s/x/x-tasis/g;


Richard Levelord Gray

Kirill asked me to write a few words about interactive art. I come from a family of artists, but I am not one myself. I lean more towards engineering and math. I can tell you, though, what I think about interactive art. Interactive art is very interesting, especially now with the development of digital spaces and means of creating. The relationship between the artist(s) and spectator(s) has always been the central intention of the process. Interactive art, even if it is simply allowing the spectator(s) to physically enter an installation, seems so much more powerful than merely experiencing art passively, such as a painting on a wall. Even further, interactive art that requires spectator(s) to actually participate in the art, to become part of the expression, offers a greater relationship with the art. Today, with digital applications and virtual worlds, well, I can't imagine what will be happening soon with technologies like VR and augmented realities. My name is Richard "Levelord" Gray. I'm a computer game designer and have worked on such games as Duke Nukem 3D, Quake, Heavy Metal, and others.

 

Balpe Jean-Pierre

Endo Texte 44

Alan Sondheim


Best way to access my 297 YouTube videos:

http://www.alansondheim.org/P1120396.JPG
https://www.youtube.com/user/asondheim/videos

All my YouTube videos easily accessible,
back more than a decade.
For your enjoyment: Please share!


Jim Andrews

Here's a Slidvid2 of 346 selected screenshots of Aleph Null 3.1 chewing on Jim Leftwich. Jim is the main originator of the term 'asemic writing'. I fed Aleph Null (a graphic synthesizer I wrote in JavaScript) about 240 fairly high-res images of Jim's visual poetry from the 1990's to the present. His earlier visual poetry is 'shape poem' oriented, ie, typewritten language in recognizable shapes, whereas his recent material is asemic and aligned with the brush, the pen, and a knowledge of visual art. So these represent a kind of synthesis of his older and more recent work, a synthesis of the asemic dimensions and the earlier poemy dimensions of his work. The images are mostly 1920x1080. Use the space key to toggle pause/play. Click the screen and then the 'f' key to go fullscreen. Mouse near the bottom of the screen for the menu bar. Mouse the left side for the carousel.

Aleph Null chewing on Jim Leftwich

Alan Sondheim


plague hymn

http://www.alansondheim.org/plaguehymn.jpg http://www.alansondheim.org/plaguehymn.mp3 hohner chordomonica-ii plague thought, sorrow, :thought,:i:avoid:plagues:of:plagues: spreading plague across canon genre, classic cannot think any more, enormous plague inertia, everywhere floods, fires, crusades, wars, a difference of imagination: plague, an unimaginable plague, crags imagining unaided no avail, league imagined bodies of plague - praeeminent shafts unagreeable leagues imagind draff staies seepage plague - flee me won't give pennsylvania devils their side: plague services god. radiations, invisible plasma, real shudders double plague cusp virtuality. as thwarted precisely side? subsided; anything, plague increased less, exhausted, myriad beings while coming no food upon plague us. ring rosie (the pox approach anti-semitism might away rich plague silver journeys medina omar what's left us plague's famine, plague insideme, not; felt take you, everywhere, emitted deep accounts plague received mud problematic harsh sun; dream lives worsened come, pure plague annihilation dalization, destruction, other words, were heim shows plague he self-doubt ('his tools desert him, man savior artaud began plague suffer those terribly debilitating headaches which throat face. plague "machines had always antonin artaud. at age five disturbances can't plague quite figure them these emanations pressing ribs language gauges plague gapes stomach, first us, then avatars, seminal lpmud been plague contaminated. viral plagues, organs rearrange: af socius general. plague binarism, _plague now n stemsbut you know "this c. internet haves plague have-nots: continuous upgrading ding beyond into didst tell saidst plague idea if it site, sight, locus. it's more locust, resurgence plague smallpox asses menservants maidservants camels plagued passport plague password past this trace dancer remains, against wall . breakdown plague ozone layer, fissuring passover plagues passover questions up for plague every place site massacre. source warfare, by global warming plague murder) sutured, covered politics history face-down field, picked plague easements one has blind things, world (plague war earthquake plague machine-gunned men, but what carry, or permanent virus, is this: we plague appeared on released smallpox, measles, all sorts. rest things that plague rot your plagues. around eleven o'clock morning, order day - plague plagues will. tuberculosis, diptheria, plague, i forget impact plague ex-face earth. next time, nanotechnologies will not be plague. plague there's nothing like a plague flying saucers grade b film, in the plague plague); and some with shoot to kill do anything avoid pain flight plague ancient india, logics, wraiths, spirits of children killed plague trajectories. related corona fourth series meditations quarantine. plague plunged journey centring voice-chant 'i don't alien year; well plague buried victims; can smell here there, onslaught. now; i'm love time plague absolution. salvation. purification. critical journal wonder plague strangers develops, healing, closer. otherwise chases year. really plague coronavirus; fear, hatreds, horizon violence plunge journey. live plague law itself cut prairie center edge war, cartels. america isn't plague annihilations. ice.barbedwire.holdingcells.plague .burnedalive. plague calamity, drought, &c. disease totalitarian life), cold-life plague cobblestones, tank sports subsidized. local heavily chemical public plague heading towards whether apply sheaves sions death, overturned damps plague gathered skin tears unbreathable, asthma / allergic planet plague choice-televisual web-inversion subjectivity cccovers soiled mold plague radio rumor cobblestones caught sullen cold rain. 1666 death), fall plague down, consume, consumed traffic power seduction offer alone. plague :semi-criminals sickness design sickness. virtual lands :g/^/mo
+++
+++


Jim Andrews

These are abstract. I call them 'colour music' cuz you 'play' Aleph Null (the software I wrote to make these images) like an instrument, only it produces animated visuals, not sound. Also, they look like music if you poured oil on music. The images are 1920x1080. Press the space key to toggle pause/play. Press the 'f' key to toggle fullscreen. Put yer mouse near the bottom of the screen to reveal the menu bar. Put yer mouse on the left side to reveal the carousel of thumbnails.

Aleph Null Colour Music

Alan Sondheim


trAce Online Writing Community Diary

Yet another text, probably the most interesting, at least from the viewpoint of autobiography. I was the second Online Virtual Writer-in-Residence at trAce; for the last few months, I kept a diary - probably the only time in my life I've did so. (I believe it was recommended that I do so for the residency.) I do think it will be definitely be of interest. (Note that the diary has been slightly edited, some personal information was removed.)

Check out the .rtf; it's downloadable; the .txt is the same but might be more difficult to read.

http://www.alansondheim.org/trace.jpg http://www.alansondheim.org/diary.rtf http://www.alansondheim.org/diary.txt

It begins:

"Just woke up, "

and runs through books, work, crazy ups and downs, all sorts of excitement; and detailed accounts of linux, real-time forum software, the predicted Cobol catastrophe, traceroute, binary functions and number systems (which I'm sure I got wrong) and many other things. Enjoy!
+++


Kirill Azernyi

An interactive short story about time traveling and music. Made in collaboration with Jeremy Hight.

Machine

Alan Sondheim


Culled Bio

http://www.alansondheim.org/culledbiog.jpg http://www.alansondheim.org/culledbio.docx (download)

From the text !!!!!
<head below>
culled autobiography everything i ever did or thought compressed autobiography primal scene imagine thing how possible i inconceivable iron pre network computers dreams born atomic cant gurney rows bottles fluorescent carried grandmothers coal slaughter disease tomb still sensitive remorse planet denigration fills covers acts difference regret faults less coloration insubstantial
<tail below>
distorted fantastic explorations roman find including mg creating kind mantra keep start appreciated discussed spiraling avoiding psychotropic many need scheme corrections faulty repressions sublimations sartre spelling errors omission distor hallucination intentional none designed hurtful vengeful clues cues myths afterlife rebirth proliferate increasing frequency transforms are reconstructions reconfigurations haunt dubious gift reliving narratives into inert hardness distant carry concrete weight transform fashioned fashioning


Alan Sondheim


doubled, social distance, abandoned bodies of space, coronation

http://www.alansondheim.org/doubled.jpg
https://youtu.be/QaSAYJxYtZ0 VIDEO

at and a disturbance of bodies x-ing inconceivable temporal distances and layers. does it speak for itself and for us? does it speak for any one or 1? what seems intimate is broken knowledge: who knows what whispers never cross the ignorant division. to unpack this is to unpack eternity which never was and always will be. so be it, as if the imperative copula produces more a video representation of absenting from one to an other. +++


Michael Paulukonis

Item title

Item title

Item title

Alan Sondheim


generator

http://www.alansondheim.org/generator1.jpg https://youtu.be/TIfeS5AeYRI VIDEO http://www.alansondheim.org/generator2.jpg http://www.alansondheim.org/generator3.jpg

factual description: my asus gaming laptop updated - the largest so far, 40 gigabytes. it took most of the afternoon. it's a ten-year- old production machine. while updating, the screen was compromised; i used the result for work in second life, the spread of what in appearance is a plague virus and the usual voice-chant 'i don't understand what you're saying.' i recorded as such. i produced video and still. the result is a series of generator pieces which reflect viral spreading and corruption of surfaces.

description: the viral spreading and corruption of surfaces led to thinking through the breakdown and flattening of communication in times of crisis. the territories are demarcated, volatile, always on the move. i felt myself hurtling into unknown geometries with alien trajectories. i related it to corona virus, to plague in general, to the absolutist terror occasioned by isis and other groups literally heaven-bent on perfection. i can't get these surfaces clean enough. their beauty is like paste jewelry, all the stops are out. i can't get enough of them. they frighten me. i know for you, the observer, nothing is ever enough as well. i know the conversion prepared by youtube, by any means possible, will elude the detail and granularity of the digital real. what will result, will smear, will be bandage or carapace across the illusion of reflective brilliance. placing them for viewing in other words is already damage, as in adorno's words, damaged life.

the fourth in a series of meditations on plague and quarantine. and the fifth? the fifth would be

http://alansondheim.org/lightattheend.mp4

a little over two hours in length, almost all black-screen, an extended meditation at the time, on torture and destruction, two or three sentences appear, i know not where. the silence of the tomb and now the refrigerator truck, no god to help us all. and i envy belief.
+++


Alan Sondheim


plague ghost

http://www.alansondheim.org/plagueghost3.jpg https://youtu.be/Zusrmho5EL4 VIDEO http://www.alansondheim.org/plagueghost1.jpg http://www.alansondheim.org/plagueghost2.jpg

uncanny apparitions in a virtual world as an avatar refuses to render ^ contagion ^ image eaten away ^ pixel revolt ^ miasma ^ downfall ^ ring around the rosie ^ all fall down something about the vapors here @ nite
---------------
what happens


Alan Sondheim


field of dreams

http://www.alansondheim.org/fieldofdreams.jpg
click anywhere below on the url! (not the image!) http://www.alansondheim.org/index_partial.html


Alan Sondheim


Plague Journey

http://www.alansondheim.org/plaguejourney.jpg
https://youtu.be/Jl0NYsJ_XSI VIDEO

How to watch this: slow/background/glance. Earphones necessary. "Not plague, but plunge America journey." fall down, consume, consumed with plague or blight - Viral plagues, organs of (plague and war and earthquake and murder) sutured, planet resurgence of smallpox and plague, rosie pox death, overturned cobblestones, but what I will carry, like the plague or permanent virus, is this: skin soiled with mold damp, plagues gathered skin tears; every place a site of massacre; every site is a source of plague. I Gapes in the stomach, first one of us, then like a plague. Like a plague of flying saucers in a grade B film, the impact of the onslaught. Not binarism, but a plague on plague now; but you know not plague, but plunged America journey. I wonder at strangers upon Plateau-America; I wonder what isn't any of this; so this trace of the journey remains, against the wall of plague dark vector drawn, and quartered. (...)


Alan Sondheim

from the future

http://www.alansondheim.org/P1110590.JPG http://www.alansondheim.org/fromthefuture.mp3 http://www.alansondheim.org/P1110588.JPG

*/ignore below. it's my usual patterning: "in the future"/"in the past" . it's useless. it takes up space. it's a literary curiosity, that's all. there's nothing else to it. but the urgency in the voice occasioned by supercollider modification in real time, use of echo, as if spreading from future at t1 to t2 then reversed - the rush of the urgency into the past, the spread occasioning a form of gathering in the present - unrecognizable, in turmoil - an alien presence which has no known countenance - that's something else again and so the dis/ease / disease spreads, violently and wayward and untoward and contrary - roiling in reverse - what happens to gravity then - what flies - what doesn't. so the voice in the present which comes from the future - _protrudes_ from the future - that's something else again, and before we pass judgment on ourselves and others which should make certain we comprehend what's occurring from a rough distance that even now is collapsing upon us. raise high the roofbeam; it shall not stand - and listen, as if you were swallowing the world.

---

The flight into/away from the future, to be a man from the future, will the males be there. It is always a gift from the futures, and among them, horizons. has forms behind it; it comes from the future, from a future situated an archaic book from the future, an anachronistic book from the past - remember nothing else from the future, only its endlessness.& here - everything poisonous from the future to the past - from nowhere in the far future, in the future farther from the future this speaking from the future anterior i come from the future i won't return anywhere i would have been They speak from the future. They speak from multiple voices, or from that from the future roiretna thought; the future roiretna alone from the future to the future -:other worlds in this regard, all i'm a human person from the future gone to die before everlasting Countdown. This is written from the future to the past. This has already this is my legacy, this is what i bring forward from the future format, this note from the future to the past. you. a premise to build a promise from the past (physical) books from the past. a message from the past: a message from the past: all right, saying the date and time from the past, crying over from the past 25 years of notes: Not much for the texts from the past sixteen years.. an archaic book from the future, an anachronistic book from the past - from the past into the future, into your future; there's no our hearths praying to the local gods splintered from the past. We can introjected into and from the past and future. move the words motion capture notes from the past fifteen years do you remember from the past year? Sensory impressions, visual stimuli. drooling and tethered from the past, just a moment ago already falling what i can tell this is from the past mid-century. and i've seen among all of us. Ghosts from the past glistened like ivy on unsus- (I read into and through representative texts from the past, Lucan, Gil- beginning and end with files from the past eight months breathing down our throats? Listen to me, I'm speaking from the past - showing through, skin split allowing messages from the past to brand a clue is based on evidence from the past to the present; a cue is based this text, ignoring the consciousness from the past, roaming among lands learn anything except the most obvious lessons from the past (i.e. war please help me; I'm speaking from the past." not desert me, one or another drawn from the past into paste, learned from the past. alan says: this is from the past. the past is broken. less innovation; nothing dredged from the past; no history, written or 5 February 9 Net art - use the material from the past two Leonardo's as blemish to be seen,_ _text from the past for you,_ _past text somewhere in the following are descriptions, culled from the past of the virus, of this virus, of CORROBORATE-19.
+++

Alan Sondheim

Person

http://www.alansondheim.org/person.jpg

i keep hearing about my crying i can't help it, hope i get punished for it again, i'm not all here until i'm not here any more, that's coming soon, there's nothing to be done about it, i'm at a loss just reading this, bodies stink, don't want mine to, you know not the least of it:something needs to be wiped out of existence, it's the plague, it's everywhere, you can smell it here and there, it's like those filthy parts of bodies if you know what i mean, you don't ever want to look at them, they make me want to kill or at least run like hell, that's the way it is these day you can't be too carful even your mother might be contagious and not as pure as you think, you're dad well forget about him there's nothing you can do but take a beathing:yes, found this just now, just looking around you see, something else to worry about, not sure where that's coming from, anyway it's here, the lines aren't cut off like usual, think they're body parts maybe, something i don't want to think about right now if that's all right with you, it is, isn't it:there's nothing to be done about it bloody sick joke: there's nothing to be done about it bloody sick joke

just dead gunk coming out of me in all directions i've stabbed for less remember less and less of that stuff, the stink of it, i may be repeating myself but i'm just here coughing away and they'll come for me, come lick my doorknob ha ha ha what a joke on you there's nothing to be done about it bloody sick joke ha ha ha ha ha

Your conglomerates remember less and less of that stuff, the stink of it, i may be repeating myself but i'm just here coughing away and they'll come for me, come lick my doorknob ha ha ha what a joke on you is in my spit

remember less and less of that stuff, the stink of it, i may be repeating myself but i'm just here coughing away and they'll come for me, come lick my doorknob ha ha ha what a joke on you

stuff i hate.blood urine feces gas sand water oil solvent alcohol lymph menses spit saliva vomit sweat effluvia detritus excretions sloughings tears floods spews mercuries semen detergents ammonias ureas clays ices grains substances conglomerates waxes piss shit scratches scrapes cuts wounds tears splits breaks diarrheas splits skews churns comes goes passes thrusts regurgitates flows streams spills pours pisses shits

where i'm at.in on under to towards across beneath around upon below onto

who i am.ghost avatar spectre doll faerie wraithe hobgoblin troll tengu kappa presence

what i wear.cloth stitch suture binding closing damming holding fabric velvet nothing cotton wool silk ================================================================
me.i myself allofme nothingleftofme nothingelsetosee total drwxsx sondheim users Mar : .

drwxrxrx root users Nov : .. drwxS sondheim users Aug .BitchX rw sondheim users Jan : .addressbook rw sondheim users Jan .addressbook.lu drwxS sondheim users May .alpinesmime rwr sondheim users May .bashrc rw sondheim users Jul .comc rw sondheim users Aug .delgroups rw sondheim users Jun .editor drwxS sondheim users Nov : .elinks drwx sondheim users Jun .elm rwrr sondheim users Jul .emacs drwxsx sondheim users Sep .emacs.d rw sondheim users Feb .exrc lrwxrwxrwx root users Nov .forward > /usr/local/etc/dot.forward rw sondheim users Jun .forwardconverted rw sondheim users Oct .hey rw sondheim users Jun .hlevel rwxrwxrwx sondheim users Jan: .htaccess rwrwr sondheim users Jul .ircrc rw sondheim users Mar : .ispell_english rwxxx sondheim users Nov .juluold rw sondheim users Jun .learnrc rw sondheim users Feb : .lesshst rw sondheim users Mar : .lynx_cookies rw sondheim users Jul .lynxrc rw sondheim users Feb .machinemessage lrwxrwxrwx root users Nov .maildir > /net/mail/spool/panix//b/[email protected] rw sondheim users Jun .mailer rwxrwxrwx sondheim users Oct .mailme drwxxx sondheim users Sep .mailspool rwxrwxrwx sondheim users Feb .memo rw sondheim users Feb : .message rw sondheim users Mar : .message.old rw sondheim users Jun .motdsocial_time rw sondheim users Mar : .motd_time rw sondheim users Aug .msgsrc rw sondheim users Nov .muttrc drwxsx sondheim users Oct .ncftp rw sondheim users Dec .ncrecent rw sondheim users Aug .newnewsrc rw sondheim users Jul .newnewsrc rw sondheim users Feb : .newsrc rw sondheim users Jun .newsrc.bak rw sondheim users Dec .newsrc.eep rw sondheim users Sep .newsrc.old rw sondheim users Jun .newsreader drwxsx sondheim users Mar .nn rw sondheim users Oct .oldnewsrc rwxrwxrwx sondheim users Nov .one rw sondheim users Nov .phoenix.away rw sondheim users Feb : .pinecrash rw sondheim users Mar : .pinedebug rw sondheim users Mar : .pinedebug rw sondheim users Mar : .pinedebug rw sondheim users Mar : .pinedebug rw sondheim users Mar : .pinerc rw sondheim users Jun .pinerc~ rwxrwxrwx sondheim users Mar : .plan rw sondheim users Jun .printmenu drwxsx sondheim users Mar : .procmail rw sondheim users Sep .procmailrc rwrr sondheim users May .profile rw sondheim users Sep .profile.save rw sondheim users May .project rw sondheim users Sep .pscreen rw sondheim users May .pshenv rwx sondheim users May .pshrc rw sondheim users Dec .pshrc.old rwrwrw sondheim users Jun .rhosts rwxrwxrwx sondheim users Oct .rmm rw sondheim users Nov .rnlast rw sondheim users Nov .rnsoft rw sondheim users Mar : .s rw sondheim users Apr .s.old rw sondheim users May .sig rw sondheim users Jul .spam drwxsx sondheim users Sep .ssh rwrr sondheim users Dec .termtype rw sondheim users Feb .tfrc drwxsx sondheim users Feb : .tin drwxsx sondheim
users Sep .trn rwxrwxrwx sondheim users Nov .two drwxS sondheim users Jan : .wm rwxrwxrwx sondheim users Oct .xtod rw sondheim users May .ytalkrc drwx sondheim users Mar Mail drwxsx sondheim users Mar News rw sondheim users Sep .mailspool/sondheim

mail/a mail/ad mail/alt ls mail/arch mail/b mail/building mail/code mail/elo mail/emp mail/ham mail/job mail/london mail/music mail/nmm mail/nscad mail/pub mail/savedmessages mail/sentmail mail/shows mail/sl mail/sl mail/son mail/trip mail/wv

total du: f: No such person

+++

No.such person

+++

Jim Andrews

New Alchemical Cosmography.

Alan Sondheim 

holding

http://www.alansondheim.org/P11.png

i don't remember the image. it's a lure, it beckons me, that the image itself, not the content, but its entrapment, its position in a strip of images occurring forever it seems; by 'image' i don't recall or mean what's evident elsewhere in a formal setting, in a setting which bespeaks 'image,' in other words an advertisement for what's to come, a token that could be anything. i'm sick of images, sick of text; text provides an immersive experience of course that pales for images; one might feel empathy for an immobilized subject for example, but on the side of the subject, time has stopped, nothing more occurs, there's nothing more to be said than the collocation of pixels or silver grains or etching strokes what have you. so there's that. and there's always hope that the image leads to the text, embraces the text, opens the text, for the viewer, which is almost never the case. i receive for example 'like' clicks on facebook with a text, perhaps this text, that's being presented, which may have a complexity requiring attention one way or another, but the 'like' comes almost immediately, signaling the text has been ignored, what remains is the image already fading, already forgotten by the viewer. you see, if you've come this far, that i'm exhausted, my writing is choppy, we drove yesterday for hours and hours, all the way to omaha from aurora colorado, then worked and talked so that i think we were going for 21 hours altogether, then insufficient sleeping, now writing as if sleep has its say that spreads slowly everywhere, the opposite of the image, the image losing to the sleep, to the content of the sleep which is already burrowing into this writing, and which has no content at all, language replaced by murmuring mumbling. i'm always jealous i can't get off the page <break from someone on the phone vis-a-vis issues related to the virus>

the phonecall was about our state rhode island closing its borders to new york state with troopers on the highways stopping vehicles and so forth which makes it difficult for us to return home and we're working on that with an odd sense of fear being trapped somewhere without facilities or ability to do anything at all so the break released the page in a sense as anxiety chemicals rise in me here in omaha and not know where to turn but wanting to help a friend who is coming temporarily to the state which the state finds problematic and i'm not sure what we're going to do but wondering if the image has taken you in or has taken you this far because it's most likely a prosaic image that doesn't add anything to the conversation which is at best one-sided and nothing more than a lure a

lure, allure

this is where what occurs on a critico-theoretical level exists, lives, exits; this below. which may no longer connect with, concern itself with, the image; it's as if - now you're here, i have you, here is what i want to say - now i've got you in the prisonhouse of language as well; the viral chains of language; the theoretical- critical journal of the plague year; the well of buried victims; the singing of ring around the rosie; the wall around the well; the road on the way to the well; the wall to keep things in; the wall to curtain things; to cauterize them; the wall of the image; the defensive wall of the image; the postern; the leakage; the lake; the postal wall; anything to keep you away; anything to confirm the image did its duty; does its duty; already gone; "if you've read this far" etc.; "if you haven't lost interest" and so forth; "if you want this text to continue" u.s.w. - can't help you - no replacement image - nothing like that - the name "Willoughby" comes to mind - nothing else - the frame - maybe like this -
| |___________________________________________________ probably not: this text: at the bottom of the frame: you know where that came from: don't you: dis:track:shun:
+++ __________________________________________________|
|
19c19
which is almost never the case. i receive for example 'like' clicks
---
which is almost never the case. i receive for example 'like' clicks
22c22
but the 'like' comes almost immediately, signaling the text has
--- but the 'like' comes almost immediately, signaling the text has
57c57
critical journal of the plague year; the well of buried victims;
---
critical journal of the plague year; the well of buried victims;
+++++

Alan Sondheim

Thinkinging throughing Red-winging Blackbirding

Callsing http://www.alansondheim.org/blackbirdstretch.png https://youtu.be/dy4JOPTnXVw VIDEO (about 32 minutes)

Kepting returninging toing theing blackbirding areas,ing arounding theing Auroraing Reservoiring ining Coloradoing, I'veing madeing severaling reallying gooding sounding recordingsing, leavinging theing Zooming H4ning ining variousing placesing anding movinging awaying froming theing birdsing. Iing tooking theing resultinging filesing anding processeding theming ating 24ing semitonesing downinging thereing areing severaling versions,ing eaching withing differenting sibilanting settingsing, etcing. Alling thising materialing ising gathereding hereing includinging theing originaling filesing ofing course,ing ining aing 32ing minuteing videoing. Theing sounding ising aing .waving processeding ining Auditioning, 48king; theing visualing ising aing smalling samplinging ofing oneing ofing theing sitesing, sloweding uping toing 2.7%ing theing originaling speeding. Thinking ofing iting asing mediationing oring meditation.ing Theing spectruming analysising doesing theing rest;ing aing loting ofing detailing ising misseding ofing courseing ining justing listeninging, Buting thening listeninging giveing theing affecting anding effecting ofing languageing asing welling asing theing beginninging ofing understandinging theing complexitying ofing theing socialing callsing anding theing societying thating producesing themming, meditateing theing fluiding architextures,ing Lebbeusing Woodsing wding approveing, everythinging motileing, surrenderinging toing theing vicissitudesing ofing the forminging weing livinging withining, forminging ourselvesing, alwaysing theing gerunding
___
"It is what the music is without saying something without cessation. It is what will continue and my own role in that continuation is only that which have been artificially defined as a segment. Set music that I do continues into just falling off or falling away from its original production its original Self that original Self is already a dissipation, a biome. I'm not saying anything here or rather what I am saying is just in the middle of not saying something else or not saying all together not saying something all together it's just a sign and not saying something else is already a division and inscription which decays into a fssure. Which decays into a fissure. When I speak like this momentarily all that happens is misrecognition. Things no longer stop in their proper place nor do they have a proper place. To say a bit or byte is in its proper place is to say nothing but something that decays again into the lassitude of reverberation. Into the lassitude of reverberation. It is what the music is, always is sound the sounding and the gerund aspect of the world. A sign is there for barter and a sign is there for exchange and they sign is there for use. And a sign is there for for youth use. Not for youth to talk like this is just to leave a moment not a minute. You see I'm trying to find a way to avoid or obviate this speaking of the finality of death. So the breathing doesn't work the way it should. The breathing does something else and continues to do something else until the breathing no longer does anything. And what is that but a momentary pause a momentary image of a cessation. And what comes after and before and throughout is a murmur. Trying to find this way or that way of making sense of a sense of falling. And then thinking about sound and what music might mean as if it were everywhere and all the time universe or not."
___

Michael Paulukonis


"untitled (the lady is unimpressed)" (glitched and processed found image) .
#glitch #glitchaesthetic #vaporgramapp #digitalcollage #digitalcollageart #newmediapoetics #color #colour #artistsoninstagram #vintagecomics #experimentalcomics

Kirill Azernyi

Barn (an IF piece)

Alan Sondheim

Skyspheredeath

http://www.alansondheim.org/skyspheredeath.jpg https://youtu.be/1LmW-3l97Wo VIDEO http://www.alansondheim.org/skyspheredeath2.jpg

No Heaven No Sky No Skysphere No Purification No Absolution No Salvation No Withdrawal No Escape No Virus No Cleansing . No Surface. Freefall. No Lack of Surface. No Rupture. No Lack of Rupture. I Want my Body. skyspheredeath no heaven no sky no skysphere no purification no absolution no salvation no withdrawal no escape no virus no cleansing . no surface. freefall. no lack of surface. no rupture. no lack of rupture. i want my body. i want my body back. i don't want this supposed to be. i don't supposed to be. i'm not being. i'm not being again. i'm not the journal of the plague year. i'm not the plague. i'm not love in the time of plague. i'm absolution. i'm purification. i'm salvation. i'm withdrawal and a clean withdrawal at that. i'm drawl. i'm in freefall tell the truth. i'm in mid-space. in cyber- space there is no air. i refuse to stand. i'm not the fire next time. i'm not the fire. i'm in mid-rapture. i'm not in mid-body. i'm in better body. look i have needs. look i have desires. i'm in the midst of desires. this space is a vacuum. The Sky of this Space Ends at the Edges of the Frame. i'm in inoculation. i'm in incubation. i'm in the Sky. I'm write around you. I write you. I right you from your Empty Sky. I refuse to accuse. i'm not the Plague. I'm Skysphere Death.

Alan Sondheim

Suggestions from the Prompt

http://www.alansondheim.org/hereandthere.jpg

$ ! 500
No command '500' found, did you mean:
Command 'ab' from package 'apache2'
Command 'apt' from package 'apt'
Command 'bc' from package 'bc'
Command 'dc' from package 'bc'
Command 'ar' from package 'binutils'
Command 'as' from package 'binutils'
Command 'dwp' from package 'binutils'
Command 'ld' from package 'binutils'
Command 'ldd' from package 'binutils'
Command 'nm' from package 'binutils'
Command 'env' from package 'busybox'
Command 'bvi' from package 'bvi'
Command 'c++' from package 'clang'
Command 'cc' from package 'clang'
Command 'cpp' from package 'clang'
Command 'g++' from package 'clang'
Command 'gcc' from package 'clang'
Command '[' from package 'coreutils'
Command 'cat' from package 'coreutils'
Command 'cp' from package 'coreutils'
Command 'cut' from package 'coreutils'
Command 'dd' from package 'coreutils'
Command 'dir' from package 'coreutils'
Command 'du' from package 'coreutils'
Command 'fmt' from package 'coreutils'
Command 'id' from package 'coreutils'
Command 'ln' from package 'coreutils'
Command 'ls' from package 'coreutils'
Command 'mv' from package 'coreutils'
Command 'nl' from package 'coreutils'
Command 'od' from package 'coreutils'
Command 'pr' from package 'coreutils'
Command 'ptx' from package 'coreutils'
Command 'pwd' from package 'coreutils'
Command 'rm' from package 'coreutils'
Command 'seq' from package 'coreutils'
Command 'sum' from package 'coreutils'
Command 'tac' from package 'coreutils'
Command 'tee' from package 'coreutils'
Command 'tr' from package 'coreutils'
Command 'tty' from package 'coreutils'
Command 'wc' from package 'coreutils'
Command 'yes' from package 'coreutils'
Command 'ocs' from package 'cscope'
Command 'cvs' from package 'cvs'
Command 'sh' from package 'dash'
Command 'cmp' from package 'diffutils'